Vanishing Landcapes call

"Vanishing Landscapes" Charleston, SC Annual Juried Art Exhibition
Posted by: Angela Chvarak of the Coastal Conservation League at (843) 723-8035, angelac@scccl.org
Deadline: April 24, 2008
The City of Charleston Office of Cultural Affairs and the Coastal Conservation League of Charleston announce the call for entries for Vanishing Landscapes, the 2008 Piccolo Spoleto Juried Art Exhibition at the City Gallery at Waterfront Park. Celebrating its 30th year, Piccolo Spoleto presents South Carolina's finest artists against the backdrop of Spoleto Festival USA.


The deadline for submissions is Thursday, April 24 at 5:00pm. A complete call for entries may be downloaded from www.piccolospoleto.com or www.coastalconservationleague.org. The 24th annual exhibition is open to all South Carolina artists. Two dimensional, three dimensional and photography will be included. Prizes awarded include: 1st place: $500; 2nd: $300; 3rd: $150 and six Honorable Mentions. Artists will be asked to specify if artworks are available for consideration for the Mayor's Purchase Award: $500-$1,000.

Submitted works must be environmentally themed, but not limited to landscapes or fauna. Juror will be looking for contemporary themes related to the state of our planet and its environment. Thematic examples include: destruction of wetlands, climate change, air/water quality, forestry, sustainable living, etc. Works may be abstract, but must read as environmentally themed pieces.
Location: Angela Chvarak, Coastal Conservation League, P.O. Box 1765, Charleston, SC 29402, US
Web link: http://www.coastalconservationleague.org/

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Aspect DVD publication - call

Open Call - VOLUME 12: VITAL
Posted by: 617.695.0500Deadline: March 26, 2008
ASPECT, a biannual dvd publication, is currently accepting submissions of work best documented in a time-based format for Volume 12: Vital. This issue will explore that which is essential, grave, indispensable, and/or critical to existence.

The staff of ASPECT is asking curators, artists, art critics, and members of the contemporary art community to help assemble and comment on works for the next issue by submitting a work of art on which they wish to provide audio commentary. Due to the format of the publication, the criteria for selection will include both the qualifications of the commentator and the quality of the work submitted. Audio recordings of the commentary will be assembled after the submissions have been selected. For submission information, please see website.
Location: ASPECT: The Chronicle of New Media Art, 46 Waltham Street, suite 103 , Boston, MA 02118, US
Web link: http://www.aspectmag.com/about/newsdetail.cfm?newsItemID=15

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Unfamiliar Ground

http://www.galleryrfd.org/exhibitions/new_media/New_Media_Prospectus.pdf
4/15 deadline

Artists of the 20th Century were among the first to break
away from the traditional forms of art by exploring mixed
media. New media broadened the way people think and
communicate through their art. Unfamiliar Ground will
thoroughly explore this brave new world.

Cash prizes will be awarded for Best of Show and Juror's
Choice.

Guest Juror: Paula Katz
Assistant Curator of Art, Columbus Museum of Art
Submission Deadline: April 15th
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College Art Association call - 2009

http://www.collegeart.org/pdf/CallforParticipation2009.pdf
Deadline 5/9/08
Different topics - see whole call


The "Tangiality" of Digital Media
Paul Catanese, San Francisco State University, paulc@sfsu.edu; and
Joan Truckenbrod, School of the Art Institute of Chicago,
jtruckenbrod@saic.edu
With digital media, there is a radical shift in our sensory perceptions
as they evolve to absorb, incorporate, and adopt the immateriality
of the virtual. Consequently, materials of digital media are
multimodal; the virtuality of the screen erupts as intervention with
the materiality of paper, video projection, and objects or space in
installation. Inherent in this media is a reexamination of the idea
of material, as artworks are sited on the threshold of tangible and
intangible materials. Artists are invited to discuss how they
embrace hybrid methodologies in their studio practice. Papers
may address: Where are materials situated? Is material considered
substance, engagement, or embodiment? How does material
as code intersect with material as physical? How has this shift
precipitated a hybrid of virtual coordinates, physical locations,
and social engagement? How does digital artwork manifest as
choreography, visual artifact, and substance?

From Eye to Ear and Back Again: The Intersection of
Visual Art and Modern Musical Composition
Carey Lovelace, independent critic, 105 Duane St., #40E, New York, NY
10007
At the turn of the twentieth century, painters such as Wassily
Kandinsky turned to contemporary music to provide models for
new forms of abstraction. Conversely, the avant-garde composer
John Cage, with his aleatoric compositional method, had
a profound effect on visual artists such as Robert
Rauschenberg and Allan Kaprow, ushering chance into artmaking.
Meanwhile, several noteworthy musicians have created
"graphic scores," visualizations of sound that are themselves
works of art. And artists such as Christian Marclay use
themes of sound in their works. This panel, open to scholars
and artists alike, invites papers exploring areas or examining
contributions of specific practitioners within the fascinating
cross-fertilization between art and the fringes of advanced
classical music, with an emphasis on overview.

The Ecological Imagination: From Land Art to Bioart
Rita Raley, University of California, Santa Barbara, Dept. of English,
Santa Barbara, CA 93106-3170
This session considers the relations between art and ecology,
from land art to recent work in bioart, including transgenic art and
artificial life. Scholars of contemporary and new-media art are
invited to find connections among unframed art practices as
seemingly diverse as those of Robert Smithson and Eduardo Kac.
Also invited are panelists who can think about relations between
contemporary ecological art practices and discourses on
bioethics and biopolitics. What imaginaries of "life" are produced
by the art practices of Karl Sims, the Critical Art Ensemble, and
others? How might we understand artworks that invite our empathetic
identification with artificial creatures? From earthworks to
geographic-information systems, how have our notions of visualizing
landscapes been altered? What aesthetic and political commitments
can we trace in visualizations of climate and other environmental
data? Papers might focus on any art practice or movement
in the twentieth and twenty-first centuries.

Land Use in Contemporary Art
Kirsten Swenson, University of Nevada, Las Vegas, Art Dept.,
4505 Maryland Pkwy., Las Vegas, NV 89154-5002
This panel explores themes of land use in art since the 1990s.
Interventions, data collection, mappings, imagined geographies,
and temporary and permanent modifications of the landscape by
artists and collectives have involved roles and strategies that are
continuous with practices of scientific investigation, policymaking,
habitation, tourism, and land stewardship. The Center for Land
Use Interpretation, Andrea Zittel's High Desert Test Sites, and the
work of Francis Alÿs and Cai Guo-Qiang are but a few examples
of artists or collectives who have realized new conceptions of land
art or represent examples of contemporary art engaged with
social aspects of land use. Are now-historical categories of land
and environmental art, associated with earthworks, nonsites, and
environmental actions produced from the 1960s through the
1980s, conceptually relevant to new land-based practices? How
might epic, ongoing projects such as Michael Heizer's City and
James Turrell's Roden Crater be situated against more recent
artistic strategies and among social and historical shifts in the
American West? Papers critically analyzing the practice of artists
or collectives that exemplify new approaches to land art or are
engaged with contemporary discourse on land use are welcome.


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Society of Environmental Journalists - Radio Entry - April 2009

Well, it's April 2008 too, but I won't have anything done by then

Radio story up to 10 minutes long

Outstanding Story, Radio—A single radio report, up to ten minutes long, on an environmental subject.
Prize: $1,000

Outstanding Beat/In-depth Reporting, Radio —Up to five radio reports, with a combined total running time of no
more than 60 minutes, on one or more environmental subjects.
Prize: $1,000

http://www.sej.org/
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