Contemporary Art Room Gallery is proud to announce their 4th “Green” Online Art Competition for the month of July 2024. This is an international competition and artists from around the world are welcome to submit their work. You are welcome to submit any style or subject matter as long as the theme color “Green” is prominent. All visual art mediums are acceptable (painting, photography, drawing, sculpture, digital, prints, fiber art, collage or installation art) except sound and video art. Winning artwork (First place) will be on the poster of the show. All selected artists will receive a digital award certificate. The deadline to apply to this art competition is July 11 2024.
Interdisciplinary
Animation Teacher
Venice Arts is seeking a creative educator in animation (2D and Stop Motion) to teach in-person classes centered around personal and community storytelling, using Venice Arts’ experiential and project-based approach to education. The ideal candidate can lead beginning to advanced workshops for youth, ages 10-18. Teaching artists are expected to create theme-based projects that ignite the next generation of storytellers!
Venice Arts provides a syllabus template and examples that outline our pedagogical approach and aims to support teaching experience through bi-annual training, classroom observations, and feedback. We look for educators who can comfortably work within our teaching model while making thoughtful modifications to make the class their own.
Qualifications
Prior experience working with young people is required with at least one year of teaching experience preferred. Familiarity with project-based learning and interactive teaching is a strong plus. We seek educators with a breadth of knowledge of relevant historic and contemporary artistic practices.
● Must have experience with animation including a foundational knowledge of hand drawn animation, stop motion and the production process
● Must have experience animating with iPads and digital cameras
● Experience with Dragonframe and Flip-A-Clip is preferred
● Familiarity with personal storytelling and documentary narratives is a plus
Schedule
Classes meet for 12 weeks during the fall semester beginning in mid-September, and 12 weeks in the spring semester beginning in February and running through early May, culminating with a public exhibition and screening of student work.
We are currently seeking an educator for the Ametuer Animator class, which will meet Wednesdays 4-6pm, with the Teaching Artist expected to arrive at least 30 minutes prior to class, and to stay at least 30 minutes after class to debrief and plan with their teaching team. Applicants must be available to teach during this time from September 7-December 10, 2024, and from February 4-May 6, 2025, and must commit to attending Faculty Meetings in August and January.
We strongly prefer candidates who are interested in building a sustained relationship and who consider education a part of their ongoing practice.
Compensation
This is a non-exempt (hourly) position. Entry level teaching artists begin with a teaching rate of $115 for every two hour class (3 hours at a teaching rate of $30/hour and 1 hour for prep at the admin rate of $25/hour). Syllabus writing (up to 8 hours), preparation hours, and mandatory training are also paid at the administrative rate of $25/hour.
How to Apply
Please fill out an application and attach a resume and cover letter highlighting relevant skill and experience, in a single pdf. Please: No phone inquiries, emails or walk-ins. Other materials may be requested if an interview is scheduled.
Venice Arts is an Equal Employment Opportunity Employer.
International Art Competition Grey
Contemporary Art Room Gallery is proud to announce their 4th “Grey” Online Art Competition for the month of July 2024. All selected artists will receive a digital award certificate. First, second and third place will be largely displayed with an article about the artist and their work. First place will be on the poster of the show. This is an international competition and artists from around the world are welcome to submit their work. Only works of art created in black, white and or shades of grey will be accepted. All visual art mediums are eligible (painting, drawing, photography, sculpture, digital, prints, fiber art, collage or installation art) except sound and video art. $20 for 2 images, $40 for 6, and $58 for up to 10 images. Deadline: June 27, 2024.
Administrative Assistant, Development and Membership
The Skirball Cultural Center seeks an enthusiastic and competent team player to serve as Administrative Assistant for Advancement and Membership. Reporting directly to the Associate Director of Development, this position is responsible for providing clerical and administrative office support to the Development Department. This position requires strong attention to detail as well as the ability to regularly interface with the Skirball’s member and donor base.
Salary range: $21-23 per hour
Responsibilities:
Administrative
- Report to the Associate Director of Development and assist in all areas, as requested
- Assist Vice President of Advancement and the Rabbi-in-Residence in all areas, as requested
- Organize and maintain computer and hardcopy files
- Maintain various Excel department charts
- Answer telephones; monitor the Donations email inbox
- Administer written correspondence and its dissemination
- Schedule, arrange, and prepare rooms for meetings
- Coordinate and track department invoices for payment
- Attend meetings, take and distribute notes, and assist with organization
- Assist in monitoring and preparing the annual department budget
- Manage the donor database in Altru: create and maintain donor and prospect profiles; process checks, cash, and credit card donations; process memberships, invoices, receipts, tributes, and thank-you letters to donors; sustain data hygiene; prepare and manage various activity reports and queries; maintain and generate multiple mailing lists in Altru and one in FileMaker Pro for mailings and special events
Development
- Be a knowledgeable representative of the Skirball Cultural Center’s mission and history
- Meet and greet visitors of the Development department
- Provide excellent service to donors and key partners via phone, email, and in-person
- Coordinate and assist with hosting on-site and virtual Advancement events
- Coordinate external mailings and communications
- Conduct prospective donor research
- Work closely with the President’s Office staff on donor-related projects and reports
- Assist Membership Manager on an as-needed basis
- Assist Communications on an as-needed basis
- Oversee volunteers on special projects
Qualifications, Experience, and Attributes:
- 3+ years of successful experience as an administrative assistant or similar; experience working in a development department for a nonprofit preferred
- Undergraduate degree in English, communications, fundraising, or similar field, and/or equivalent experience
- Excellent IT tool proficiency and demonstrated ability to utilize Office 365 applications, Altru or equivalent donor database software, FileMaker Pro, and Zoom; proficiency at computer research and navigating online directories and databases
- Strong organizational skills and the ability to multitask
- Excellent editing and data entry skills
- Friendly, outgoing demeanor and a team player
- Demonstrated commitment to the Skirball’s mission to welcome the stranger and help build a more just society
CALL FOR ENTRIES: FIBER ART: THE EXPRESSIVE & INNOVATIVE 2024
CALL FOR ENTRIES:
FIBER ART: THE EXPRESSIVE & INNOVATIVE 2024
O’Hanlon Center for the Arts
In-Person Gallery Show
JURIED BY CAROLE BEADLE
Exhibit dates: May 28 – June 27, 2024
DESCRIPTION
Fiber art refers to fine art whose artist use flexible, natural or synthetic materials and other components displaying textile techniques and manual labor. The focus is on materials the artist can use to create sculptures, wall hangings, or other technique, engaging in concepts of personal interest.
We are looking for structures that are created with knotting, twining, plaiting, sewing, embroidery, felting, paper making, knitting, crocheting or weaving. The possibilities are endless.
THIS IS AN IN-PERSON /
IN-GALLERY SHOW ONLY
MEDIA
Fiber, including 3D/Sculptural works
Open to all artists aged 16 and over.
Submission limit: 3 works per artist.
Works previously displayed in the O’Hanlon Gallery are not eligible.
ART PREPARATION
All work must be ready for display. Paint, glue, etc. must be dry!
Max size for wall pieces: 48” wide | 60” high
Wall hung pieces must be securely wired.
Label all work with Artist’s name & Contact
Bring resume and/or artist statement, if desired. (2 pages max.)
ENTRY PROCESS
Please hand-deliver (no digital submissions) up to three pieces of work to:
O’Hanlon Center for the Arts • 616 Throckmorton Avenue, Mill Valley CA 94941
You can download and bring two copies of the submission PDF or fill out the form in person when you drop off. Payments will be accepted when artwork is delivered.
ENTRY FEE
$40, or $30 for Artist level OHCA members
for up to three pieces paid at time of drop off
via check, cash or credit card.
DATES
HAND DELIVERY Entry Dates:
Fri, May 17, 11 am to 4 pm
Sat, May 18, 10 am to 1 pm
Artists notified of Jury results:
Wed May 22 by 5 pm
Pick up times for non selected work:
Thurs, May 23, 10 am to 1 pm
Sat, May 25, 10 am to Noon
___________________________
Artist Roundtable Discussion
Tuesday, June 4, 4:00 pm
Reception
Tuesday, June 4, 5:30 – 7:00 pm
___________________________
Pick up unsold works
Friday June 28 from 11am to 4pm
Saturday June 29 from 10am to 1pm
DOWNLOAD SUBMISSION ENTRY FORM PDF
Contemporary, exploratory, and/or experimental entries encouraged.
Please note Entry Dates/Times carefully. Late delivery of artwork is not allowed.
Saas-Fee Summer Institute of Art 2024 NYC: call for applications
Art, Apparatus and Neural-Digital Entanglement in Cognitive Capitalism
in collaboration with Creative Time and Montez Press Radio
June 17 – 26, 2024
This year’s Saas-Fee Summer Institute of Art, “Art, Apparatus and Neural-Digital Entanglement in Cognitive Capitalism,” has been organized in collaboration with CTHQ, Creative Time’s gathering space for art and politics, and Montez Press Radio, an experimental broadcasting and performance platform, in New York City. This program will map the history of artistic forms of resistance beginning with photography, through cinema, video, and other digital technics, in order to find clues on how to combat the threats that may result from new neural and brain-based technologies at our doorstep. We will throw a wide net around notions of the mind, brain and consciousness of our time, in order to capture the contemporary discourse and consider potential new forms of practical insurgency.
In “What Is an Apparatus?” and Other Essays (2006), Giorgio Agamben defines an apparatus as a kind of network established between “a heterogeneous set that includes virtually anything, linguistic and nonlinguistic, under the same heading: discourses, institutions, buildings, laws, police measures, philosophical propositions and so on.” Additionally, he describes the apparatus as always having a “concrete strategic function” that “appears at the intersection of power relations and relations of knowledge.” The proletariat working on the assembly line producing material objects has transitioned to the cognitariat swiping screens to produce data. Digital capturing apparatuses directed at our emotions, creativity and mental capacities have joined and subsumed the analog dispositifs focused upon the working body and its surplus value already in play. This collected data (or ‘big data’) sold to corporate, policing, and military clients is not passive or without repercussions. For example, Wendy Hui Kyong Chun has shown the ways that ideology is embedded in software. Could the same biases and forms of subsumption already present in digitality be carried over into these proposed neural-digital applications?
Just as the early theorists of cognitive capitalism realized the coming digital economy would create a crisis for labor and the production of subjectivity, so too another crisis is brewing exemplified by neural-based apparatuses that focus upon the brain’s variation and plasticity as a locus for capitalist speculation. OpenAI and Neuralink are just two examples of corporations already producing these technologies. While large language model-based chatbots such as ChatGPT are predicted to take over the majority of cognitive labor, deep learning text-to-image generators such DALL•E are equally poisoning the epistemological well and making many creative practices obsolete. As described by Slavoj Žižek in Hegel in a Wired Brain (2020), the “‘Wired brain’ refers to a direct link between our mental processes and a digital machine, a link which, while it enables me to directly trigger events in reality with a mere thought . . . also enables the digital machine to control my thoughts.” In other words, if a brainwave can be decoded to aid a paraplegic person to direct a cursor on a screen to move a robotic arm, then certainly in ten years the reverse will be true; electrical impulses designed to mimic brain waves emanating from an external machinic entity could penetrate the skull to redirect neural patterns in the brain.
As Frantz Fanon wrote in Black Skin, White Masks (1952), there is phylogeny (evolution), ontogeny (development), and also sociogeny; we are born biologically human but we can only experience ourselves in the context of sociological and linguistic structures. As Sylvia Wynter states in Towards the Sociogenic Principle (2001), “in the case of the human species, the sociogenic principle, as the information-encoding organizational principle of each culture’ s criterion of being/non-being, that functions to artificially activate the neurochemistry of the reward and punishment pathway, doing so in the terms needed to institute the human subjects as a culture-specific and thereby verbally defined, if physiologically implemented, mode of being and sense of self.” This is even more true for the becoming neural plastic brain in which sociologic and linguistic techne also engage in shaping the brain’s architectonics, or what Bernard Stiegler calls instrumental maieutics. This process is still ongoing in relation to a plethora of new apparatuses in which not only are more and more external relations digitally-mediated, but the very structure of deep learning networks are based upon the anatomy and physiology of the biological brain to process information.
While this model of the brain can be increasingly understood as a neural-digital entanglement, the emancipatory capacities of these technologies and their social cultural import also cannot be denied. Artists, curators and theorists have also produced a network of cultural dispositions based on their own emancipatory procedures and elaborations that have kept pace and pushed back against this evolution of despotic techne. Harun Farocki’s concept of operational images, or image data created by machines for machine usage in which human agency disappears, as developed in Eye Machine I-III (2001-2003), will be especially important to our discussion, while the analysis of 3D and IMax films, virtual reality and artificial neural networks will help us generate new understandings of sensation, perception and cognition in relation to viewer identification, subjectivity and ideology. Additionally, we will look to the work of Issac Julien and others to understand the power of decolonizing and queering cinematic apparatuses to alter historical narrations.
Faculty
Defne Ayas, Davide Balula, Suparna Choudhury, Stephanie Dinkins, Thyrza Goodeve, Lyle Ashton Harris, Isaac Julien, Liz Magic Laser, Reza Negarestani, Warren Neidich (founder/director), Alison Nguyen, Diane Severin Nguyen, Barry Schwabsky (co-director), Martha Schwendener, Mindy Seu, Anuradha Vikram, and more to be announced.
Applications
Applications for SFSIA 2024 NYC are open to students, practitioners and scholars from the fields of art (including video, photography, installation and multimedia), ecology, science and technology studies, philosophy, design, architecture, critical theory, cultural studies, film and media studies, and beyond. Please see our application for more information.
About SFSIA
Saas-Fee Summer Institute of Art (SFSIA) is a nomadic, intensive summer academy with shifting programs in contemporary critical theory that stresses an interdisciplinary approach to understanding the relationship between art and politics. SFSIA originated in Saas-Fee, Switzerland in 2015 and then migrated to Berlin, Germany where it has been hosted by Import Projects (2016) and Spike (2017-2019). Additional programs have been hosted by Otis College of Art and Design in Los Angeles, Performance Space New York, The Brooklyn Rail, and sonsbeek20→24 in Arnhem, The Netherlands. SFSIA was founded and is directed by Warren Neidich and is co-directed by Barry Schwabsky. Sarrita Hunn is the assistant director.
About CTHQ
CTHQ is Creative Time’s gathering space supporting artists working at the intersection of art and politics as they continue to plot, orchestrate, and recharge from cultural, political and social organizing work. CTHQ sits within Creative Time’s historic and ongoing work to gather artists to share tactics for political change most notably through the Creative Time Summit, Creative Time Reports, and its Global Fellowship. Growing within a lineage of visionary and transgressive creative moments, CTHQ serves as a hub for today and tomorrow’s community of socially engaged and politically oriented artists in the neighborhood, citywide, across the country, and around the world.
About Montez Press Radio
Montez Press Radio is an experimental broadcasting and performance platform. Founded in 2018 with the goal of fostering greater discourse and interaction between artists, writers, and thinkers through the medium of radio, MPR invites different corners of the art world to connect with each other in person and on air—a place where media finally meets flesh. We’re drawn to art that exists in the unexpected, the authenticity of sharing without a script, the sounds of ideas in the making, conversation that forgets there’s an audience. Stop by when we’re live at 46 Canal Street in NYC or look at the upcoming schedule to see if we’re off-site and broadcasting near you.
Please see our website or contact info@sfsia.art for more information.
