Contemporary South 2019 Call-For-Art

Deadline to enter - April 6, 2019
Exhibit dates: May 3 - June 29, 2019

VAE’s Contemporary South (CoSo) exhibit showcases what the regional south is currently thinking, discussing, and making work about. In one of our most popular annual calls VAE is looking for entries of recent art made by artists currently working in the following 11 states: Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia and West Virginia.

Contemporary South 2019 will be curated and juried by Rachel Reese, Curator of Modern and Contemporary Art at the Telfair in Savannah, Georgia.

This call is open to all media and the words “contemporary” or “south” do not refer to any particular aesthetic or subject matter.

Details
- Entries must be received by 11:59pm on April 6, 2019
- Entries must fit through VAE’s 104″ x 71″ door to be exhibited.
- Juried with JPEGs.
- Two entries per artist. 
- 2D and 3D entries accepted
- Open to and media

Juror - Rachel Reese, Curator of Modern and Contemporary Art

Rachel Reese is Curator of Modern and Contemporary Art at Telfair Museums in Savannah, GA since 2015. At Telfair Museums, she stewards the permanent collection of modern and contemporary art as well as organizes temporary and special exhibitions in the Jepson Center--including 20 exhibitions, with associated acquisitions, that have garnered multiple awards and myriad press. Among them include solo exhibitions with Carrie Mae Weems, Paul Stephen Benjamin, Nick Cave, William Wegman, Triple Candie, and a group exhibition titled Generation with Iraqi-Canadian artists Sawsan AlSaraf, Sundus Abdul Hadi and Tamara Abdul Hadi. Reese also stewards a long-term modern and contemporary permanent collection exhibition titled Complex Uncertainties: Artists in Postwar America. Reese is currently organizing a retrospective with Savannah-based artist Suzanne Jackson (American, b. 1944) with planned monograph that will open in summer 2019 along with exhibitions by Michael Kolster, Katherine Sandoz, and a group exhibition of contemporary artists responding to Melville’s Moby Dick. Recent publications include Radical Plastic (Cue Foundation, 2016), Jiha Moon: Double Welcome (Halsey Institute, 2016), Pratfall Tramps (Atlanta Contemporary, 2015). Reese held prior positions at Atlanta Contemporary in Atlanta; Fleisher/Ollman Gallery in Philadelphia; and Deitch Projects, Petzel Gallery and Andrew Kreps Gallery in New York. As an arts writer, Reese was a former editor of BURNAWAY magazine in Atlanta, and her writing and artist interviews appear in BOMB Daily, Temporary Art Review, TWELV Magazine, and ART PAPERS, among others. She has taught Critical Issues art courses at PAFA in Philadelphia and Georgia State University in Atlanta. Reese is the 2018 consulting curator for the Public Art Exhibition on Hilton Head Island and frequently guest juries and curates for nonprofit arts organizations. Reese holds an MFA from City College New York and a BFA from the University of Georgia.

Awards
1st - $300, 2nd - $200, 3rd - $100

Schedule
Deadline for entries………………..…....11:59pm on April 6, 2019
Delivery of Accepted Work……….....…April 24 - 27, 2019*
Exhibition Run………………….….…............May 3 - June 29, 2019

*Deliveries must be made during open hours

Entry Fees
members………………..…$10 per artwork/$20 for two pieces*
non-members………..……$15 per artwork/$30 for two pieces*
*All entry fees are non-refundable. Click here to join VAE!

Entry Information:

To use the online form to submit information about and images of your work, please review these instructions for naming your files.

• All files should be named like so: 01_LASTNAME_TITLE.jpg, 02_LASTNAME_TITLE.jpg.

• Still images should be sent as jpegs should be at least 1000px at their widest dimension, not to exceed 2MB per image. 2D artists may submit one JPEG per entry. 3D artists may submit two JPEGS (one full shot and one detail) per entry. Follow the filename format for works as indicated above.

• Video samples should be edited to no longer than 2 minute excerpts. It is strongly preferred that video & audio artists submit their work online through clips or url addresses to online sharing formats like hulu, vimeo, youtube, or dropbox. Videos submitted as uploaded files should be submitted as Quicktime files whose width is no larger than 720px and file size is no larger than 10MB (as that is the largest file eligible for upload on our entry software). Video pieces will only be accepted for exhibition if they are captioned, either with open captioning that is integrated into the video, or closed captioning that can be turned on when needed. Read info about captioning videos on Youtube, with iMovie, or Quicktime! Please only submit video art or video documentation of an art piece that requires video to be fully experienced. Do not send video walk-throughs of static exhibitions or video slideshows. While web-hosted submissions are strongly preferred, video and audio samples can be submitted on CD if necessary. Please contact Kyle Hazard to make arrangements for CD delivery prior to deadline. Follow the filename format for works as indicated above.

• Audio: Audio should be submitted as separate MP3 files. Each track should be no longer than 2 minutes. Follow the filename format for works as indicated above.

• Web-based: Web-based work should be submitted as a URL listed in the work sample list. Please only submit web-based projects. A portfolio website that features audio/video art and still images will not be considered.

Eligibility
COSO19 is open to any living artist. A maximum of 2 works of any medium, per artist may be submitted. Two and three dimensional entries will be accepted. Work must be original and completed in the last 2 years. No copies, mechanical reproductions, molds or kit work will be accepted. Visual Art Exchange reserves the right to exclude work due to size or special requirements. Entries must be hand delivered to the gallery or mailed in a returnable container.

We will not exhibit or financially support work that co-opts the story of a community without representation from that community acting in a decision making role.

Accessibility
VAE’s gallery space is fully accessible and we strive to make the submission process accessible as well. We encourage anyone to enter our open call exhibitions. If you need any additional information or accommodations in order to enter this exhibition please email Kyle or call 919.828.7834 for assistance.
Visit our accessibility page for more information.

Shipping Artwork
Ship artwork using a sturdy, reusable packing materials clearly labeled with your name and telephone number. Do not include return postage in case the artwork sells during the run of the exhibition. Following the exhibition each artist who shipped their work should generate a FedEx/UPS label or USPS postage and email it to our Director of Exhibitions so the piece may be returned. Do not use styrofoam packing peanuts.

Ship To:
Visual Art Exchange
c/o Kyle Hazard
309 W Martin Street
Raleigh, NC 27601

Sales
Visual Art Exchange will retain a commission of 25% for VAE members, 35% for non-members on all work sold during the exhibit. If a work is not for sale please indicate with NFS value in appropriate space during registration or on the consignment sheet. Click here to join VAE!

Liability
All entries will be handled with the utmost care and respect. VAE is not liable for artwork during transportation to or from the gallery but does carry a blanket inland marine policy that covers most fine art works and craft items up to $5,000. VAE reserves the right to refuse coverage to artwork with inherent vices, high values or that is deemed unstable. By entering into this show, the artist agrees to abide by all rules and regulations as set by exhibition guidelines.

Questions? Email Kyle!

Eddie Lohmeyer

Computer-Generated Imagery, 1908

November 2 - December 28

Computer-Generated Imagery, 1908 is an interactive installation that utilizes projection-mapping to animate sequences of continually-evolving glitch patterns. Each pattern is a corrupted video file of Emile Cohl’s animated film Fantasmagorie (1908). These animations are projected in layers onto the walls and screens of three “dead” computer monitors. When participants touch the circuit board pattern on the wall, they cause the projected patterns to slowly rewind, fast-forward, or reset in their respective loops, producing an on-going field of generated patterns. These animations pay homage to the absurd transformations of line and shape witnessed in Emile Cohl’s hand-drawn animated film. By evoking Cohl’s animations on the familiar interface of older CRT monitors, I consider the ways in which our experience of interactive media technologies indicates a return to earlier animation practices. That is to say, the vitality of forms within the animated image—whether in old or new modes of production—engages the senses through technical illusions and plays of movement.

PROJECT STATEMENT

My work explores the intersections between body and technological apparatus, particularly in how physical computing technologies and interactivity can open up participants to novel sensory and perceptual experiences. Through site specific sculptural and video installations, my work prompts a politics of the body that reconsiders our habitual encounters with technologies through new avenues of play and engaging with unfamiliar haptic interfaces. Here, I consider embodied experience through speculative, imaginary worlds that bring together nature and the technological, organic and machinic, biological and cybernetic. Likewise, I work to upend and play with the media interfaces we have developed a nostalgic affinity for, often through intentionally deconstructive approaches: glitch, physical modifications to hardware, and found assemblage. The bizarre and playful encounters with these strange media unveil the very nature of our normal attitudes and perceptions toward communication technologies.

Stacked - Yvette Cummings Arendt

Stacked

Yvette Cummings Arendt

October 24 - December 8, 2018

ARTIST BIO

Yvette L. Cummings received her Masters of Fine Arts degree at the University of Cincinnati’s School of Design, Art, Architecture, and Planning. While still enrolled at DAAP she was director of the 840 Gallery, interned at the Contemporary art Center of Cincinnati, and was the recipient of the Wolfstien Travel Fellowship to Spain. Following her graduate work, Cummings became an instructor for the University of South Carolina Department of Art. She was awarded the Stephen J. Dalton Teacher of the year from USC University in 2011. Cummings is currently a Teaching Associate at Coastal Carolina University in Conway, South Carolina. Her work has been exhibited in multiple group and solo exhibitions throughout the south and midwest. In 2013 Cummings collaborated with James Arendt to participate in Free City Public Arts Festival, Flint Public Arts Project: Chevy in the Hole with their socially engaging installation titled “Righting Itself”. Her work can be found in both public and private collections and has been featured in the 701 Center for Contemporary Art 2015 South Carolina Biennial in Columbia SC as well as Contemporary South at Visual Art Exchange in Raleigh, NC. Cummings was Most recently the recipient of the 701 CCA Prize 2016 for South Carolina artists under 40. Yvette L. Cummings currently resides in Conway, South Carolina where she devotes her time to her studio work, teaching, and family.

ARTIST STATEMENT

This work presents a moment of transition between experiences of recalled child abuse and the dynamics of motherhood. I am interested in exploring the relationships my daughters have with one another and the complicated path of youth, beauty and femininity. Girls are constantly told how they should present themselves and are held to an innocence that gets twisted in the adult gaze. Beauty is seen as trouble, but girls are expected to be beautiful. As I have watched my daughters in their youth, I reflect on the trouble that was brought to me as a survivor of child sexual abuse. The scattered memories of my experiences echo in the awkwardness of traversing out of childhood and into self-awareness.

The struggles of adolescence include navigating the dynamics of family, sibling rivalry and rapid transitions into adulthood. I depict my daughters during these times in relation to one another, and with myself. The narratives present overt physical strain and gesture to relay the message of conflict. My eldest daughter repeatedly confronts the viewer with her gaze. The compositions are purposeful in the postures of the girls. They are representing their age, but we feel voyeuristic in our participation.

I use damask and floral patterns to flatten the spatial aspects of the work. These very traditional, elegant patterns create a visual abstraction and represent the confusion that occurs over time and space. The figures are pushed to the foreground, making the viewer confront them leaving nowhere else for their eyes to go. The figures, in contrast to the patterns, challenge our role in the gaze we place on adolescence and the expectations that come with beauty.

Mary Storms - Aloft Raleigh

Mary Storms - Aloft Raleigh

2100 Hillsborough street, Raleigh
10-4 Monday-Sunday

Oct. 10 - Dec., 2018

Mary Storms expresses her artistic vision through abstract mixed-media landscapes.  As a self-taught artist, with a degree in biology, Mary is intrigued and inspired by the natural environment. Her intent is to provide the viewer with a sense of the symbiotic relationship between primeval elements - stone, soil, water and sky - and the life these elements nurture.

Mary’s canvases are noted for their rich textures and intense color, from bold and vibrant to quiet and subdued. In addition to acrylic paint, she uses sculpting paste, along with layers of torn or cut handmade paper and recycled magazine paper. To add additional depth, portions of some layers are scrubbed or scraped off. Paint is applied with brushes, palette knives and her hands.

Mary’s  award-winning work has been exhibited in multiple venues throughout North Carolina and is included in many local, national, and international private collections.  She is currently represented by Gallery444 in San Francisco, CA and the Sunset River Marketplace in Calabash, NC. In addition to these two galleries, select pieces can also be viewed by appointment at her home studio in downtown Raleigh.  All of her work can be viewed on her website.

Photography Critique with Chris Charles

VAE invites area educators and art professionals to do short individual critiques of your work.

The next critique is with guest critic, Chris Charles of Chris Charles Photography on Tuesday October 18th from 7-8:30pm at VAE Raleigh. Space is limited!

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Photographer and experienced multi-disciplinary creative Chris Charles always had the desire to make things. From childhood comic book illustrations, to using his parent's 35mm camera to discover and explore his passion for photography as a child, to having his paintings displayed at the Brooklyn Museum of Art as a 2nd grader (true story), Chris always had a knack for making the most out of very little. Now residing in North Carolina, Chris currently enjoys crafting visuals for his many local and national clients.

- This critique session is for photographers. 

- Each artist may bring one piece - completed or in progress - to be critiqued.

- The registration is $5, which will go to our guest critic for their time and knowledge.

- Critique space is limited to 12 participants. 

- Observation is open + free. Floor time + feedback is reserved for paying participants, wishing to bring 1 piece to be critiqued.

- Please follow the registration, regardless of the level of your participation. 

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m u r m u r a t i o n

m u r m u r a t i o n

October 5 - 27

Building on the success of last year's Sleight of Hand exhibition, Lori Vrba passes the curator's torch to Tobia Makover. This year's exhibition, m u r m u r a t i o n , will continue to push the boundaries of photography while doubling the artists, and tripling the exhibition space.  

As part of the Click! Photography Festival’s world class programming, m u r m u r a t i o n celebrates all things photographic while engaging the audience with exceptional artists.

Artists: Greg Banks, Anne Jarrell Berry, Addison Brown, Brooke Caudle, Heidi Kirkpatrick, Tobia Makover, Heather Evans Smith Photography, Dawn Surratt, Lori Vrba and Melanie Walker

The month-long celebration takes place every October and brings together photography lovers, engaging exhibitions, and dynamic programming while fostering dialogue between photographers and community members. All in hopes of inspiring artistic excellence, professional development, and promoting a strong photographic art community.

Carlos Vargas

Carlos Vargas

September/October

HagerSmith
300 S Dawson St, Raleigh, NC 27601
10-4

First Friday - October 5th
6-9

ARTIST BIO

Carlos Vargas was born in Miami, Florida and attended UNCC (University of North Carolina at Charlotte), receiving a B.F.A. in Art ,with concentrations in graphic design and digital media, in 2018 . His body of work ranges from graphic design to experimental video to even digital paintings . Carlos recently presented one of his video pieces (To + Fro) at the annual Digital Graffiti festival in Alys Beach, Fl. Carlos' main inspiration comes from stories. Since he was a little kid, Carlos would read fantasy stories and and analyze them. This analysis would become the basis of each and every one of his pieces. When not creating work, Carlos is playing or running tabletop games with his friends. 

ARTIST STATMENT

All artist have their own style when it comes to art. Picasso had cubism. Andrew Warhol had Pop Art. I have Ink blots. This series is an ongoing collection of self-expression. These ink blots are not created but rather form when I reach a state of relaxation. Because of this, no two ink blots are exactly the same much like no two moments in life are ever the same. My goal in this series is to present  the viewer with a glimpse into who I am both as a person and as an artist. 

Kate Robinson - Blind Spots

Kate Robinson

Blind Spots

September 7  - September 27

ARTIST STATEMENT

In a search to connect more deeply with her sense of place, community, environment and what it means to care for it, Kate Robinson will construct suspended structures that investigate the complex, sometimes invisible links between all things. Inspired by pop-up book mechanics and moments of odd ingenuity that happen when "factory-made" solutions break down, Robinson pieces together accumulated materials to construct spaces. In her practice, Robinson references ecosystems and the intimate relationships that form webs between parts in an effort to mimic and embody those ties. Robinson's interests lie with creating spaces that invite the viewers to interact with her work by putting in motion simple processes that reveal these convoluted relationships.

For this particular project, Robinson will construct panels from primarily collected materials and reused hardware to piece together an interactive space for the community. The idea is for visitors to be able to push, pull, spin, zip, pivot, hoist, and roll features that set in motion a small reaction unexpectedly in other parts of the exhibition. Ultimately, Robinson is asking the community to play the role of physical motion to bring the pieces to life and place yourself within it as a part of the intricate systems to which we are all bound. 

ARTIST BIO

Kate Robinson is a MFA graduate of University of North Carolina at Greensboro with a background in painting, drawing and printmaking and current practice in mixed-media and site-specific installation. 

Holly Wong - Mind/Forest

Holly Wong

Mind/Forest

August 22 - October 6

ARTIST STATEMENT

When considering the physicality of the body, it brings up feelings of weight and pressure but yet a counter balance of elusiveness and lightness. My work is a constant process of assembling, deconstructing and then making whole once again. The intent of this work is to visually express the nature of though, how thoughts move in our brains, and how thoughts may concentrate or synergies into patterns as demonstrated by the networks of thread.

I create installations that address the subtle and ephemeral nature of psychological states. through the action of sewing, I build and construct and then by cutting and resewing, structures are reconstructed again. It is very much the way I feel about the process of life. It grows, becomes, falls apart sometimes because of our own actions, and then there is the attempt to repair. But yet in the process of repairing, we become stronger than before. 

ARTIST BIO

Holly Wong is an artist who lives and works in San Francisco, California.  She was educated at the San Francisco Art Institute where she graduated with a Master of Fine Arts with a concentration in New Genres.  Holly creates installations and photographs, integrating non-traditional approaches with more traditional sewing techniques associated with the history of women.  Her approach is both non-conventional but also deeply rooted in her history and culture.

She has been awarded visual arts grants from the Barbara Deming Memorial fund, the George Sugarman Foundation, the Puffin Foundation, and a Gerbode Foundation purchase award. She is a Presidential Scholar in the Arts and has had over 50 group exhibitions and 10 solo exhibitions at venues such as the Smithsonian Institute of American Art, the Berkeley Art Museum, the University of San Francisco and the Carving Studio and Sculpture Center in Vermont.

Spare Room • The Lab

Spare Room

Guilia Piera Livi
Aug. 3 - Aug. 31

I interpose objects of the everyday to distort our sense of space, explore our ability to inhabit rooms, and merge
the dreamlike with the rigid. My geometric objects and paintings focus on materiality to investigate light, shadow, and the weirdly functional. I think of paintings as they exist in the home, decorating our lives, using us to give them purpose. And inversely, objects become paintings to question abstraction and reality. My work focuses on the acute and the polite, the domestic and the utilitarian.

My current studio practice deals with the issue of interior space and design. I work to understand how we as humans find art objects to be aesthetically pleasing, how we choose to live among them in our homes. We live in a time when we rarely accept appliances that only serve one purpose, which prompts me to investigate how paintings can be multifunctional to highlight the absurdity of convenience. This question of domesticity comes from a curiosity of the curated home space, how the imperfections of home life can be contrasted with the polish of interior design. By paring abstraction with accessibility, I aim to critique these spaces, both the home and where we shop for the home, questioning the commodification of art objects and what that means for the artist. What is the role of the artist in a society with an aspiration to be modern?

If an object starts as a tiny point in space and slowly grows into the utilitarian object by which we call upon it, what does it look like just before that moment of realization? Can we still assign purpose? A subtle shift in scale, a light that’s too bright, and a water source that cannot be as clean as its linen surface. A color palette that leaves you with feelings of nostalgia and warmth, yet slight unease. Misbalance. Misbehavior.
Pick out your painting. Where will you put it?

King Nobuyoshi Godwin

King Nobuyoshi Godwin 

United Arts Council
410 Glenwood Ave, Raleigh, NC 27603
Monday - Friday 10 - 4

My favorite things

September 7 - 27th

King sees what is true to him. King speaks his feeling through his paintings. King feels all of what is important for life, love and expresses them through his paintings. He believes in his works, and all of them are purely precious to him. 

King sees colors and numbers with feelings. They dance on his canvas, and those are his friends. 4500 is the happiest number, and 7 is sad, yet 77 is a good day! When he paints, he smiles. He enjoys feelings are freely cast in his canvases. King thinks being autistic is pretty lucky because he can see beautiful trees and talk to them. King enjoys his life and he knows exactly what he likes. He swims like a fish and plays Taiko drums like he calls heaven.

BIO

King was Born 1991 in Raleigh NC and diagnosed with autism when he was two and a half years old. He attended the Special Education program of Wake County School Systems and received a certificate from Leesville High School in Raleigh NC in 2012. King attended UNC at Greensboro for one year, living away from home in the college dorm for the Beyond Academics Program in 2013. King became a painter in 2013. In addition to his parents, Thomas & Yuko Taylor and a brother Malik Nobumasa Godwin, he has many other supporters of his painting career. King currently lives in an apartment attached to parents home independently. He is a proud team member of the Special Olympic Raleigh Racer Swimmers and a performing member of Special Japanese Taiko-Drum ensemble

ARTIST STATEMENT

"My name is King Nobuyoshi Godwin. I have autism. Being autistic is ok. I can see trees in my mind and talk with them. It's blue and it's ok. When I paint I feel good because it's my job, and I am proud of it. I think people enjoy and think my painting is good. I like drawing animals. They are sweet. That is 4400 and purple. If I sell my paintings I can buy more paint colors. And that is purple and that is 4400."

ESSE QUAM VIDERI

ESSE QUAM VIDERI

National Humanities Center

September 1 - December 15

VAE’s first collaboration with NHC will be an extension of an upcoming project, THE EVERYDAY.
 
THE EVERYDAY is a multi-venue, multi-discipline, cross-disability project headed by an international steering committee with the curatorial goal of highlighting universal experiences, told from the disability perspective, presented in an audacious way. The project will be presented throughout August and September 2018 and will showcase talent on local, national, and international levels.
 
Esse Quam Videri (the North Carolina state motto, translating as “To be, rather than to seem”) is an exhibition exploring North Carolina, its history, culture, and landscape, through the lens of disability.  There are many experiences which we all share: romantic and familial love, employment, citizenship, education, and caregiving, to name a few. People with disabilities have typically been erased or considered disqualified from these experiences, yet they too participate in them.  Following the curatorial theme of the overarching EVERYDAY project, this exhibition will showcase works that tell stories unique to North Carolina, using universal experiences or ideas, but presented in audacious ways—particularly based in the audacious knowledge and creativity that disability brings to them. “To be, rather than to seem”: how can we explore through disability representation and disability aesthetics what disability history, knowledge, and culture is relative to North Carolina? This exhibition will serve as an introduction to the National Humanities Center’s fall cohort of fellows who are predominantly from outside the North Carolina and even the United States.
 
JURORS - Ann M. Fox & Linda Dougherty
 
Ann M. Fox, Professor of English at Davidson College

Professor of English at Davidson College, Dr. Ann Fox specializes in modern and contemporary dramatic literature and disability studies, regularly teaching classes about disability in drama, literature, and visual art.   Her scholarship on disability and theater, and disability and visual culture has been published widely, and she has co-curated three disability-related visual arts exhibitions at Davidson College: RE/FORMATIONS: Disability, Women, and Sculpture; STARING(based on Rosemarie Garland-Thomson’s book of the same name), and Re/Presenting HIV/AIDS.  She is the 2017-18 Boswell Family Faculty Fellow at Davidson, and is currently working on a project on disability aesthetics in drama entitledAdaptive Activism: How Disability Refigures the Cultural Landscape.

Linda Dougherty, Chief Curator and Curator of Contemporary Art at NCMA

Linda Johnson Dougherty is the Chief Curator & Curator of Contemporary Art at the North
Carolina Museum of Art, where she oversees the contemporary art collection, organizes
exhibitions, and develops artists’ projects for the Museum Park. She co-directed the public art
program for the state of North Carolina for several years and prior to that she was a curator at
The Phillips Collection, a research associate at the National Gallery of Art, and a research
assistant at the National Museum of American Art in Washington, DC. As an independent
curator and critic based in Chapel Hill, she contributed reviews and articles on contemporary art
to numerous national art publications, and has also written exhibition catalogues and guest
curated exhibitions for museums and contemporary art centers in North Carolina and throughout
the United States. She has a BA in Art History from Wesleyan University and an MA in Art
History from Williams College.

GARDEN VARIETY

GARDEN VARIETY

August 2 - September 29

THE GARDEN VARIETY is VAE's Main Gallery exhibition for THE EVERYDAY PROJECT. 

THE EVERYDAY is a multi-venue, multi-discipline, cross-disability project with the curatorial goal of highlighting universal experiences, told from the disability perspective, presented in an audacious way.

THE GARDEN VARIETY was an open, international, juried call for art. 

ACCEPTED WORKS

Angela Barker - When It Ignites
Gaetane Cummings - Let's stay together, Person of colors!
Travis Donovan - Grounded
Carina Earl - Letting Go, Symbiosis
Jennifer Markowitz -  Fleshmap: First Manic Episode, San Francisco, 1985, Fleshmap: England 2005
Christopher McGuire - Patent Pending
Ken Morgan -  THE GRASS IS ALWAYS GREENER ON THE OTHER SIDE OF THE FENCE
Jeff Newell - The lines that explore time
Jean Shortall - I'm Just a Little Different

Red Hat Open Gallery Call for Proposals

Red Hat Open Gallery Call for Proposals

Deadline 11:59 pm on August 18, 2018

VAE is proud to be a collaborator with Red Hat for their Open Gallery. Their ground level gallery located on East Davie St. in Raleigh serves as a space for artists to showcase work that embodies Red Hat’s values — openness, collaboration, and community.

VAE is opening a call for proposals for our next collaboration and installation in Red Hat’s Open Gallery. Proposals should have conceptual grounding within Red Hat’s core open source principles, which are serendipity and open exchange; broad participation; radical transparency; pragmatic meritocracy; and community.

The selected proposal will receive a stipend and budget from Red Hat. 
 
Previous VAE collaborative installations:
Brittan Peck  
George Gregory

Details

• All proposals must incorporate a core Red Hat Open Source Value

• Installations must be wall mountable

• The wall measures 28 feet wide by 16.5 feet tall

• Artist must be able to deliver/return work to/from Red Hat Offices

• All proposals must be original from the purposing artist

• All proposals must include installation mock-up

• All proposals must include documentation of previous work

• Install will take place the first week of October

• Artist must be present at install

• Final proposal will be approved by staff at Red Hat

• Artist will have to work to with Red Hat staff to finalize the approved proposal

 
SCHEDULE
Deadline Enter...............................11:59 pm August 18, 2018
Artist Notification…………………...August 25, 2018
Install………………………………..week of October 1, 2019
Exhibition Run………………….….October 5 2018 - February 28, 2019
Deinstall …………………………….week of February 25, 2019

ELIGIBILITY
The Red Hat call for proposals is open to any living artist or team. Work must be original and completed in the last 3 years. No copies, mechanical reproductions, molds or kit work will be accepted. Artists or teams may propose work that is incomplete or not started. Proposed work must be finished, dry, ready to hang by October 1, 2018. VAE reserves the right to exclude work due to size or special requirements. Entries must be hand delivered to the gallery or mailed in a returnable container. Artwork submitted on behalf of an artist requires written and signed authorization by the artist.

We will not exhibit or financially support work that co-opts the story of a community without representation from that community acting in a decision making role.

To use the online form to submit information about and images of your work, please review these instructions for naming your files:

APPLICATION MATERIALS
include artist/project statement, budget, resume(s), image inventory/work sample list, and 5-10 samples of your work.

• Your artist’s/project statement should be no longer than one page and should describe how your proposed work relates to Red Hat’s Open Source Values

• Your budget should be no longer that one page and include cost of materials, labor, etc.

• Resumes should show prior exhibition history and your proposed timeline should be a very brief statement about your expected timing for your exhibition. Is this work currently complete? If not, when do you expect it to be completed?

• Your image inventory/work sample sheet should be a guide to the samples that accompany your application. Your inventory must contain the following information for each sample: the file name (“01_LASTNAME_TITLE.jpeg”), the piece’s title, the media/materials, dimensions, retail price (if applicable) and date of completion. Upload your inventory/work sample sheet as a .doc or .pdf
  
  Still-images should be uploaded as jpegs, should be at least 1000px at their widest dimension, not to exceed 2MB per image. Follow the filename format for works as indicated above.
  
  Video samples should be edited to no longer than 2-minute excerpts. It is strongly preferred that video & audio artists submit their work online through clips or URL addresses to online sharing formats like hulu, vimeo, youtube, or dropbox. Videos submitted as uploaded files should be submitted as Quicktime files whose width is no larger than 720px and file size is no larger than 10MB (as that is the largest file eligible for upload on our entry software). Please only submit video art or video documentation of an art piece that requires video to be fully experienced. Do not send video walk-throughs of static exhibitions or video slide shows. While web-hosted submissions are strongly preferred, video and audio samples can be submitted on CD if necessary. Please contact Kyle Hazard to make arrangements for CD delivery prior to February 15, 2018. Follow the filename format for works as indicated above.
  
  Audio: Audio should be submitted as separate MP3 files. Each track should be no longer than 2 minutes. Follow the filename format for works as indicated above.
  
  Web-based: Web-based work should be submitted as a URL listed in the work sample list. Please only submit web-based projects. A portfolio website that features audio/video art and still images will not be considered.
  
  *Artists applying with still images only should send 5-10 jpegs. Artists applying with video only, should send 5 samples maximum. Artists applying with audio or web-based work only should apply with 5-10 samples. If you are sending a combination of file types, keep in mind that one video or audio file is equivalent to five jpegs and adjust your sample number accordingly.
  
  Extra-submitted files will not be reviewed.
  
  **PROPOSAL SUBMISSIONS DO NOT HAVE TO BE OF COMPLETED WORKS**
  
  You can submit jpeg drawings of what you expect the work will be like, or you can rely solely on images of past work and your written narrative to describe the work you are proposing. It's your call!
  
  Incomplete or inaccurately assembled applications will not be considered. Notifications of acceptance or rejection will be sent via email. Please update your contact information if anything changes before you receive notification.
  
  NOTES FOR ARTIST TEAMS
  
  Teams of up to FOUR artists can apply for exhibitions with Red Hat. Artist team applications should describe the group's goals as well as the abilities of each group member. There must be one designated team contact who accepts responsibility for fielding questions about the application and project. In addition to the required items detailed above each team application must include:

Upload 5-10 samples of your work. All files should be named like so:01_LASTNAME_TITLE.jpg, 02_LASTNAME_TITLE.jpg, 03_LASTNAME_TITLE.mov, etc.

• A project statement describing the work and goals of the collaboration as well as the individual contributions of all team members.

• 5-10 work samples OR 3-5 two-minute segments of audio and/or video (or an appropriate combination of images video, audio, and web-based work-- see note in Part A). The work samples should include at least one example from each member of the group.

• A resume for each member of the group; grouped together and pasted into one text box.

ACCESSIBILITY
VAE’s gallery space is fully accessible and we strive to make the submission process accessible as well. We encourage anyone to enter our open call exhibitions. If you need any additional information or accommodations in order to enter this exhibition or become a VAE member, please email Kyle or call 919.256.6856 for assistance. Visit our accessibility page for more information.

BUDGET
The selected proposal’s budget will be reviewed and approved by Red Hat staff to help cover, in-part, costs of the production of the work.

LIABILITY
All entries will be handled with the utmost care and respect. VAE is not liable for artwork during transportation to or from the installation sight but does carry a blanket inland marine policy that covers most fine artworks and craft items up to $5,000. VAE reserves the right to refuse coverage to artwork with inherent vices, high values or that is deemed unstable. By entering into this show, the artist agrees to abide by all rules and regulations as set by exhibition guidelines.

PAINT THE CITY PYNK

THIS EVENT HAS BEEN POSTPONED. SORRY Y'ALL.
TICKETS WILL BE REFUNDED SHORTLY.

Date: July 22, 2018 (NOPE)
Time: 6pm-10pm
Location: VAE Raleigh

Is it Christmas in July? No. But Janelle Monae is coming to town on Monday, July 23. We are celebrating in advance with a dance party featuring curated sounds from The Conjure!

DJs Gemynii and 9ineteenBeats will be spinning from 6p-10p. Some of our favorite local artists will sharing their wearable art. We want to see your flyest, funkiest and freest fashions. Join us, dont judge us, as we paint the city pynk!

Cost: $5
Ages 18+

Shelby Scattergood

Shelby Scattergood 

Transfer Co. 
500 E Davie St, Raleigh, NC 27601

As a part of THE EVERYDAY project, Shelby Scattergood will be showcasing her work in her first solo exhibition. 

BIO

Shelby Scattergood is a photo-realistic portrait artist specializing in works that capture the complicated evolution of mental and physical illness. She received a BFA in Drawing and Printmaking from the University of North Carolina of Greensboro in 2016. Shelby is an emerging artist who has exhibited throughout the Eastern US in galleries such as the African American Atelier, the Jones Carter Gallery, The Rob, and the CVA in Greensboro. In 2017 Shelby was named the Grand Prize Winner of the NC Artists Exhibition.

Shelby currently works and resides in Richmond, VA.

ARTIST STATEMENT

At sixteen I was diagnosed with Ankylosing Spondylitis and Fibromyalgia. At nineteen it was Depression. Twenty-one it was Binge Eating Disorder (B.E.D). Twenty-three it was IBS and PCOS. As my body and self have since become a collection of struggles and over-comings, so too has my artwork. Using photo-realistic subjects often concealed in, consuming, or wearing metaphoric objects these portraits draw from my experiences with physical and mental illness and visualize them for others to witness. It is through my portraiture that I seek to understand mental and physical disorder, personal struggle, physical pain, and isolation. It’s with the conclusions I make through my work that I visualize the trials of my conditions and extend knowledge to the viewer, allowing them a window into the realities of these struggles.

Theresa Devine

Theresa Devine

United Arts Council
410 Glenwood Ave, Raleigh, NC 27603
Monday - Friday 10 - 4

August 3 - September 29 

As a part of THE EVERYDAY project, Theresa Devine will be showcasing her game works for the months of August and September. 

BIO

Theresa Devine, MFA, is an Assistant Professor in the New College of Interdisciplinary Arts and Sciences at Arizona State University. She is an artist and a scholar whose interdisciplinary research draws on the subjects of games, play, psychology, aesthetics, ethics and social transformation. Theresa received her BFA in Painting and Printmaking at Texas A & M University-Corpus Christi in 1991 and her MFA in Painting at the University of Houston in 1994. In her studio artwork, she explores games, toys, and play. 

Her work as lead of the Studio 4 Gaming Innovation research lab focuses on researching games to redefine and explore what they can be and how they can be used in concert with art to initiate transformation in our society. 

In both her artwork and scholarship, She is interested in discovering how art and play can be understood in order to be activated for social change. She believes that through a greater understanding of art and play, a road to creating a more just, tolerant, and inclusive world can
be exposed and that this path can be opened up for others to make discoveries
of their own. 

STATEMENT

Ce n'est pas un jouet: This is not a toy.

Why do we forget to play when we grow up? Why do we hurt each other? Everywhere I look I see distrust, miscommunication, and misunderstanding. This is followed with greed, selfishness, and pain. How can play help us to understand each other? 

Can play transform us and our world? Play is how we learn and gain trust from each other, so can it liberate us from the cycle of hurting each other? 

Through toys and games, I explore the intersection between adversity and play. Play is a serious venture and as the title says, it is not a toy. I invoke Magritte with this title because his work showed us that possibilities are only limited by our imagination. I believe that through play we release ourselves from adversity and open the door to new possibilities. 
 

Effy Francis

Effy Francis 

United Arts Council
410 Glenwood Ave, Raleigh, NC 27603
Monday - Friday 10 - 4

August 3  - 31

As a part of THE EVERYDAY project, Effy Francis will be showcasing their unique body of work for the month of August. 

ARTIST BIO

Effy Alece Francis was born in Marietta, GA in 1992. Publishing under the trade name E. Alece, they work primarily in digital media. Under their mother's influence, Effy was self-taught from age 10. Believing the human body to be the ultimate art form, Effy imbues their pieces with surreal eroticism and symbolism. Coming out as non-binary transgender in 2017, Effy's artwork speaks to their experience and intersecting identities as a queer, disabled individual. Currently based in Columbia, SC, Effy has shown their work at: VAE Raleigh, Ultralight 2 2018 and 701 CCA Open Studios 2013.

STATEMENT

My work speaks to deep emotions coupled with soft imagery. Loneliness, love, death, and heartbreak are a few of the themes I paint; using flowers, intricate shapes, muted palettes, and beauty in the human form.

M Y C O M E T A M O R P H I C

M Y C O   M E T A M O R P H I C

Nicole Asselin
Exhibit design in collaboration with Cecilia Mouat
June 6 - July 28

Biodesign is an emerging movement that addresses designs’ connection with the natural world. Essential within the biodesign lexicon are mycelium composite materials. Mycelium is the vegetative, filamentous part of a mushroom, usually found underground. When grown within a nutrient rich substrate, the mycelium and the substrate bind together forming a stable, easily regenerated material. This growing process can be tailored to express a wide range of properties and affordances applicable for design applications. Mycelium composites are currently in use commercially as viable replacements for plastics and packing material as well as insulation, foam and leather.

This emerging design medium utilizes a transdisciplinary lens that expands the essential and timely conversation of designs’ relationship with nature and sustainability. It moves beyond the antiquated approach of simple resource conservation, developing a paradigmatic shift- inviting new ways of making that promote life-giving cycles and challenge dominate modes of production and consumption. These composite materials work with biological events as essential design components – not designing like nature, designing with natural processes. In conversation with the current concerns surrounding environmental issues, contemporary discourse in design is asking how to generate new materials and new cycles of use. Mycelium-based materials actively bring nature, science and design together to reimagining ways of producing and valuing materials.

Globe by Leroi DeRubertis

GLOBE

Leroi DeRubertis
June 20 - August 11

Artist talk: Aug. 11 @ noon

ARTIST STATEMENT

Leroi DeRubertis draws small pieces with wire. She assembles them en masse, speaking to both individual and collective humanity.