Deadline to enter: 11:59pm on September 3, 2019
UNFINISHED BUSINESS is a juried call for art open to any works in progress. We want to see what you’re working on, whether it’s just started, mid way, or almost done. This exhibition will also serve as an opportunity to receive comments and critiques on your works before the finishing touches are applied.
BIG call-for-art
Deadline to enter: 11:59pm on September 10, 2019
Abstract art, photography, food art, blue art, pig art–it doesn’t matter, as long as it’s BIG art! We are have an upcoming community exhibition in a very large space, and it seemed like a good opportunity to showcase some amply proportioned art!
UNREAL • United Arts Council
Exhibit dates: June 7-29, 2019
Location: United Arts Council
410 Glenwood Ave, Raleigh, NC 27603
First Friday reception: June 7, 6-9pm
Reclaiming My Time call for art
Deadline to enter: 11:59pm on July 29, 2019
On view: September-December, 2019
Location: National Humanities Center
7 TW Alexander Dr, Research Triangle Park, NC 27709
The purpose of this exhibition is to gather a survey of creative women and celebrate the artwork they are making. Reclaiming My Time is a juried exhibition hosted at the National Humanities Center in RTP.
Read MoreSifting: Eric Kniss
Sifting
Eric Kniss
April 24 - June 8, 2019
ARTIST STATEMENT
The key concerns in my work have to do with notions of the value of physical labor, the accumulation of material as evidence of time, and challenging prevailing assumptions about material, its uses, and hierarchies of value. I have used non-traditional materials like rope, unfired porcelain pots, and clay dust (industrial Kaolin). I am interested in discovering ways that material might visually reveal (or challenge assumptions of) its own characteristics. This is accomplished by implementing simple but concentrated and repetitive physical activities like winding, sifting, stacking, or compressing, creating contextual surprise as a result of process over time. I am interested in the capacity of physical labor to generate a visceral sense of connectedness to place. The sifting of Kaolin produces a tenuous situation of delicacy and impermanence that creates tension between the embedded sense of investment and the ephemeral nature of the result.
Over time I have become increasingly aware of the performative aspects of my work and have thought long about how to open the process to viewers without sacrificing the solitary, contemplative space necessary for its making. The specifics of the Cube have allowed me to put forward one scenario as a solution. For this exhibition I have closed the gallery space to public view and used video feeds to provide viewers access to the work and the process of its making via TV monitors in the gallery and online viewing options.
The situations described above build on the work I have been pursuing for a number of years, and the use of technology that mediates the viewer’s experience of the work bring new questions into the mix that I find very compelling. For example: What is the ontological status of the object of art in the context of mediated experience? What is the nature of knowledge in an intensely mediated reality?
This exhibition has been funded in part by a Faculty Research Grant from Bridgewater College, Bridgewater VA.
ARTIST BIO
Eric Kniss earned a Master of Fine Arts from the University of North Carolina at Greensboro, a Bachelor of Fine Arts from Bethel College, North Newton KS, and an Associates of Art from Hesston College, Hesston KS. Kniss has been awarded the Joan Mitchell MFA Grant (2010) and is a fellow at the Hambidge Center for Creative Art and Sciences (2015). His work has been exhibited in various venues including the Weatherspoon Art Museum (Greensboro NC), CUE Art Foundation (NYC), Lexington Art League (Lexington, KY) and Staunton Augusta Art Center (Staunton, VA). Kniss teaches a wide range of courses in the Art Department at Bridgewater College, Bridgewater VA.
Lost and Preserved: Eun-Kyung Suh
Lost and Preserved
Eun-Kyung Suh
May 3 - 31
ARTIST STATMENT
Suh will construct multiple pentagonal and hexagonal boxes that can be arranged next to one another on a wall in appropriate patterns symbolizing ethnic enclaves. Her focus is the assimilation process of immigrants of color and their formation of ethnic concentrations in the settled areas. Immigrants often cluster in close geographic areas and develop migrant networks, thus forming ethnic enclaves. The transitional phase of learning a new language and social norms of the country restricts immigrants’ activities within the enclave and subsequently sequesters them from the larger societal context. These constructed ethnic enclaves act as havens where their heritage can be preserved and fortified.
EXTRA CREDIT • United Arts Council
Deadline to enter: 11:59pm on April 19, 2019
Exhibit dates: May 3-31, 2019
EXTRA CREDIT is a juried call for art open to any current high school student. This exhibition will be displayed at United Arts Council and will be shown during UAC’s First Friday reception on May 3.
Depth of Field call for art
Deadline to enter: 11:59pm on July 9, 2019
Exhibit dates: August 2-August 30, 2019
Location: United Arts Council
410 Glenwood Ave, Raleigh, NC 27603
First Friday reception: August 2, 6-9pm
UNREAL call for art
Deadline to enter: 11:59pm on May 20, 2019
Exhibit dates: June 7-July 26, 2019
Location: United Arts Council
410 Glenwood Ave, Raleigh, NC 27603
First Friday reception: June 7, 6-9pm
UNREAL is juried call for abstract art art.
EXTRA CREDIT call-for-art
Deadline to enter: 11:59pm on April 19, 2019
Exhibit dates: May 3-31, 2019
EXTRA CREDIT is a juried call for art open to any current high school student. This exhibition will be displayed at United Arts Council and will be shown during UAC’s First Friday reception on May 3.
Carrie Fonder - Cube Gallery
Carrie Fonder - Cube Gallery
February 20 - April 6
First Friday Receptions: March 1 & April 5
Artist statement:
“My mixed media sculpture, video, and two-dimensional work uses humor to play with issues of power, and complicity. It highlights trade-offs of power—some willing, others coerced— suggesting a complicity that reveals our conflicted relationship to power. The work revels in a material frivolity fueled by kitsch material choices that belie the depth of content. With a wide range of influences from art to gender politics, I use humor to explore culture.”
Read MoreSophia Chunn - HagerSmith
Kennedi Carter - United Arts Council
Kennedi Carter- United Arts Council
March 1 - 29, 2019
OPENING RECEPTION MARCH 1, 6-8PM!
United Arts Council
410 Glenwood Ave.
Raleigh, NC 27603
First Annual Midtown Banner Art Contest
The MRA and Capital Bank are sponsoring the First Annual Midtown Banner Art Contest. The MRA currently places banners in 26 locations of Midtown along St. Albans Road, Wake Forest Road and Six Forks Road. Our current design is a simple graphic with the words Midtown Raleigh diagonally across a multi-colored background. Upon the completion of the Banner Art Contest, the winning design will be printed on banners and hung in place of the current banners. The contest winner will be awarded a cash prize of $1000. (This same type of banner art contest was done about 10 years ago along Blount Street by the Downtown Raleigh Alliance.) Online information can be found here.
Read MoreBeyond Despair: An Environmental Art Exhibition
Beyond Despair: An Environmental Call for Art
February 22 - June 22
National Humanities Center
7 TW Alexander Rd.
Research Triangle Park, NC 27709
This exhibition juried by Joshua White, photographer and professor at Appalachian State University, asked artists to present and showcase work about, including, and referencing the environment. This exhibition is in partnership with the National Humanities Center and will be exhibited during their conference, Beyond Despair, April 3-5, 2019.
Arsis Fruritch - United Arts Council
Arsis Fruritch- United Arts Council
Februray 1 - 28, 2019
OPENING RECEPTION FEBRUARY 1, 6-8PM!
United Arts Council
410 Glenwood Ave.
Raleigh, NC 27603
SCOPE '19
Exhibit dates: January 15-July 15, 2019
REX Heart and Vascular
4420 Lake Boone Trail Raleigh, NC 27607
In partnership with Rex Heart and Vascular, VAE is producing one of our annual exhibits; SCOPE. The purpose of SCOPE: the southern landscape is to exhibit the widest range of “landscape” works possible in and alongside Rex’s Heart and Vascular’s extensive collection of local and regional artists. The South is a hub of creativity and Raleigh has adopted a vision to become the Southern Capital for Arts and Culture. To do our part, VAE and REX will exhibit landscape works by artists across the regional south, or works created in or inspired by the southern landscape.
VAE Gala Artwork Donation
WE EXIST FOR ARTISTS, THROUGH THE SUPPORT OF ARTISTS!
All of our 70+ exhibits and 50+ programs and events revolve around a central question: How can artists improve their communities, and how in turn can communities nourish + improve their artists?
Read MoreA call for work about the environment
Deadline for entries: 11:59pm on January 31, 2019
This is an open call exhibition hosted at National Humanities Center. This show will be installed in time for NHC’s three-day summit Beyond Despair: Theory and Practice in Environmental Humanities. If you have art related to or about anything in the environment, enter our call below.
Read MoreNo Citation Needed
No Citation Needed
January 15 - March 23
National Humanities Center
7 TW Alexander Dr.
Research Triangle Park, NC 27709
In the second partnership between VAE and the National Humanities Center, NHC questioned VAE on building a show that envelops the concept of “transference of knowledge”. That question took over a weekly staff meeting and lead to a long discussion on what does that mean, what does that look like, and how is that implemented. As a staff, VAE has backgrounds in traditional education through teaching in public schools and universities, professional facilitation, and then our own experiences in secondary education. That conversation went in an array of directions from that obvious first thought of traditional education to those experiences that not only teach but shape one, such as standing next to a mother or grandparent as the cook. Does the concept of teaching, learning, and passing down knowledge change when its outside of a system? What if that system is broken for a certain group? How can or do people and communities respond when they find that system lacking or possibly not there? That spectrum of possibilities for teaching, learning, and passing on knowledge is what we asked artists to try to represent through their own practices or experiences.
Artists
Jessica Burke
Charlotte, NC
Melinda Fine
Raleigh, NC
Rene Galvan
Boston, MA
Denise Holland
Vancouver, British Columbia
Bridget Leslie
Durham, North Carolina
New York, New York
Cara Smelter
Raleigh, NC