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ArtConnect - Discover everything and everyone in the arts

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Discover and connect with artists, curators, galleries, residencies and other art professionals from over 130 countries around the world.

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The material that the Art and Social Practice Archive holds includes ephemera and documentation from past and ongoing projects. We accept physical and digital material including posters, publications, flyers, zines and other project ephemera. The digital archive houses materials scanned from the physical archive, digital versions of publications and ephemera, digital images, videos, audio, and projects that exist online. 

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The material that the Art and Social Practice Archive holds includes ephemera and documentation from past and ongoing projects. We accept physical and digital material including posters, publications, flyers, zines and other project ephemera. The digital archive houses materials scanned from the physical archive, digital versions of publications and ephemera, digital images, videos, audio, and projects that exist online. 

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Since 2018 we have been working with archivists, students, community members, artists, researchers and web developers and PDXScholar to establish the Art and Social Practice Archive at the Portland State University Library Special Collections. The digital component of this archive is now launched for public access and access to researchers globally! The Art and Social Practice Archive was founded and organized by Shoshana Gugenheim Kedem, Roshani Thakore, Lo Moran and Harrell Fletcher, with the help of Cristine Paschild, the Head of Special Collections & University Archives, and Marti Clemmons, Archives Technician, in honor of the PSU Art and Social Practice MFA program's 10 year anniversary. The Archive is now organized by Lo Moran, who worked with Karen Bjork, Nancy Kerr and Marti Clemmons closely over this last remote year to build the digital archive with the assistance from Eniko Banyasz, Bri Graw, Rebecca Copper, Emily Pappas, BB Anderson, Jake Barber and more. This archive process has been a collaborative effort of relationship building between the library, the Art and Social Practice program and students in the PSU School of Art and Design; everyone who has submitted materials or worked on the Archive has contributed to how it is being shaped.

This is the first public archive of ephemera related to art and social practice, "an artistic approach that emphasizes collaboration, shared authorship, public participation, site-specificity, and interdisciplinarity, is often presented in non-art locations, and has no media or formal boundaries" (Harrell Fletcher). PSU's Art and Social Practice MFA is a 3-year, flexible residency program that combines individual research, group work, and experiential learning with critical and professional practice, progressive pedagogy, collaborative social engagement, and transdisciplinary exploration.

The material that the Art and Social Practice Archive holds includes ephemera and documentation from past and ongoing projects. We accept physical and digital material including posters, publications, flyers, zines and other project ephemera. The digital archive houses materials scanned from the physical archive, digital versions of publications and ephemera, digital images, videos, audio, and projects that exist online. The original accession of the archive focused on work related to artists who have graduated or who are a part of the PSU Art and Social Practice MFA and is slowly expanding. We hope to grow an archive that tells stories of socially engaged artwork from all over the world, while also organizing programming, projects or even an artist residency connected to the archive. We are excited to support public, artistic and academic research that will now be able to be accessed from anywhere online.

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Art + Social Practice Archive - Portland State University Library

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Since 2018 we have been working with archivists, students, community members, artists, researchers and web developers and PDXScholar to establish the Art and Social Practice Archive at the Portland State University Library Special Collections. The digital component of this archive ... Continue reading →

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Fray: Art and Textile Politics, by Julia Bryan-Wilson

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In her most recent book, Fray: Art and Textile Politics, Julia Bryan-Wilson describes the terrain of contemporary textiles as materially embodied and entangled in the everyday world of art and poli...

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Our small team carefully inputs and then checks over every single project in the Library's records. It's a lot of work, and we haven't stopped adding documentation since we launched in May. The limiting factor is simple: funding. If you can, please consider becoming a member.

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Our small team carefully inputs and then checks over every single project in the Library's records. It's a lot of work, and we haven't stopped adding documentation since we launched in May. The limiting factor is simple: funding. If you can, please consider becoming a member.

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Logan Center for the Arts University of Chicago

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Logan Center for the Arts University of Chicago

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About

Designed as a home for the creative life of the University of Chicago campus and the city of Chicago, the Reva and David Logan Center for the Arts is a partner, resource, and catalyst for developing deeper cultural networks and richer creative projects citywide and beyond. The Logan Center is a place where boundaries dissolve and artistic work is amplified through a web of collaborative partners. More than just a building, it is an innovative hub for arts education for UChicago students and Chicago-land students and families, a platform to showcase today's most innovative creators across all media, and a locus for impactful and collaborative artistic Innovations with partners in nearby South Side communities and across Chicago.

Mission

The Reva and David Logan Center for the Arts advances arts practice, inquiry, and presentation at the University of Chicago, and fosters meaningful collaboration and cultural engagement at the university, on the South Side, and in the city of Chicago.

History

The Future of the Arts at the University of Chicago -a 2001 report authored by faculty, students, and staff-made several recommendations for elevating the arts at the university. One central recommendation concerned the creation of a multidisciplinary center for the arts. Little more than a decade later, the Reva and David Logan Center for the Arts is fully operational as a vibrant home for the study, practice, and presentation of arts at UChicago.

On May 3, 2007, the University of Chicago made a historic announcement: David Logan, AB'39, JD'41, and his wife Reva and their sons and grandchildren had generously committed a $35 million gift to support the University's Center for the Creative and Performing Arts. Not only was this one of the largest single donor gifts to the University, it is also believed to be both the single largest cash gift to the arts in the city of Chicago and one of the largest gifts to support a university arts building in the United States.

Five years after the Logan family gave their record gift of $35 million, the Logan Center for the Arts celebrated its grand opening. The three-day festival celebrated the opening of the Reva and David Logan Center for the Arts, a hub for the vibrant arts scene at the University of Chicago and a destination for the South Side and greater Chicago.

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Designed as a home for the creative life of the University of Chicago campus and the city of Chicago, the Reva and David Logan Center for the Arts is a partner, resource, and catalyst for developing deeper cultural networks and richer creative projects citywide and beyond.

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The Newberry - Chicago's Independent Research Library Since 1887

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Independent research library with a focus on the humanities is privately funded, but free and open to the public.

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Founded in 1956, the Graham Foundation for Advanced Studies in the Fine Arts fosters the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. The Graham realizes this vision through making project-based grants to individuals and organizations and producing exhibitions, events, and publications.

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Founded in 1956, the Graham Foundation for Advanced Studies in the Fine Arts fosters the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. The Graham realizes this vision through making project-based grants to individuals and organizations and producing exhibitions, events, and publications.

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A home for creativity and community. Stimulating and sustaining the visual arts in Chicago since 1939. UPCOMING PUBLIC PROGRAMS CLICK HERE MORE INFORMATION ABOUT OUR UPCOMING PUBLIC PROGRAMS There are no upcoming events at this time. IMPORTANT NEWS Watch Lan Tuazon’s Virtual Panel Discussion: Shifti…

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Membership

Members are the backbone of Arts Alliance Illinois: the largest connected state-level arts advocacy network fighting for arts resources and policies that benefit its members and all Illinois residents.

Due to the COVID crisis, and to center our commitment to equity and access, Arts Alliance Illinois is offering pay-what-you-can membership for ALL Illinois creative individuals and organizations for the next year.

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Members are the backbone of Arts Alliance Illinois: the largest connected state-level arts advocacy network fighting for arts resources and policies that benefit its members and all Illinois residents. Due to the COVID crisis, and to center our commitment to equity and access, Arts Alliance Illinois is offering pay-what-you-can membership for ALL Illinois creative individuals and organizations for the next year.

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Users without a subscription are not able to see the full content.

David Brown

Abstract

This book seeks to recover the importance of religious experience through the arts and wider culture that were once central to the understanding of religion but which have tended in recent centuries to become marginalised. Within the Church and among its theologians God is treated as though he were concerned with only a small segment of the totality of human experience, with deleterious consequences both for our understanding of how revelation works and for dialogue between religion and the wider society. It also means that philosophy of religion focuses on an artificially narrow area of discu ... More

Keywords: religious experience, revelation, sacramentality, nature, architecture, pilgrimage, gardens, revelation, place

Bibliographic Information

Print publication date: 2004

Print ISBN-13: 9780199271986

Published to Oxford Scholarship Online: July 2005

DOI:10.1093/0199271984.001.0001

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This book seeks to recover the importance of religious experience through the arts and wider culture that were once central to the understanding of religion but which have tended in recent centuries to become marginalised.

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Artisinal Theology: Intentional Formation in Radically Covenantal Companionship

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Artisinal Theology: Intentional Formation in Radically Covenantal Companionship

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Paradox and surprise face those who pursue deeper spiritual practice, theological wisdom, and even a religious calling "into the ministry." Unbeknownst to incoming students, the pursuit of theological education in established institutions today furthers a faith that is recognizable in delight and compassion, even as it may just as easily deform it into a moral duty and autonomous professionalism so divisive in today's religious ecology. How may those drawn into ministry formation today receive its deep theological treasures and sustain a vibrant faith with a theologically expressive delight able to companion the suffering of self and others? Artisanal Theology explores the paradoxes and surprises that await those walking in the worlds of theological education--the local congregation, the academy, the tradition/denomination. Part handbook, part witness, it offers guidance for the path of intentional formation within contemporary institutions of theological education, whose riches may be mined in a disciplined spiritual stewardship and grounded in radically covenantal companionship. Just like artisanal bread blends the classical methods of bread-baking with modern conveniences, so an artisanal theology relies upon the personal and communal touch of human relationship amidst the contemporary forms of programmatic theological education. An artisanal theology offers an articulate and traditionally-rooted faith perspective grounded in covenantal companionships sustained in contexts of church, tradition, and, most importantly, practice. Ultimately, an artisanal theology witnesses beyond the anticipated political divides to the Triune God-among-us, known in a theologically expressive delight, able to companion the suffering of self and others.

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Paradox and surprise face those who pursue deeper spiritual practice, theological wisdom, and even a religious calling "into the ministry." Unbeknownst to incoming students, the pursuit of theological education in established institutions today furthers a faith that is recognizable in delight and compassion, even as it may just as easily deform it into a moral duty and autonomous professionalism so divisive in today's religious ecology.

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Institute for Theology, Imagination and the Arts, UK

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Institute for Theology, Imagination and the Arts, UK

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Institute for Theology, Imagination and the Arts

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The Institute for Theology, Imagination and the Arts (ITIA) is one of the leading centres in the world for bringing together the study and practice of theology and the arts.

In the stunning medieval town of St Andrews, perched on the cliffs of the North Sea, scholars and artists from across the world come together to engage in study, conversation and research about the role of the arts within theology, and the place of theology within the arts.

The Institute is part of St Mary's College, the School of Divinity at the University of St Andrews. Founded in 2000, the Institute is a flourishing and convivial academic community that fosters innovative interdisciplinary research. It is directed by Dr Gavin Hopps, and comprises four full-time staff, about thirty graduate students, and several part-time, honorary, and post-doctoral fellows.
ACTIVITIES:
PRINCIPAL STAFF:

​
PART-TIME STAFF:

St Mary's College, the School of Divinity in the University of St Andrews:

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Institute for Theology, Imagination and the Arts

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The Institute for Theology, Imagination and the Arts (ITIA) is one of the leading centres in the world for bringing together the study and practice of theology and the arts.

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Sense and Spirituality: The Arts and Spiritual Formation

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Sense and Spirituality: The Arts and Spiritual Formation

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There is growing interest in the relationship between the arts and Christian faith. Much has been written about the arts and theology and the place of the arts in church life. Not as much has been written, however, about how the arts might actually advance spiritual formation in terms of the cumulative effect of religious experience and intentional practices. This book provides a modest step forward in that conversation, a conversation between theological aesthetics and practical theology.
Understanding aesthetics as "the realm of sense perception" and spiritual formation as "growing capacities to participate in God's purposes," James McCullough suggests how these dynamics can mutually enhance each other, with the arts as an effective catalyst for this relationship.
McCullough proposes an analysis of artistic communication and explores exciting examples from music, poetry, and painting, which render theoretical proposals in concrete terms. This book will engage both those new to the arts and those already deeply familiar with them.

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There is growing interest in the relationship between the arts and Christian faith. Much has been written about the arts and theology and the place of the arts in church life. Not as much has been written, however, about how the arts might actually advance spiritual formation in terms of the cumulative effect of religious experience and intentional practices.

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Art In Chicago: A History from the Fire to Now

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Art In Chicago: A History from the Fire to Now

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For decades now, the story of art in America has been dominated by New York. It gets the majority of attention, the stories of its schools and movements and masterpieces the stuff of pop culture legend. Chicago, on the other hand . . . well, people here just get on with the work of making art.

Now that art is getting its due. Art in Chicago is a magisterial account of the long history of Chicago art, from the rupture of the Great Fire in 1871 to the present, Manierre Dawson, László Moholy-Nagy, and Ivan Albright to Chris Ware, Anne Wilson, and Theaster Gates. The first single-volume history of art and artists in Chicago, the book-in recognition of the complexity of the story it tells-doesn't follow a single continuous trajectory. Rather, it presents an overlapping sequence of interrelated narratives that together tell a full and nuanced, yet wholly accessible history of visual art in the city. From the temptingly blank canvas left by the Fire, we loop back to the 1830s and on up through the 1860s, tracing the beginnings of the city's institutional and professional art world and community. From there, we travel in chronological order through the decades to the present. Familiar developments-such as the founding of the Art Institute, the Armory Show, and the arrival of the Bauhaus-are given a fresh look, while less well-known aspects of the story, like the contributions of African American artists dating back to the 1860s or the long history of activist art, finally get suitable recognition. The six chapters, each written by an expert in the period, brilliantly mix narrative and image, weaving in oral histories from artists and critics reflecting on their work in the city, and setting new movements and key works in historical context. The final chapter, comprised of interviews and conversations with contemporary artists, brings the story up to the present, offering a look at the vibrant art being created in the city now and addressing ongoing debates about what it means to identify as-or resist identifying as-a Chicago artist today. The result is an unprecedentedly inclusive and rich tapestry, one that reveals Chicago art in all its variety and vigor-and one that will surprise and enlighten even the most dedicated fan of the city's artistic heritage.

Part of the Terra Foundation for American Art's year-long Art Design Chicago initiative, which will bring major arts events to venues throughout Chicago in 2018, Art in Chicago is a landmark publication, a book that will be the standard account of Chicago art for decades to come. No art fan-regardless of their city-will want to miss it.

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For decades now, the story of art in America has been dominated by New York. It gets the majority of attention, the stories of its schools and movements and masterpieces the stuff of pop culture legend. Chicago, on the other hand . . . well, people here just get on with the work of making art.

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On Beauty and Being Just book. Read 140 reviews from the world's largest community for readers. Have we become beauty-blind? For two decades or more in t...

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Co-published in Association with the Victoria and Albert Museum, LondonThis book is a timely and engaging introduction to the way that artists working in all me…

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In the book Artificial Kingdom, Celeste Olalquiaga offers a meditative look at the origins of kitsch and what kitsch tells us about the conflicts between the real and the artificial, tradition and modernity, nostalgia and melancholy.

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In the book Artificial Kingdom, Celeste Olalquiaga offers a meditative look at the origins of kitsch and what kitsch tells us about the conflicts between the real and the artificial, tradition and modernity, nostalgia and melancholy.

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A cultural history of the human desire behind the emergence of kitsch.

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The Artist as Culture Producer: Living and Sustaining a Creative Life
Edited by Sharon Louden

Published by Intellect Books (2017)
Distributed by University of Chicago Press
More information: LiveSustain.org
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The Artist as Culture Producer: Living and Sustaining a Creative Life is a collection of essays by 40 visual artists describing how they extend their practices outside of their studios. All of these contributors have impactful, artistic activities as change agents in their communities. Their first-hand stories show the general public how contemporary artists of the 21st century add to creative economies through their out-of-the-box thinking while also generously contributing to the well-being of others. Although there is a misconception that artists are invisible and hidden, the truth is that they furnish measurable and innovative outcomes at the front lines of education, the non-profit sector, corporate environments and our day-to-day lives. By sharing these examples, this book addresses how the myth of the "Artist Hero" is no longer relevant in today's society.

The following artists contributed essays to this book:

Alec Soth ( Little Brown Mushroom), Alison Wong ( Butter Projects), Andrea Zittel, Austin Thomas, Billy Dufala and Steven Dufala ( Rair Philly), Brett Wallace ( The Conversation Project), Caitlin Masley, Cara Ober ( BMoreArt), Carrie Moyer ( Dyke Action Machine), Carron Little ( Out of Site Chicago), Chloë Bass, Duncan MacKenzie ( Bad at Sports), Edgar Arceneaux, Euan Gray, Faina Lerman and Graem Whyte, Jane South, Jayme McLellan, Jean Shin, Julia Kunin, Kat Kiernan ( Don't Take Pictures), Khaled Sabsabi, Lenka Clayton, Mark Tribe, Martina Geccelli ( Raumx London), Matthew Deleget ( Minus Space), Michael Scoggins, Morehshin Allahyari, Paul Henry Ramirez, Peewee Roldan ( Green Papaya Art Projects), Robert Yoder ( Season), Sharon Butler ( Two Coats of Paint), Shinique Smith, Stephanie Syjuco, Steve Lambert ( The Center for Artistic Activism), Tim Doud and Zoë Charlton ('sindikit), Wendy Red Star, William Powhida.

Additional contributors include:

Hrag Vartanian, Editor-in-Chief and Co-founder of Hyperallergic (Foreword), and Deana Haggag, Director of The Contemporary in Baltimore, MD, Courtney Fink, Co-founder of Common Field, and Chen Tamir Curator at the Center for Contemporary Art in Tel Aviv, Israel (Conclusion).

To order this book, please visit the University Chicago Press website.

Living and Sustaining a Creative Life: Essays by 40 Working Artists

Edited by Sharon Louden

Published by Intellect Books (2013)
Distributed by University of Chicago Press
More information: LiveSustain.org
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In this day and age, as art has become more and more of a commodity, many students graduating from art school believe that they will immediately make a living as an artist by obtaining gallery representation. One of the goals of this book is to dispel the belief that there is only one way to chart a path into a creative and sustainable life as an artist. This collection of essays is intended to show the reality of how artists -- from the unknown to the established -- juggle their creative lives with the everyday needs of making a living. They share with us in their own words how they are creative inside and outside the studio, both on a day-to-day basis and over the long haul.

The following artists contributed essays to this book:

Adrienne Outlaw, Amanda Church, Amy Pleasant, Annette Lawrence, Austin Thomas, Beth Lipman, Blane de St. Croix, Brian Novatny, Brian Tolle, Carson Fox, David Humphrey, Ellen Harvey, Erik Hanson, George Stoll, Jay Davis, Jennifer Dalton, Jenny Marketou, Julie Blackmon, Julie Heffernan, Julie Langsam, Justin Quinn, Karin Davie, Kate Shepherd, Laurie Hogin, Maggie Michael and Dan Steinhilber, Maureen Connor, Melissa Potter, Michael Waugh, Michelle Grabner, Peter Drake, Peter Newman, Richard Klein, Sean Mellyn, Sharon L. Butler, The Art Guys, Thomas Kilpper, Timothy Nolan, Tony Ingrisano, and Will Cotton.

Additional contributors include:

Carter E. Foster, Deputy Director for Curatorial Affairs and Curator of Prints and Drawings, Blanton Museum of Art (Introduction), and a conversation between Ed Winkleman, author, blogger, and former gallery dealer, and Bill Carroll, artist and Program Director, Elizabeth Foundation for the Arts Studio Program (Conclusion).

To order this book, please visit the University Chicago Press website.

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The Artist as Culture Producer: Living and Sustaining a Creative Life Edited by Sharon Louden Published by Intellect Books (2017)Distributed by University of Chicago Press More information: LiveSustain.org -- The Artist as Culture Producer: Living and Sustaining a Creative Life is a collection of essays by 40 visual artists describing how they extend their practices outside of their studios.

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Unmonumental is a groundbreaking thematic survey of sculptural work by 30 of today’s leading artists

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Unmonumental is a groundbreaking thematic survey of sculptural work by 30 of today’s leading artists

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The Phaidon guide to art speak - Unmonumental | art | Phaidon

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Urs Fischer, untitled (2011); Urs Fischer and various artists, YES (2011). Photo by Stefan Altenburger

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"Inspiration is for amateurs. The rest of us just show up and get to work."Chuck CloseInside an art gallery, it is easy to forget that th...

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Artworld Prestige: Arguing Cultural Value

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Artworld Prestige: Arguing Cultural Value

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Artworld Prestige: Arguing Cultural Value

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Amazon.com: Artworld Prestige: Arguing Cultural Value: 9780199913985: Van Laar, Timothy, Diepeveen, Leonard: Books

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Art with a Difference: Looking at Difficult and Unfamiliar Art

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Art with a Difference: Looking at Difficult and Unfamiliar Art

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Art With a Difference: Looking at Difficult and Unfamiliar Art

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Amazon.com: Art With a Difference: Looking at Difficult and Unfamiliar Art: 9781559349307: Diepeveen, Leonard, Van Laar, Timothy: Books

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Van Laar, Art with a Difference:  The canon

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Van Laar, Art with a Difference:  The canon

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Sensing Beauty: Aesthetics, the Human Spirit, and the Church

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Sensing Beauty: Aesthetics, the Human Spirit, and the Church

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"In making incarnate our human experience of mystery, wonder, and awe, the arts help us encounter the sacred or holy," note John Dykstra Eusden, a college professor of religion and environmental studies, and John H. Westerhoff, a divinity school professor of practical theology. In this scholarly work, they seek to smooth the path for a rapprochement between the visual arts and the church.

Although Catholics have tried to discern evidence of God's creativity in the natural world and Eastern Orthodoxy has emphasized beauty in worship, Protestants have historically shown little interest in the arts. Eusden and Westerhoff challenge churches to move beyond the view of the arts as irreligious or as mere vehicles to teach morals. They revel in the beauty of the Chartres Cathedral and the Zen garden Ryoan-ji. Both call us to a doxological response and a sense of reverence in the face of such intricate detail.

In the closing chapter, Eusden and Westerhoff admonish Christian communities to pay more attention to the visual and aesthetic elements of worship and to celebrate "a choreography of the familiar" as evidence of God's grace in all things.

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Sensing Beauty by John Dykstra Eusden, John H. Westerhoff III | Review | Spirituality & Practice

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"In making incarnate our human experience of mystery, wonder, and awe, the arts help us encounter the sacred or holy," note John Dykstra Eusden, a college professor of religion and environmental studies, and John H. Westerhoff, a divinity school professor of practical theology.

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Christianity, Art and Transformation book. Read reviews from world's largest community for readers. Christianity, Art and Transformation is a journey of ...

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The beautiful rolling mix of woods, streams and farmland that surround our facility are a constant reminder of the sanctity of the environment and our relationship to it. This feeling of stewardship extends to our products, the people making them, and to you.

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Professional Practices for Artists

Adopted by the CAA Board of Directors on February 2, 1977; revised on October 23, 2011.

Introduction

College Art Association (CAA) first adopted a set of Professional Practices for Artists in 1977. These guidelines are intended to advance the interests of artists by providing general ethical and professional best practices as well as providing a pedagogical role.

The guidelines are organized into six sections:

1. Artist Code of Ethics

2. Recommendations on the Safe Use of Materials and Equipment

3. Recommended Use of Copyright Notice

4. Employment of Studio Assistants

5. Exhibition and Sale of Artwork

6. Contracts for Public and Private Art Commission

I. Artist Code of Ethics

Because of the broad range of artists' approaches and practices, a universal code of ethical conduct for artists, while potentially useful, is problematic. While art may support or affirm conventional behaviors and community standards, artists highly value their ability to challenge, criticize, and transgress those standards. Key elements in the professional codes for many disciplines include honesty, integrity in business dealings, civility, obeying laws and regulations, disclosure of conflicts of interest, truth in labeling, individual accountability for professional acts ("do no harm"), and the articulation and communication of personal and professional judgments. While applicable in many contexts, these elements potentially limit legitimate artistic expression and therefore should not be enshrined in a universally applicable, CAA-sanctioned Artist Code of Ethics.

Nevertheless, the professional and academic communities expect artists to honor contracts into which they voluntarily enter, to be aware of the time-specific expectations and deadlines, and to understand the financial terms and other stated expectations. The work that artists produce for the marketplace should be the distinctive result of their own creative efforts, even though other collaborators may have contributed to the physical production of the work. Artists must be mindful of, and disclose to their viewers, any physical danger associated with a work. Artists must be ethically free to ignore limits established by legal authorities but should not expect immunity from sanctions resulting from their choices. Artists must be responsible and accountable for their actions as they pursue their efforts to create manifestations of their humanity.

II. Recommendations on the Safe Use of Materials and Equipment

CAA believes that artists should educate themselves on the safe use of materials and equipment and vigilantly promote such practices to their assistants, their students, and their audiences.

Art materials and equipment can pose chemical, kinetic, or radiation threats to the health of artists and to those who live and work in artists' environments. Artists can avoid or greatly minimize these threats with education and with careful management of their work environment. Artists are responsible not only for their own health, but also for the health of everyone they hire or work with, and of all who live or stay with them.

Chemical hazards can enter the body through the lungs, skin, or digestive tract. These hazards include solvents, dust, acids, sprayed materials, fumes, and so on. Kinetic hazards are repetitive motions that can stress the body, whether from extended sessions of hammering or from long hours at the computer. Many forms of computer-based technology also present radiation hazards. Artists should also protect their hearing from loud tools, machines, or processes.

The level of toxicity, the length of exposure, the age of the artist, and his or her general health can all affect how any one individual may react to any health hazard. Immediate and severe hazards are usually quickly identified. More insidious is the long-term exposure to low levels of dust, noise, and certain solvents or chemicals, which may produce symptoms of mild but chronic headaches, dizziness, fatigue, nausea, coughing, hearing loss, organ dysfunction, or skin irritation.

Any professional studio or educational institution should ensure that its teachers, students, and workers are afforded the same protection from exposure to hazardous materials, chemicals, and work conditions as is granted to other employees across the institution. At a minimum, institutions must be compliant with federal and state guidelines and other applicable laws.

CAA recommends that artists learn the potential hazards of all their materials and processes and be mindful of Occupational Safety and Health Administration (OSHA) labels and Material Safety Data Sheets (MSDS) for any supplies used to produce works of art.

Additionally, artists should incorporate sustainable practices into all art production and education. Sustainability goes beyond the health of the participant to include supporting the health of the planet. Artists and educators should be aware of issues of energy input, environmental burden, carbon footprint, and life-cycle analyses related to the materials and processes in the production, use, and disposal of materials employed in their work. CAA recommends that the art world make a continuing effort to minimize its contribution to pollution and waste, implementing sustainable practices whenever possible. Increased recycling, lowered volatile organic compound (VOC) production, local and regional sourcing of materials, and reduced used of petroleum-based materials are all starting points.

III. Recommended Use of Copyright Notice

Copyright is a set of exclusive rights granted by the law of a jurisdiction to the author or creator of an original work, including the right to copy, distribute, and adapt the work. Copyright provides legal protection for the owners of intellectual property to display and/or perform their work, reproduce their work, make and distribute copies, and create derivatives of the work. Ideas cannot be copyrighted.

CAA believes that artists should obtain stronger copyright protection for their own work and avoid infringing on the copyright of others. Artists own the copyright to their work as they create it and when it is finished, even if they do not register the work or affix the copyright notice or symbol (©) to it. If artists register their work with the US Copyright Office, they are further protected and have established a record of their copyright. CAA recommends that artists learn the basics of the copyright law, registration procedures, transfer of copyright, and the definition of publishing as defined by the US Copyright Office.

Artists involved in collaborative works should draft an agreement regarding copyright to protect the interests of all parties. This document can be as exact or as general as the parties feel is necessary in order to clarify each participant's role in the project or artwork to be created.

CAA encourages artists who use the intellectual property of others in their own work to learn the basics of fair use and parody. Further, CAA recommends that artists avoid infringing on the rights of others while also recognizing that many artists seek broader access to and use of their own creative production outside the conventions of copyright protection.

For more on copyright issues, see the websites of Creative Commons and the US Copyright Office. CAA has published useful information in the Intellectual Property and the Arts section of its website.

IV. Employment of Studio Assistants

Artists often employ assistants in their studio operations. Studio assistants should have safe and healthy working conditions and be instructed in the proper use of safety equipment and potential health hazards in the studio.

If studio assistants directly help produce works of art, artists should consider establishing confidentiality clauses and explicit terms of authorship. Likewise, a contract between an artist and an independent contractor is essential when involving large, complex projects, such as hiring a structural engineer or an architect for a public art project.

Contracts between artists and workers must address specifics such as final product, timeframe, deadlines, costs, payments, insurance, warranties, and the like. CAA recommends having a lawyer review such contracts. For short-term projects, a studio assistant may be hired on an interim basis for his or her specific technical expertise. The artist and the assistant must agree on job specifics in a signed contract or through verbal agreement, including services to be rendered, work schedule, whether payment will be a flat fee or an hourly or weekly wage, how and when the assistant will be paid, and if the work will be performed in the artist's studio or independently. Artists should compensate assistants consistent with their terms of employment and in accordance with local, state, and federal laws. In addition, artists should consult an insurance agent regarding coverage related to independent contractors working in their studio.

It is important that the artist consult an accountant regarding the hiring of studio assistants. A studio assistant might need to file a federal 1099 form depending on the number of hours worked or wages earned. The Internal Revenue Service (IRS) has specific definitions and guidelines for what constitutes an independent contractor and an employee, and an artist must be able to prove the assistant's terms of employment in case the IRS argues that the independent contractor was indeed an employee and that the employer is liable for retroactive taxes, retroactive employment benefits, and penalties. It is not uncommon for successful artists to hire assistants as employees with full benefits, including health insurance.

When appropriate, an artist should acknowledge assistants who had a direct hand in studio labor in catalogues and monographs documenting the work of the artist and his or her studio.

V. Exhibition and Sale of Artwork

Artists should receive a written loan or consignment agreement from any gallery or institution that exhibits their work. In cases when the artist sells work independently, the artist should keep written records of all sales. For legal advice or sample agreements, artists should consult their local or state Volunteer Lawyers for the Arts or similar organization.

Contracts with Art Dealers and Exhibition Organizers

An art dealer, often referred to as a "personal representative," is generally an established art agent who enters into a long-term relationship with the artist and seeks to advance the artist's career through exhibitions and publicity. The dealer brings the artist's work to the attention of critics and curators, seeks to place it in important private and museum collections, and develops its secondary market.

Artists may show work in other situations. In some cases, a dealer or curator makes an arrangement with an artist for a single exhibition or for a short period of time. In others, a dealer without a physical gallery space may represent an artist without the promise of an exhibition. In a vanity gallery, a dealer permits artists to use his or her premises for an exhibition, usually for a fee. Below is a list of best practices:

A. Bill of Sale

Artists selling works independently should use a bill of sale for record-keeping and to avoid misunderstandings with buyers. The bill of sale should cover the following points:

Artist's name and contact information

Date

Specifics (title, media, dimensions, edition) of the sold artwork

Buyer's name and contact information

Price and terms of payment

Rights reserved by the artist

1. Copyright

2. Right to borrow work temporarily for other exhibitions

3. Right to be informed of the resale or transfer of the artwork

4. Right to limit public exhibition of the artwork by the buyer

B. Consignment Agreements

Consignment agreements are usually sufficient when an artist is showing work on a one-time or occasional basis with a commercial gallery, museum, or educational institution. The consignment agreement should cover the following points:

The specifics of the artwork to be exhibited, including title, media, date, dimensions, edition number (if applicable), installation requirements, and retail price

The duration of the exhibition and/or consignment

The responsibility for expenses: who pays for shipping, insurance, announcements, and other expenses arising from the exhibition

The sale of artwork: the amount of commission retained by the exhibition venue; the time frame for the artist's receipt of payment; and the artist's receipt of the contact information of a work's buyer

C. Artist-Gallery Contracts

Long-term relationships between artists and galleries should be spelled out in a contract, which generally provides that galleries will promote the artist over an extended period of time. The contract may also cover additional details or topics.

Duration and Coverage. Agreements typically last one to three years, generally no longer than five years. They sometimes provide options for renewal or cancellation prior to the end of the specified term. Normally all works created by the artist are included in the contract. All agreements specify geographical coverage (e.g., regional, national, international). If the artist enters into an exclusive arrangement, the contract should ideally provide for approval by the artist of other dealers or galleries with whom the exclusive dealer may arrange exhibitions or consignments, including the amounts of the commission the other dealers or galleries will take.

Expenses. The contract should clearly state which expenses shall be absorbed by the dealer or by the artist. The dealer typically covers expenses of promotion, advertising, catalogues, openings, announcements, transportation of work from the dealer to purchasers, and insurance. If the dealer covers any expenses for the production of the work, the contract should address how he or she will recover the cost in relation to the commission. Normally the artist will be expected to pay for shipping and insurance expenses to the gallery prior to the opening of the exhibition. When the dealer does not pay insurance costs, the artist should consult with an insurance broker and obtain insurance to cover each consigned work during transportation, exhibition, and storage. Valuation of each work should typically be the amount the artist would receive from the sale of the work (usually 50 percent of the retail price; see below). The dealer, after holding work for some specified time after the exhibition, should return all unsold work (or an agreed selection of works) to the artist at the gallery's expense.

Exhibitions. Some contracts provide for a specified number of exhibitions to be held during the term of the agreement. Participation by the artist in the installation of exhibitions varies.

Commissions. Dealers are compensated for their efforts by the payment of a commission on works sold. The contract should establish the rate of commission to be paid, typically 50 percent, but may vary depending on such factors as the status and bargaining power of the artist and/or the dealer, and also the services provided by the dealer. Standard museum purchase discount is usually 20 percent, which is shared equally by the artist and dealer (10 percent each). Each gallery has its own policy regarding standard discounts, including finder's fees. Commissions may vary for large sculpture, sales from the artist's studio (if permitted), works consigned to other dealers, special commissions, and prints, multiples, and other edition work. For additional information on commissions, see Section VI. below.

Sales and Accounting. The artist has the right to set the prices of his or her works and should do so in consultation with the dealer, who will be aware of the market for the artist's works. The contract should specify a periodic review of prices, customarily after six months or a year. The contract should also provide for a periodic review of accounting records, at least twice each year. Contracts should specify that the artist will be paid no later than thirty days after the dealer is paid, as well as describe the negotiation of discounts initiated by the dealer. When a work is sold, the dealer should provide the name and location of the collector or buyer to the artist. The artist should, if possible, make a photographic record of all works consigned to the dealer, obtain receipts for all works consigned, and issue receipts for all works returned. The artist is entitled to examine the dealer's records with respect to transactions involving works consigned to the dealer. Ideally, the contract should specify whether and to what extent the artist or the dealer is responsible for credit risks, and when the artist becomes entitled to payment if a sale is made on an installment basis.

Termination. The artist should consider the desirability of a provision for termination of the agreement in the event of death of either the artist or the dealer, or of insolvency or change of gallery ownership. The artist should also consider the possibility of the protection of consigned works and proceeds of sale from creditors of the dealer through the reservation of a security interest.

VI. Contracts for Public and Private Art Commission

Artist have a right to fair and written contracts for any artistic or design services that require substantial professional effort or that have potential commercial value. Two excellent resources for artists interested in contracts and best practices in public and private art commissions are the Public Art Network section of the Americans for the Arts website and Lynn Basa's Artist's Guide to Public Art: How to Find and Win Commissions (New York: Allworth Press, 2008).

Authors and Contributors

Task-force members (2011): Beauvais Lyons, University of Tennessee, Knoxville (chair); Brian Bishop, Framingham State University; Margaret Lazzari, University of Southern California; Maxine Payne, Hendrix College.

Additional reviewers: Jacki Apple, Independent Artist, Los Angeles, California; Karen Atkinson, California Institute of the Arts; Michael Aurbach, Vanderbilt University; Thomas Berding, Michigan State University; David Lloyd Brown, School of the Museum of Fine Arts, Boston; Nayda Collazo-Llorens, Independent Artist, Kalamazoo, Michigan; Conrad Gleber, LaSalle University; Micol Hebron, Chapman University and Salt Lake Art Center; Paul Jaskot, DePaul University; Sharon M. Louden, New York Academy of Art; Julia Morrisroe, University of Florida; Morgan Paine, Florida Gulf Coast University; John Risseeuw, Arizona State University; Louise Sandhaus, California Institute of the Arts; Norie Sato, Independent Artist, Seattle, Washington; Roger Shimomura, University of Kansas, Lawrence; Patricia Villalobos-Echeverría, Western Michigan University; Charles Wright, Western Illinois University.

The original Professional Practices for Artists was written by Gilbert Edelson, Athena Tacha, and Edward Wilson in 1976.

Committee on Professional Practices for Artists (1974-77): Athena Tacha, Oberlin College (chair); Gilbert Edelson, Honorary Counsel, CAA; Albert Elsen, Stanford University; Philip Pearlstein, Brooklyn College, City University of New York; and Edward Wilson, State University of New York, Binghamton.

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serving the visual arts community since 1911.

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CAA Guidelines | Standards & Guidelines | CAA

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Founded in 1911, the CAA promotes excellence in scholarship and teaching in the visual arts. It is the oldest and largest support organization for those working in the visual arts.

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CAA Guidelines | Standards & Guidelines | CAA

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Founded in 1911, the CAA promotes excellence in scholarship and teaching in the visual arts. It is the oldest and largest support organization for those working in the visual arts.

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Visual Artist Curriculum Vitae: Recommended Conventions
Adopted by the CAA Board of Directors in February 1999; amended on October 28, 2012.
General Comments

The curriculum vitae conventions presented here are primarily for those with academic careers. Approaches to CV development can vary based on number of years in the field, area(s) of specialization, specified institutional formats, etc.

According to Merriam-Webster's Online Dictionary (www.m-w.com), the noun "curriculum vitae" is pronounced:
"\kə-ˈri-kyə-ləm-ˈvē-ˌtī, -kə-ləm-, -ˈwē-ˌtī, -ˈvī-ˌtē\ plural: cur·ric·u·la vitae" and literally means "course of (one's) life." The Latin term "curriculum vitae" is commonly used, so it need not be underlined or italicized. The abbreviation "CV" should be written in uppercase without periods. This format has been adopted by the Modern Language Association of America (MLA) and The Chicago Manual of Style (CMOS).

There is a difference between a CV and an artist résumé. The CV is a record of all your professional activities, usually intended for use in academic situations as well as for applications to employment opportunities. The artist résumé is an abbreviated document, typically one to four pages in length, and is often tailored to reflect a specific expertise. The artist résumé is used in conjunction with commercial and non-profit galleries, the search for exhibition opportunities, residency and grant applications, public art proposals, etc.

The CV outlined here, the "long CV," is merely a framework on which to build. It takes into account the basic needs of both the artist and the readers of the document. As your career progresses, you will undoubtedly need to add new categories or make changes in your format. Always keep your CV up to date, just as you would letters of reference.

Occasionally, you might be asked to provide a "short CV." It, too, is usually designed for academic needs and is sometimes requested for grant applications, special events, etc. It highlights your most significant professional achievements and should be three or four pages in length (unless the maximum length is specified). Service and nonacademic activities are usually omitted in a short CV. If you have a significant number of exhibitions or a lengthy bibliography, you might place them under Selected Solo Exhibitions or Selected Bibliography.

Avoid making your CV complicated. Dramatic layouts and attempts to pad your CV will probably work against you. The CV should augment your images and other documentation. A beautifully prepared CV will not earn you a position if your art or its documentation is weak; however, a poorly designed CV could cost you one, especially if you're applying for employment or an opportunity in a design-related field.

Easy-to-read fonts and type sizes help facilitate reading. In general, use white space well and do not use colored paper. Do not use headshots, images, or colored type. Submit your CV in the format the application or guidelines specify.

You should always keep a comprehensive master copy of your CV with everything relevant included. This will allow you to compile a short CV when needed by adding items in relevant categories and by subtracting items in less relevant categories, depending on the target audience and the required length of the CV. If you take the time to document all relevant entries in a comprehensive master copy, you can retain important information that might otherwise be forgotten or lost.

A current good practice is to save your CV as both PDF and Word files. You should maintain a current copy of your CV as a Word document because it is the easiest format to edit and update. PDF files are best to submit or display because spacing, margins, and formatting are retained across computer platforms. If no submission directions are given, or if an institution gives you the option of sending a Word document or a PDF, you should always choose to send a PDF.

Both the résumé and the CV should list entries within each category in reverse chronological order (i.e., placing the most recent entry first and so on, with the least recent entry being the last entry in each category). Exceptions to this convention are entries without dates under categories such as Collections or Gallery Affiliation. In these cases entries should be listed in alphabetical order. Another exception to using reverse chronology is found under Education, where you should list institutions attended without earning a degree after listing schools (in reverse chronology) where degrees were earned.

Depending on your individual strengths as an artist, you may choose to rearrange the order of the categories listed below. For example, you may choose to put exhibitions first, before any awards or honors. As a general rule, you should "play to your strengths" by placing more important, relevant, and recent information near the beginning of your CV. Otherwise, the order presented below is suggested. Also, do not list category headings that are not relevant to you.

While it is important to avoid padding your "long CV," it is equally important that you do not omit anything. Be sure to list all your degrees, not just the ones related to studio art. In your efforts to keep the CV current, you should develop the habit of documenting everything you do. Keep a file or records that prove you had an exhibition, received a grant, gave a visiting-artist lecture, etc. You may eventually have to do this in some form for salary raises, retention (reappointment), promotion, tenure, or post-tenure reviews. Ideally, your record keeping should prove the existence of everything in your curriculum vitae.

Developing Your Curriculum Vitae

Applicants for positions in academia should be aware that individuals outside the department to which they are applying are frequently involved in the search process, and there are many administrators in academia who are unfamiliar with the specifics of art-related fields. Therefore, make your CV easy to follow, so it can be understood by laypeople.

Search-committee members and administrators may need to review hundreds of applications, so your CV must be easy on the eye. Select typefaces and sizes that facilitate reading, and use white space well. Submit your CV in the format specified in the submission guidelines (e.g., a PDF file). 10-12-point type should be sufficient, depending on the font. (Times New Roman is very small at 10-point size.) Consider simple and straightforward fonts like Arial, Helvetica, Times New Roman, or Palatino, to name a few. Avoid using exotic fonts that may detract from the content.

Neatness, legibility, grammar, spelling, etc., are often problematic in visual artists' résumés and CVs.
Take extreme care proofreading, and ask a friend or two to proofread it, as well.

Sample Curriculum Vitae (with Commentary)

Comments: For hard copies, pagination (after the first page) is recommended. Following the personal information at the top of your CV, list dates (years) in reverse chronology, on the far left for all categories (if relevant) with the exception of Collections, Gallery Affiliation, Bibliography, and Publications as Author which follow their own particular format. (See below under these headings.)
Under each heading, list your most recent activities first, and use 10-point or larger type.

1. Name (and Contact Information)

Name: Your full name in can appear in uppercase, bold, or large type-or a combination of these.

Address: Providing your institutional, studio, or home address is optional.

Phone Number(s): List any numbers (work, studio, home, or fax) where you are comfortable being contacted. Some artists prefer to list their cell number as a studio number. Other artists may choose to remove their cell number and other personal address information from their CV-especially from a web version of the résumé or CV. Consider listing at least one phone number, so you can be easily reached.)

Email: An email address (a must!) can be an institutional or a non-institutional address, depending on personal preference. (If you are an employed faculty member searching for another position, it is advisable to use a separate, personal email address.) If you choose to use a personal email address, use one that looks professional.

Website: Personal websites are becoming more and more essential. Providing a URL to a personal website is highly recommended. Institutional and/or professional websites may be used.

Comments: List addresses and phone numbers that are current. Make it easy to be reached. The inclusion of personal information such as place and date of birth is optional; however, the inclusion of date of birth, race, or marital status is not recommended.
2. Education

2013

MFA (pending), Maryland Institute College of Art, Baltimore, MD (expected May 2013)

2010

BFA with Distinction, Sculpture, Rhode Island School of Design, Providence, RI

2011

Brown University, Providence, RI (French language courses)

Comments: List all academic degrees you have earned (noting honors). Degrees outside the studio fields do not diminish your standing as an artist. In fact, the opposite is true. For example, a degree in French could tell a dean or department chair that you might be able to assist with their study abroad program. An art history degree might indicate an ability to teach a course in art appreciation.
It is not uncommon to have studied art at a university or college without completing the degree. You should list these periods of study, but they should be listed after the degrees you have earned.
For currently enrolled degree-seeking students, clearly state that the degree is pending and list an expected graduation date.

3. Professional Experience (Teaching/Academic Appointments/Related Work Experience)
Teaching Experience

2011-Present

Full-time Faculty, Maryland Institute College of Art, Baltimore, MD

OR

2011-13

Full-time Faculty, Maryland Institute College of Art, Baltimore, MD

OR

2011-

Full-time Faculty, Maryland Institute College of Art, Baltimore, MD

2009-11

Part-time Faculty, Maryland Institute College of Art, Baltimore, MD

2009-10

Adjunct Instructor, University of North Carolina, Asheville, NC

Comments: The exact professional titles you provide are very important. There are distinct differences among such titles as Instructor, Lecturer, Adjunct Professor, Visiting Assistant Professor, etc.-however, some schools do not have these ranks or distinctions, so the word "faculty" can be used.

1997-98

Teaching Assistant, University of Kansas, Lawrence, KS (courses taught: Introduction to Sculpture [instructor of record], Spring 1998, and Drawing, Fall 1997)

OR list the above two positions separately as below:

1998

Teaching Assistant, University of Kansas, Lawrence, KS (Introduction to Sculpture [instructor of record], Spring 1998)

1997

Teaching Assistant, University of Kansas, Lawrence, KS (Drawing, Fall 1997)

1996

Teacher's Assistant, Lawrence High School, Lawrence, KS (Drawing, Ceramics)

1995

Studio Assistant, Norman Art Association, Norman, OK (maintained studio equipment
and prepared workshops)

If you had the opportunity to teach as a graduate student, it might be useful to indicate whether or not you were the instructor of record. This tells the reader you were responsible for all aspects of the course (lectures, syllabi, grades, etc.).

If you have just completed graduate school and do not have significant teaching experience, you may have art-related experiences and/or other positions outside of the field that are worth listing (e.g., military service, Peace Corps, AmeriCorps). Use a heading that best describes your work experience. It is acceptable to provide brief descriptions of nonacademic positions in a CV.

4. Awards/Grants/Fellowships (Honors/Scholarships/Residencies, etc.)

2012

NYFA Fellowship (sculpture), New York Foundation for the Arts, New York, NY
Third Place Award, Earth Through a Lens, an international juried exhibition, Rancho
Mirage, CA, and Museum of Photographic Arts (MOPA), San Diego, CA (Juror: Arthur Ollman, Founding Director, Museum of Photographic Arts, San Diego, CA)
2011 Artist-in-Residence, McColl Center for Visual Art, Charlotte, NC

2009

Residency, Helsinki International Artist Programme, Suomenlinna, Finland

2007

Berkman Development Grant, Carnegie Mellon University, Pittsburgh, PA

2002

Pollock-Krasner Foundation Grant, New York, NY

5. Exhibition Record
Comments: The visual artist's exhibition or creative activity record is the equivalent of a publication record in other academic disciplines. This record may be the most important category in your CV and should be near the beginning. If you have a more impressive exhibition record than list of awards, then list exhibitions before awards. For those wishing to teach, an exhibition record serves as a rough measure of how active you may be as a member of the faculty and often plays a major role in the hiring process.

There are many ways to present an exhibition record. For less experienced artists, such as artists just out of graduate school, it is probably more useful to list all exhibitions under one heading, and indicate (in bold) any that are solo exhibitions, by stating "Solo Exhibition" or "Two-Person Exhibition" at the beginning of the entry, just after the date.

In listing exhibitions, include the title of the exhibition (if applicable) in italics, then the name of venue, city, and state (and country, if needed). If an exhibition catalogue accompanies the exhibition, this may also be noted with "(catalogue)" at the end of the entry. (See below.)

Exhibitions (may include a combined list of solo, two-person, and group exhibitions)

2012

Solo Exhibition, MFA Thesis Exhibition, Katherine Nash Gallery, Regis Center for
Art, University of Minnesota, Minneapolis, MN

2007

Two-Person Exhibition, Reeves Contemporary, New York, NY (with sculptor,
Johnny Swing)

2006

Solo Exhibition, Blue Spiral 1, Asheville, NC

2000

Solo Exhibition, Dream Life of Babies, Fay Gold Gallery, Atlanta, GA (catalogue)

Comments: Artists well into their careers may want to divide the Exhibitions category into separate headings such as Solo Exhibitions and Group Exhibitions. This allows the reader to easily grasp the number and type of exhibitions in any given year. (See below.)

Solo Exhibitions (or Selected Solo Exhibitions)

Comments: As you exhibit more, you may want to separate the categories and use both Solo Exhibitions and Group Exhibitions as headings. (If you include the separate heading Solo Exhibitions, it is not necessary to include the words "solo exhibition" at the beginning of the entry, as they are all solo.)
Solo Exhibitions
Comments: When listing solo exhibitions, begin with the italicized title of the exhibition (if applicable), then the name of venue, city, state, and country (if needed). If an exhibition catalogue accompanies the exhibition, it may be noted with "(catalogue)" placed at the end of the entry.

The CV serves as a record of all professional activities, so for those just beginning their careers, there is little need for the headings Selected Solo Exhibitions and Selected Group Exhibitions. However, as your career progresses, it is likely that you will use the Selected Solo Exhibitions.
Selected Solo Exhibitions

2004

Lee Hansley Gallery, Raleigh, NC

Comments: For artists in certain time-based media, an exhibition might be referred to as a screening. In that case, the category heading might read Exhibitions/Screenings or Exhibitions/Screenings/ Performances instead of Exhibitions or Exhibition Record. For performance artists, the heading Performances may be adequate. Depending upon the nature of the work, an artist may use any one or any combination of headings, such as Exhibitions, Screenings, Performances, Curatorial Projects, or Collaborative Projects.
Collaborative Projects
Comments: If you work in digital art, new media, video, performance art, or other collaborative projects (such as co-curating exhibitions), be sure to note whether or not the work is collaborative. Develop a simple and consistent method for identifying and crediting individual contributors, as well as clarifying your own contribution. One option is to list these under the heading "Collaborative Projects."

Group Exhibitions (or Selected Group Exhibitions)

Group exhibition entries should begin with the italicized title of the exhibition, name of gallery or venue, city, state, and country (if needed). If the exhibition has no formal title, but is a group exhibition, then you may list it under Group Exhibition (no italics). If a catalogue accompanies the group exhibition, this may also be noted with "(catalogue)" placed at the end of the entry.

With a juried or curated exhibition, you should list the name of the jurors or curators, their professional titles and institutions (if applicable), city, and state of their residence or work. This section may be of particular important if prominent jurors were involved. It is also worthwhile to provide information about the type of exhibition (e.g., juried vs. invitational) and any awards won.

Administrators who are unfamiliar with the visual arts may want to know if any of your exhibitions have been adjudicated or refereed. Refereed academic activities often carry more weight, especially if they are juried exhibitions that do not charge artists entry fees. However, "pay-to-play" exhibitions are far less prestigious and should not necessarily be listed on your CV once you have more prestigious shows to list.
Group Exhibitions
Comments: Consider separating the venue city and state from the curator or juror information with parentheses (for example). Remember to be consistent!

2011

Group Exhibition, Gallery A, Richmond, VA2008
Worlds Away: New Suburban Landscapes, Walker Art Center, Minneapolis, MN (catalogue)

Selected Group Exhibitions
Comments: You may choose to list awards won in juried exhibition competitions under "Exhibitions." It is acceptable to use bold text to highlight these awards. You may also choose to list these awards under the heading Awards. (See example below and under Awards/Grants/Fellowships in section 4, above.)

6. Commissions (if applicable)

Comments: Commissions, if numerous, may be divided into subcategories such as Public, Corporate, and Private.

7. Bibliography (Reviews/Articles/Catalogues/Interviews)

Comments: A bibliography in a CV or résumé consists of entries published about you and your artwork. These include reviews or articles (in print or online), books, catalogues, radio and television interviews, and photographic reproductions of your artwork.
Print Media
The Chicago Manual of Style is a good resource if you are in need of a style guide for listing articles and reviews, etc. The link below is useful in understanding how to format entries under the Bibliography heading, as well as those in Publications or Publications as Author.
http://www.chicagomanualofstyle.org/tools_citationguide.html

Daniel Mendelsohn, "But Enough about Me," New Yorker, January 25, 2010. 68.
Willard W. Wilson, "Sculpture Exhibition: Clinton Shows Region's Best," Syracuse Gazette,
Syracuse, NY, December 11, 1998. 42.
Utica Post, exhibition announcement with photograph, Utica, NY, Dec. 8, 1998. 12-18.
Diane Terrel, "New Work in Central New York," Sculpture 17, no. 1 (January 1998): 63.

Comments: The example (immediately above) refers to a review or article written by Diane Terrel in Sculpture magazine, volume 17, issue one, in January 1998, on page sixty-three. The Chicago Manual of Style recommends that the author's last name come before the first name in an alphabetical list-but since in a résumé or CV, bibliography and publication entries are listed in reverse chronology, rather than alphabetically, the preferred convention is to list the first name before the last name, as it is easier to read.
Radio/Television
Comment: You should document interviews and/or features about your work on radio or television and enter the following information on your CV or résumé.

Jane Williams, Interview, WUWJ Radio, Utica, NY, December 9, 1998.
John Doe, "Commissioned Artwork Arrives in Charlotte," WSOC-TV, Charlotte, NC, March 12, 1995.
Online Periodicals
Author's first and last name, "title of article," journal title in italics, volume, issue number (if available), date published, or accessed. DOI: or the URL

For online reviews or articles, etc., the following formats should be followed, including listing date of publication. (If the publication date is not available, date accessed should be listed.) The URL may be listed at the end of the entry, at the artist's discretion; however, links can break, and maintaining links requires upkeep.

Journals are increasingly assigning a DOI (Digital Object Identifier) to articles and reviews published online. Initiated by the International DOI Foundation (a not-for-profit member-based organization created in 1998), the DOI is an efficient means of identifying and managing digital entities. Designed not to "break" as some links do, the DOI is unique and remains unchanged even though the digital entity may move to different locations. See the Baylor University site for more information on locating a DOI. You may also find helpful information at the Purdue University Online Writing Lab (OWL) site.
To convert a DOI to a web address, add the following URL to the DOI: http://dx.doi.org/. Thus the example below becomes: http://dx.doi.org/10.4018/ijacdt.2012010103.

Patrick Lichty, "On Virtual FLUXUS," International Journal of Art, Culture and Design Technologies, 2(1),
(January-June 2012). DOI: 10.4018/ijacdt.2012010103
Eva Diaz, "Critic's Picks," Artforum, February 28, 2010. http://artforum.com/archive/id=25015
Jessica Lack, "Exhibition Preview: Omer Fast, London," The Guardian, October 2, 2009.
http://www.guardian.co.uk/artanddesign/2009/oct/03/art-preview-omerfast
Stuart Low, "Rochester Contemporary Art Center features exhibit of Alison Saar art," Rochester Democrat
and Chronicle, May 11, 2008. http://www.lalouver.com/html/saar_bio/rochester.html

Comments: If you are in need of a style guide for listing articles and reviews about you, consider using
The Chicago Manual of Style Online. http://www.chicagomanualofstyle.org/tools_citationguide.html

Website Publications (for images or text published on various websites about you and your artwork)

Author (if known), "title of web page," publishing organization or name of website, publication date (if available) or alternatively an access date. DOI: if available, or URL

Hooper Turner, "Artist Statement," Skidmore Contemporary Art, access date: February 2, 2012.
http://www.skidmorecontemporaryart.com/hooper-turner-about
"Image Credits," Smithsonian National Portrait Gallery, 2011. http://www.npg.si.edu/competition/site3/
about/image_credits.html
Blogs
Author, "title of blog entry," title of blog in italics, followed by "(blog)." date and time of blog entry. URL

Lee Rosenbaum, "Dorothy Kosinski, Phillips Collection's Director, Named to National Council on the
Humanities (plus some musings on NEA)," CultureGrrl: Lee Rosenbaum's cultural commentary (blog).
July 11, 2012. 11:52 am. www.artsjournal.com/culturegrrl
Selected Bibliography
When you have a large number of publications about your work on your CV, consider editing the list down to the most important and relevant for a "short CV"; title the category Selected Bibliography.

8. Publications as Author (or Published Writings, Critical Writings, Selected Publications as Author)

Comments: This category describes material that you have written. Artists who are also writers should use this category heading or something similar to distinguish it from the bibliography to list books, articles, etc., written by the artist. List any art related publications you have written here, including reviews, catalogue essays, blogs, etc. (See below.)

"A Day in the Life: Editing and Writing for the New Art Examiner," The Essential New Art Examiner, Terri Griffith, Kathryn Born, and Janet Koplos, eds. (DeKalb, IL: Northern Illinois University Press,
2011): 259-264.
"What does it mean to kill an animal in the name of art?," Quodlibetica, Constellation #5
Death, November 2009. www.quodlibetica.com/author/jestep/
"Pop Art and Vernacular Cultures," Modern Painters, October 2007. 105-106.

9. Lectures, Presentations, Workshops, (Critiques/Conferences/Symposia, etc.)

Comments: Depending upon the nature of the presentation, an artist may use any one or a combination of headings, such as: Visiting Artist Lectures, Lectures, Presentations, Panels, Workshops, Critiques, and Guest Lectures. For lectures at conferences, be sure to list the title of your paper or presentation, as well as the title of the session (in italics), title of conference or sponsoring institution, city, and state. Some universities like to see specific dates as well, which should be placed at the end of the entry.

2012

"Applying Relevancy," What Is Conceptual Thinking?, session chair and panelist,
sponsored by the Mid-America College Art Association, College Art Association
Annual Conference, Los Angeles, CA, February 23.

Comments: You may give a presentation or chair a panel at a conference. Many institutions value this kind of activity because it adds to the visibility of a department and institution, helps the faculty member network, etc. Do not list conferences attended; only list conferences if you presented a paper, chaired a panel, led a workshop, exhibited your work, etc.
Visiting Artist Lectures/Presentations/Critiques

2007

Lecture/Presentation, Graduate and Undergraduate Critiques, The Ernest G. Welch
School of Art and Design, Georgia State University, Atlanta, GA, March 21.

2006

Lecture and Graduate Critiques, Syracuse University, Syracuse, NY, November 15.

2005

Workshop, Colgate University, Hamilton, NY, April 28-30.

Comments: Giving a lecture or technical demonstration at another institution is an important activity. This is often done in conjunction with a solo show at an institution. Sometimes the visiting artist will be asked to conduct a critique as well. You should specify the type of activity at the beginning of the entry, along with the host institution, city, state, and date(s), as shown above.
10. Collections
Comments: If your work is part of a collection (private, public, institutional, corporate, museum, etc.), this should be included in your CV. Simply list the name of the collector, city, and state. If your list of collections is long, separate collections into subcategories such as Private, Public, and Corporate.

Agnes Gund, New York, NY
Hirshhorn Museum and Sculpture Garden, Washington, DC
The Progressive Art Collection, Cleveland, OH
The West Collection, Paoli, PA

Comments: List collections alphabetically under each category or subcategory. Because some private collectors often prefer to maintain privacy, it is best to ask for their consent before listing the names of private collectors of your work. A collection listing should only be used for high profile, public or corporate collections and very impressive private collections. (Some artists list friends and family members in this section when they should be omitted.)
11. Other Categories
There are a wide variety of professional activities that may require additional headings.

11.A. Artist Residencies (or Artist-in-Residence)

Comments: This category is sometimes combined with Awards Honors and Grants. It should not be confused with the heading "Visiting Artist Lectures." The major distinction is one of duration. This heading includes visits to universities where you are scheduled to conduct seminars, workshops, lectures, etc., over a period of several days, as opposed to residencies, which can last weeks, months, or years.

List the year, name of residency, institution (if applicable), city, and state, (and dates).

2012

MacDowell Colony, Peterborough, NH (June 1-September 30)

2010-11

Roswell Artist-in-Residence Program, Roswell, NM (December 1-November 30)

2009

McColl Center for Visual Art, Charlotte, NC (January 1-March 31)

2008

Omi International Art Center, Ghent, NY (July)

11.B. Professional Service (or Professional Activities/Service)

Comments: Most universities require a certain amount of service within the university and local community. This can be in the form of working on a committee, serving on a board, consulting for a public art project, assisting with a local art event, etc. (List year, title or role, organization, city, and state.)

2007-09

Co-Chair of Programming, ArtTable, New York, NY

1993-94

Board of Directors, Asheville Area Arts Council, Asheville, NC

11.C. Technical Abilities (or Technical Expertise, or Technical Skills)

Comments: It is highly desirable to list your technical skills somewhere in your cover letter, CV, or both. You might indicate the types of tools, machines, presses, computer technologies, processes, software, etc., that you know well enough to teach. (At the artist's discretion, such skills may be listed here or above under category 3, Professional Experience or Related Work Experience.)

2009-2011

Woodshop and Sculpture Technician, School of Art, Ohio University, Athens, OH
(extensive operational and safety knowledge of a variety of woodworking power tools,
such as: table, radial-arm, jig and band saws; planers; drills; routers, and sanders.)

11.D. Consultancies
Comments: If you served as a consultant to an art center, gallery, corporation, institution, etc., list it here.

2011

Consultant, Ann Arbor Public Art Commission regarding large-scale sculpture installation,
Ann Arbor, MI

2007

Consultant, Asheville Regional Airport Authority regarding new gallery design and
construction, Fletcher, NC

11.E. Professional Organizations (or Memberships, or Professional Affiliations)

Comments: It is important to list the professional organizations, to which you belong at the international, national, regional, and local levels. (These may be listed alphabetically.)

Black Mountain College Museum + Art Center, Asheville, NC
College Art Association (CAA), New York, NY
Foundations in Art: Theory and Education (FATE)
Museum of Modern Art (MoMA), New York, NY
Southeastern College Art Conference (SECAC)
11.F. Exhibitions Juried
Comments: On occasion you may serve as a juror or judge for an exhibition (university, grant, residency program, art association, etc.). Record the year, name of exhibition, venue (and institution, if applicable), city, and state. These may also be listed under "Professional Service" or "Professional Activities."

2010

Artist Studio Program, Smack Mellon, Brooklyn, NY

2009

North Carolina Arts Council, Individual Artists Fellowships, Raleigh, NC

11.G. Exhibitions Curated (or Curatorial Projects)

Comments: You may have the opportunity to select work for an exhibition that does not involve a blind jurying process. List the year (in reverse chronology), title of the show, venue, institution (if applicable), (e.g., university, museum, art center, etc.), city, and state. If you co-curated an exhibition, be sure to give credit to other curators.
11.H. Travel/Foreign Languages Spoken
Fluent in Spanish. Traveled to Barcelona and Madrid, Spain, in 2005.

12. Gallery Affiliation(s) (or Client List)

Comments: This category can be placed where appropriate, but it is usually found at or near the end of the CV. Some artists have careers that involve a close working relationship with a commercial gallery. Sometimes these working relationships are temporary or sporadic. List only galleries with whom you have current relationships. Many artists spend their entire career without representation, so this heading may not be necessary.
Gallery Affiliations
Mixed Greens, New York, NY
Tony Wight Gallery, Chicago, IL
OR Client List
Maryland State Department of Education, Baltimore, MD
The Children's Learning Center, Aspen Hill, MD
Comments: Designers may want to use a category such as Client List.
13. References
Comments: It is often helpful to list the names, titles, addresses, phone numbers, and email addresses of references at the end of the CV, or they might best be included on a separate page, behind a cover letter. These would usually be former teachers or other art professionals with whom you have worked. You should always get permission, by asking these individuals if they would be willing to serve as a reference for you, before placing them on your list.

For academic positions, a CV typically contains academic references (former professors or faculty colleagues, for example) but this may not always be the case. Other professionals in the field may sometimes prove to be better references. As with academic positions, applications for non-academic positions should include references who know you well, can attest to your strengths, and would be best able to articulate your qualifications for the position you seek. Non-academic references might include art professionals such as: gallery directors, museum curators, or other artists.

References:

Jane Doe, Chair and Professor of Art, Department of Art, XXX College, City, ST ZIP
Phone: 555.555.1212 Email: jane.doe@xxx.edu
John Doe, Faculty, XXXX College of Art, Printmaking Department, City, ST ZIP
Phone: 555.555.1212 Email: jdoe@xxxxcoa.edu
Morgan Doe, Associate Professor of Art, Art Department, University of XXXXX, City, ST ZIP
Phone: 555.555.1212 Email: mdoe@xxxxx.edu

Comments: List the name, title, institution, address, phone (office or referee's preferred phone number), and email address of each reference. A list of three to five references is typical, and the number is often specified in a position announcement. (It is advisable for emerging artists/professionals to include a list of references. However, depending on the specific purpose of the CV and the targeted audience, established artists/professionals often do not feel the need to include references.)

Authors and Contributors

Submitted to the CAA Professional Practices Committee, Jim Hopfensperger (chair), by the Ad Hoc Committee to Review Artist Résumé and CV Recommended Conventions: Robert Tynes, University of North Carolina, Asheville (chair); Karen Atkinson, California Institute of the Arts; Heather Bhandari, Mixed Greens, NYC; Jenna Frye, Maryland Institute College of Art; Ralph Gilbert, Georgia State University; Dennis Ichiyama, Purdue University; and Clarence Morgan, University of Minnesota.

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serving the visual arts community since 1911.

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CAA Guidelines | Standards & Guidelines | CAA

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Adopted by the CAA Board of Directors in February 1999; amended on October 28, 2012. The curriculum vitae conventions presented here are primarily for those with academic careers. Approaches to CV development can vary based on number of years in the field, area(s) of specialization, specified institutional formats, etc.

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String, Felt, Thread: The Hierarchy of Art and Craft in American Art

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String, Felt, Thread: The Hierarchy of Art and Craft in American Art

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The study of modern craft has only a few real stars, and none shine more brightly than Elissa Auther. Her innovative book is a challenge to more conventional histories of textiles and postminimal art alike, and an important contribution to feminist art history. Perhaps most important, String, Felt, Thread serves as the prehistory of our own cross-disciplinary movement. This is a book to be welcomed by historians, artists, and craftspeople alike.

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The study of modern craft has only a few real stars, and none shine more brightly than Elissa Auther. Her innovative book is a challenge to more conventional histories of textiles and postminimal art alike, and an important contribution to feminist art history.

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Black Pentecostal Breath: The Aesthetics of Possibility

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Black Pentecostal Breath: The Aesthetics of Possibility

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WINNER OF THE JUDY TSOU CRITICAL RACE STUDIES AWARD!

In this profoundly innovative book, Ashon T. Crawley engages a wide range of critical paradigms from black studies, queer theory, and sound studies to theology, continental philosophy, and performance studies to theorize the ways in which alternative or "otherwise" modes of existence can serve as disruptions against the marginalization of and violence against minoritarian lifeworlds and possibilities for flourishing.

Examining the whooping, shouting, noise-making, and speaking in tongues of Black Pentecostalism-a multi-racial, multi-class, multi-national Christian sect with one strand of its modern genesis in 1906 Los Angeles- Blackpentecostal Breath reveals how these aesthetic practices allow for the emergence of alternative modes of social organization. As Crawley deftly reveals, these choreographic, sonic, and visual practices and the sensual experiences they create are not only important for imagining what Crawley identifies as "otherwise worlds of possibility," they also yield a general hermeneutics, a methodology for reading culture in an era when such expressions are increasingly under siege.

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WINNER OF THE JUDY TSOU CRITICAL RACE STUDIES AWARD! In this profoundly innovative book, Ashon T. Crawley engages a wide range of critical paradigms from black studies, queer theory, and sound studies to theology, continental philosophy, and performance studies to theorize the ways in which alternative or "otherwise" modes of existence can serve as disruptions against the marginalization of and violence against minoritarian lifeworlds and possibilities for flourishing.

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Unbearable Weight: Feminism, Western Culture, and the Body

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Unbearable Weight: Feminism, Western Culture, and the Body

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" Unbearable Weight is brilliant. From an immensely knowledgeable feminist perspective, in engaging, jargonless (!) prose, Bordo analyzes a whole range of issues connected to the body-weight and weight loss, exercise, media images, movies, advertising, anorexia and bulimia, and much more-in a way that makes sense of our current social landscape-finally! This is a great book for anyone who wonders why women's magazines are always describing delicious food as 'sinful' and why there is a cake called Death by Chocolate. Loved it!"-Katha Pollitt, Nation columnist and author of Subject to Debate: Sense and Dissents on Women, Politics, and Culture (2001)

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"Unbearable Weight is brilliant. From an immensely knowledgeable feminist perspective, in engaging, jargonless (!) prose, Bordo analyzes a whole range of issues connected to the body-weight and weight loss, exercise, media images, movies, advertising, anorexia and bulimia, and much more-in a way that makes sense of our current social landscape-finally!

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The central argument of Chromophobia is that a chromophobic impulse - a fear of corruption or contamination through color - lurks within much Western cultural and intellectual thought. This is apparent in the many and varied attempts to purge color, either by making it the property of some "foreign body" - the oriental, the feminine, the infantile, the vulgar, or the pathological - or by relegating it to the realm of the superficial, the supplementary, the inessential, or the cosmetic.

Chromophobia has been a cultural phenomenon since ancient Greek times; this book is concerned with forms of resistance to it. Writers have tended to look no further than the end of the nineteenth century. David Batchelor seeks to go beyond the limits of earlier studies, analyzing the motivations behind chromophobia and considering the work of writers and artists who have been prepared to look at color as a positive value. Exploring a wide range of imagery including Melville's "great white whale", Huxley's reflections on mescaline, and Le Corbusier's "journey to the East", Batchelor also discusses the use of color in Pop, Minimal, and more recent art.

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The central argument of Chromophobia is that a chromophobic impulse - a fear of corruption or contamination through color - lurks within much Western cultural and intellectual thought.

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Staying with the Trouble: Making Kin in the Chthulucene

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Staying with the Trouble: Making Kin in the Chthulucene

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In the midst of spiraling ecological devastation, multispecies feminist theorist Donna J. Haraway offers provocative new ways to reconfigure our relations to the earth and all its inhabitants. She eschews referring to our current epoch as the Anthropocene, preferring to conceptualize it as what she calls the Chthulucene, as it more aptly and fully describes our epoch as one in which the human and nonhuman are inextricably linked in tentacular practices. The Chthulucene, Haraway explains, requires sym-poiesis, or making-with, rather than auto-poiesis, or self-making. Learning to stay with the trouble of living and dying together on a damaged earth will prove more conducive to the kind of thinking that would provide the means to building more livable futures. Theoretically and methodologically driven by the signifier SF-string figures, science fact, science fiction, speculative feminism, speculative fabulation, so far- Staying with the Trouble further cements Haraway's reputation as one of the most daring and original thinkers of our time.

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Staying with the Trouble: Making Kin in the Chthulucene (Experimental Futures)

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Staying with the Trouble: Making Kin in the Chthulucene (Experimental Futures) [Haraway, Donna J.] on Amazon.com. *FREE* shipping on qualifying offers. Staying with the Trouble: Making Kin in the Chthulucene (Experimental Futures)

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"After reading Teaching to Transgress I am once again struck by bell hooks's never-ending, unquiet intellectual energy, an energy that makes her radical and loving." -- Paulo Freire

In Teaching to Transgress,bell hooks--writer, teacher, and insurgent black intellectual--writes about a new kind of education, education as the practice of freedom. Teaching students to "transgress" against racial, sexual, and class boundaries in order to achieve the gift of freedom is, for hooks, the teacher's most important goal.

bell hooks speaks to the heart of education today: how can we rethink teaching practices in the age of multiculturalism? What do we do about teachers who do not want to teach, and students who do not want to learn? How should we deal with racism and sexism in the classroom?

Full of passion and politics, Teaching to Transgress combines a practical knowledge of the classroom with a deeply felt connection to the world of emotions and feelings. This is the rare book about teachers and students that dares to raise questions about eros and rage, grief and reconciliation, and the future of teaching itself.

"To educate is the practice of freedom," writes bell hooks, "is a way of teaching anyone can learn." Teaching to Transgress is therecord of one gifted teacher's struggle to make classrooms work.

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Teaching to Transgress: Education as the Practice of Freedom (Harvest in Translation)

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Teaching to Transgress: Education as the Practice of Freedom (Harvest in Translation) [bell hooks] on Amazon.com. *FREE* shipping on qualifying offers. Teaching to Transgress: Education as the Practice of Freedom (Harvest in Translation)

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"[T]he more radical the person is, the more fully he or she enters into reality so that, knowing it better, he or she can transform it. This individual is not afraid to confront, to listen, to see the world unveiled. This person is not afraid to meet the people or to enter into a dialogue with them. This person does not consider himself or herself the proprietor of history or of all people, or the liberator of the oppressed; but he or she does commit himself or herself, within history, to fight at their side."
― Paulo Freire, Pedagogy of the Oppressed

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"[T]he more radical the person is, the more fully he or she enters into reality so that, knowing it better, he or she can transform it. This individual is not afraid to confront, to listen, to see the world unveiled. This person is not afraid to meet the people or to enter into a dialogue with them.

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Really rich reflections on the imbrications of ontology and objecthood (the synthesis of the two is perhaps the ou-topos of drag, or celebrity). I found Cheng's juxtaposition of the yellow woman's synthetic personhood with Hortense Spillers's hieroglyphics of the flesh to be very productive. Nice psychoanalytic reading of the aesthetics of shine and radiance via Anna May Wong too. My only quibble is with OUP who should've done a better job laying out and selecting crisper images.

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Really rich reflections on the imbrications of ontology and objecthood (the synthesis of the two is perhaps the ou-topos of drag, or celebrity). I found Cheng's juxtaposition of the yellow woman's synthetic personhood with Hortense Spillers's hieroglyphics of the flesh to be very productive.

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Art in the Age of Mechanical Reproduction

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Art in the Age of Mechanical Reproduction

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We are Chicago’s source for art gallery news, events, and listings

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Resources for Everyone

Get the tools you need to succeed in your career. Explore our collection of resources for freelancers, business owners, design educators, students, in-house designers, and other design professions.

Visit the Resource Collection

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Get the tools you need to succeed in your career. Explore our collection of resources for freelancers, business owners, design educators, students, in-house designers, and other design professions. Visit the Resource Collection

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Artist Films Archive Whitechapel Gallery

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Artist Films Archive Whitechapel Gallery

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Artists ' Film International is a collaborative project featuring film, video and animation from around the world. Established by the Whitechapel Gallery in 2008, AFI includes 22 global partner organisations. Each organisation selects an exciting recent work by an artist from their region which is shared amongst the network.

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ART/WORK: Everything You Need to Know (and Do) As you Pursue your Art Career

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ART/WORK: Everything You Need to Know (and Do) As you Pursue your Art Career

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Find Out What They Didn't Teach You in Art School

The most comprehensive guide of its kind, Art/Work gives artists of every level the tools they need to make it in an art world so competitive one dealer likens it to "The Sopranos, except nobody gets killed." Whether you're an art school grad looking for a gallery, a mid-career artist managing a busy studio, or someone just thinking about becoming a professional artist, this indispensable resource will help you build your career and protect yourself along the way.

Unlike other creative professionals, visual artists don't have agents or managers. You have to do it all yourself, at least until you find gallery representation -- and even then, there are important business and legal issues you need to understand to stay in control of your career and ensure you're being treated fairly. Heather Darcy Bhandari, a gallery director, and Jonathan Melber, an arts lawyer, walk you through these issues so that you can essentially act as your own manager and agent. They show you, for example, how to tackle business basics such as tracking inventory and preparing invoices; how to take legal precautions like registering a copyright and drafting consignment forms; how to use promotional tools like websites and business cards; and how to approach career decisions such as choosing the right venue to show your work.

In addition to drawing on their own experiences, Bhandari and Melber interviewed nearly one hundred curators, dealers, and other arts professionals, in cities across the country, about what they expect from and look for in artists. The authors also talked to a host of artists about their careers and the lessons they've learned navigating the art world. The book is full of their entertaining anecdotes and candid advice.

No matter what kind of artist you are -- or want to be -- this book will help you. Art/Work covers everything you need to know to succeed, saving you from having to learn it all the hard way -- and letting you spend more time making art.

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Art/Work: Everything You Need To Know (And Do) As You Pursue Your Art Career

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Art/Work: Everything You Need To Know (And Do) As You Pursue Your Art Career [Bhandari, Heather Darcy] on Amazon.com. *FREE* shipping on qualifying offers. Art/Work: Everything You Need To Know (And Do) As You Pursue Your Art Career

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JSTOR helps the academic community use digital technologies to preserve the scholarly record and to advance research and teaching in sustainable ways.

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JSTOR helps the academic community use digital technologies to preserve the scholarly record and to advance research and teaching in sustainable ways.

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snaap is a national survey of alumni of art and design departments, schools and colleges. The survey collects feedback on alumni educational satisfaction and outcomes in their professional, creative and personal lives. For over a decade, snaap has collected and analyzed data from over 200,000 arts…

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The National Council of Arts Administrators is an organization whose primary purpose is to provide a forum for the exchange of ideas, the identification of problems, and the generation of shared solutions to the multitude of issues that confront arts administrators in higher education today.

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UK Moving Image opportunities, screenings, residencies 

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UK Moving Image opportunities, screenings, residencies 

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Connecting ideas, talent and finance to develop a pioneering creative culture that delivers success in film, television, animation, games and beyond.

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Berlin International Film Festival - official website

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CAA's philosophy is to create a lifetime context for thinking about a career, because a healthy working life is multifaceted and complex and involves more than one strategy to accomplish one's goals. CAA presents programs and services for members at all stages of their careers.

In addition to the online career center and opportunities listings CAA publishes Standards and Guidelines on such topics as conventions for résumés and CVs, tenure guidelines, etiquette for interviewers. CAA also offers programs at the Annual Conference including Professional-Development Workshops mentoring and portfolio reviews, mock interviews, and a job fair.

Online Career Center

The Online Career Center is the largest database of employment listings in the art and academic worlds. Job seekers may search listings and post their CV, and employers may submit classified advertisements and browse information about potential candidates. Other features allow schools and institutions to set up interviews at the CAA conference and elsewhere.
Find a Job Post a Job

Opportunities

CAA's Opportunities collects and publishes calls for entries and papers, conference notices, fellowship and grant opportunities, available internships, and more. New listings are posted daily; you may also submit your own.
Browse Opportunities

Careers at CAA

CAA is the organization supporting all professionals in the visual arts. Open positions and internship opportunities are listed on the website as they become available.

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serving the visual arts community since 1911.

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CAA's philosophy is to create a lifetime context for thinking about a career, because a healthy working life is multifaceted and complex and involves more than one strategy to accomplish one's goals. CAA presents programs and services for members at all stages of their careers.

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The Brooklyn Rail is a journal committed to providing an independent forum for visual arts, culture, and politics throughout New York City and beyond.

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Searching for the Perfect Artist Residency? A Young Artist Has Generously Compiled a Huge Google Doc of Everything You Need to Find It

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Everest Pipkin’s Big Artist Opportunities List is a shared Google Doc bursting with information on residencies, grants, and more.

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Call for Entries for Art and Photography USA and International Events

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Artist-in-Residence position - Amherst College

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The Artist-in-Residence 2022-2023 Academic Year Position: Possibilities include sculpture, painting, printmaking, photography, installation, film/video, time-based media, performance, and mixed media work, among other media.

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Netvvrk (pronounced Netverk) is a supportive community of ambitious artists working to realize their goals. We teach artists how to gain exposure, recognition and payment for the valuable work they do through group coaching, studio critiques, and resource sharing.

You can join at any point in your career. We tailor our program to support emerging, mid-career, and established artists alike.

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The art industry is fucked up. Let's beat the system together. Get more shows, connect with ambitious artists, curators and gallerists like yourself, and build a life that allows you to spend more time doing what you love in the studio.

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TransCultural Exchange's
2022 International Conference on Opportunities in the Arts: Create the Future

Conference Focus: Supporting Working Artists Now

Proposal Deadline: December 1, 2021
Conference Dates: November 4-6, 2022
Location: Boston, Massachusetts
Academic Host: Colleges of the Fenway

Important Note: If meeting in-person is unsafe in November 2022, the Conference will be postponed to 2023 with an announcement made to this effect in late Spring of 2022.

Overview
Some of the things that we call art today would barely be recognizable as such a hundred - or even fifty - years ago. More artists are working collaboratively than ever before - sometimes embedded in labs, sometimes exploring new fields of research and technologies and, often, willingly engaging the public in ways never-before imagined. In the arts, as in many fields, diversity, along with climate and social justice are a constant rallying cry. How can we best support these goals? Especially, at a time, when resistance to these ideals are growing, when countries are looking inward, our planet is shrinking and cultural exchange is on the wane.

TransCultural Exchange takes up this challenge with its 2022 International Conference on Opportunities in the Arts: Create the Future. During three inspiring days, the Conference will explore ways to support the working practices of artists today within and beyond their disciplines - their pressing needs and challenges. Innovative strategies will be presented and discussed; international programs will showcase their opportunities; new technologies and working methods will be unveiled. Attendees will be encouraged to meet each other by way of roundtable discussions, workshops, Pecha Kucha pitches, portfolio reviews, receptions and tours of local attractions.

Submission Guidelines

Proposals need not conform to traditional panel formats. Papers can be submitted for consideration as individual (15-20 minute) presentations or panel discussions. They can also be submitted as Pecha Kucha sessions, small workshops, demonstrations or round tables on narrower focused topics, such as ones that encourage participants to share new techniques, or teach relevant online tools, archival methods or grant writing skills. The guidelines for each format are listed below, followed by what is required for each proposal.

Papers - Individual and/or Panel Sessions
Papers can be submitted as stand-alone, 15- 20-minute presentations or as 2-hour panel sessions (including time for a question and answer period). Please note that proposals for panel sessions need to include the names and bios of all the panelists.

Scope of Proposal Panel Topics
Given that a key aim of the Conference is to support international exchange among artists and those who support them, the Conference Committee is keenly interested in receiving presentations that promote such opportunities, especially in light of the COVID-19. For instance, speakers might introduce various international residencies and their continued benefits for exchange, offer practical advice (on such topics as funding resources, the use of new and/or sustainable technologies or other issues related to maintaining a studio practice today), address the growing field of social, environmental or political artistic interventions or promote collaboration across disciplines, including medicine, public health, diversity studies, architecture, conservation and engineering.

Presentations on current trends in art and ways to address the new pressures international exchange faces are also encouraged. Below are a few examples:

* The changing nature of residencies and other opportunities for exchange
* What pandemics like COVID-19 can teach us
* How to sustain inter-cultural dialog in periods of social distancing
* Responsible exchange and art-making in the face of climate change
* Cultural diplomacy in an increasingly nationalized world
* Cultural appropriation: The role and responsibilities
* Take-aways from how various countries' support their artists
* University art programs as the new Medicis of artistic patronage
* The challenges and benefits of artists working across disciplines
* Negotiating the studio-to-gallery-to-museum career model
* Innovative artist DIY strategies for alternative practices
* Ways to re-engage art criticism in the age of selfies and personal blogs
* Strategies for greater inclusivity and diversity in the arts
* Interactivity and public engagement's impact on artistic creation
* Digitalization's effect on art production and life experiences
* The PhD in the arts and its implications

Although proposals do not have to address one of the themes above, they should address the overall Conference's aim. (In the past, for instance, proposals on topics by researchers from other fields, wishing to engage with artists, were among the most popular.)

Round Table Discussions
Round Table Discussions that adhere to the Conference theme can be submitted, keeping in mind that these discussions should be limited to 60 minutes and serve approximately 10-25 participants.
Workshops and Demonstrations

A number of small, classroom-sized settings will be available for workshops and demonstrations. (Some examples of this type of programming could be a 3-D printing or water-jet cutting demonstration.)
These proposals must clearly state
1) if a workshop or demonstration space is needed;
2) what the interactive or instructional nature of the demonstration is;
3) who the target audience is;
4) what the desired presentation time is. (These sessions can be 30 minutes or 1 - 2 hours long.)

Pecha Kuchas
These 3-minute talks can be treated as a Power Point, video or other short format presentation. They are ideally suited to organizations that serve artists-such as artist-in-residences-to quickly promote/pitch their programs to the Conference's large number of artist attendees. All Pecha Kucha presenters are also asked to conduct one set of portfolio reviews. (A set consists of six, 20-minute private meetings for questions and answers from an individual artist - for a total of 2 hours.) This gives the attendees a chance to have additional one-on-one time with the presenters.

Submission Requirements
Prospective panelists must submit their proposals to TransCultural Exchange's Conference Chair by email at conference@transculturalexchange.org with 2022 Conference in the subject line.
Each proposal must include:
1. The title of the proposal.
2. The proposal type (single paper, panel discussion, workshop, demonstration or Pecha Kucha presentation).
3. A one-sentence proposal summary (30-word limit).
4. A 200-word (maximum) proposal description. This description will serve as the presentation abstract (which may be revised prior to the Conference brochure's publication).
5. A short biography for each speaker, noting qualifications and organizational or institutional affiliations. (Biographies must be limited to no more than 150 words.)
6. A photo(s) of the presenter(s) submitted as a jpeg (300 dpi).

These materials will be used to judge the proposal and-if the proposal is accepted-serve as the online and Conference brochure content for the proposal's presentation.

All proposals must be submitted in English.

Selection Criteria
The Conference Committee will make its selections on the basis of the proposal's merit and advancement of the Conference's stated aims. When similar proposals are submitted, TransCultural Exchange reserves the right to select, in its sole discretion, the panel that best suits the overall needs of the Conference's goals or to propose a merged panel, combining the components of each proposal. All decisions are final.

Relevant Deadlines
Deadline for Proposal Submission: December 1, 2021
Conference Committee Decisions Emailed: December 30, 2021
Presenters' Final Confirmation Due: February 15, 2022
Online Schedule and Conference Registration Announced: April 5, 2022
Conference on International Opportunities in the Arts: Create the Future Dates:
November 4-6, 2022

Registration
Conference registration, reception costs and the cost of the gala dinner are waived for all Conference presenters.

Airfare and accommodations are not covered; however, letters of invitation for accepted presenters will be provided to help presenters secure outside funding.

For those speakers who are not affiliated with a college, university, museum or for-profit institution, TransCultural Exchange also offers a limited number of travel grants: Thanks to the generosity of Mrs. Marlene Ghormley, five $800 grants are available to international speakers; and four $250 travel grants, given in memory of TransCultural Exchange's founding board member Betsy Carpenter, are available to North American presenters. To request such funding, please enclose a statement of need and rationale along with your proposal.
Please note that some U.S. states, such as California, offer professional development grants to arts professionals to attend conferences; and that conference costs are often tax-deductible as professional development fees. Please consult your State or local Arts & Cultural Office or tax adviser for additional information.

Submission Questions? Email conference@transculuralexchange.org.

For more information on how to submit a proposal, please visit
http://www.transculturalexchange.org/2021-conference/general.htm

For examples of past proposals and abstracts please visit:
http://www.transculturalexchange.org/2018-conference/abstracts.htm

For an overview of the Conference, please visit
http://www.transculturalexchange.org/2021-conference/overview.htm

To sign up to be notified about Conference scholarships and Discount Registration deadlines please go to:
http://www.transculturalexchange.org/2021-conference/overview.htm

Other Useful Information:
TransCultural Exchange is pleased that Colleges of the Fenway will be the Conference's lead Conference host and site for most of the Conference activities. Colleges of the Fenway is a collaborative effort of five neighboring Boston-based colleges in the Fenway area - home also to the Isabella Stewart Gardner Museum and the Museum of Fine Arts, Boston - including Emmanuel College, MCPHS University, Simmons University, Wentworth Institute of Technology and the nation's oldest, and only free-standing, publicly funded art college, Massachusetts College of Art and Design. This collaboration was created to add value to student academic and social life while seeking innovative methods of investing in new services and containing the costs of higher education. Cross-registration between the Colleges of the Fenway enables students to take courses that may not be offered at their home institution, in addition to the chance to access unique academic minors. Collectively, the colleges represent more than 12,000 undergraduate students, comprising 16.2% of the total Boston population of undergraduates attending four-year colleges, more than 700 full-time faculty and 2,300-course offerings.

As in the past, the Conference also will include tours and activities throughout the city of Boston as well as the neighboring city of Cambridge's institutions, including MIT, Harvard and swissnex Boston.

Why TransCultural Exchange as the Conference Producer:
TransCultural Exchange is a 501(c)(3) non-profit organization whose mission is to foster a greater understanding of world cultures through high-quality art projects, cultural exchanges and educational programming, most notably, our International Conference on Opportunities in the Arts. TransCultural Exchange's three-decades of service in the field of cultural exchange, across various disciplines has resulted in a large and loyal global network, ensuring the success of its projects. These efforts have earned the organization considerable acclaim, support and awards from institutions such as the Northeast Chapter of the International Art Critics Association (AICA), United Nations Educational, Scientific and Cultural Organization (UNESCO), National Endowment for the Arts (NEA), Massachusetts Cultural Council, Boston Cultural Council, Asian Cultural Council, Elizabeth Firestone Graham Foundation, Boston Foundation, swissnex Boston, the Netherland-American Foundation, among many others.

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transcultural exchange official website. art

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About the Creative Capital Award | Creative Capital

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Our pioneering venture philanthropy approach helps artists working in all creative disciplines realize their visions and build sustainable practices.

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Global residencies | Global art foundations

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Global residencies | Global art foundations

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Foundation Highlights - World Art Foundations

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Every month we focus on three of our members: we share with you their unique story, mission, art collections as well as public programme. Join our mailing list and follow our social media channels to receive these unique insights and ...

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Sixty welcomes writers and artists of all experience levels to pitch ideas for traditional and experimental arts writing around topics, and practices that are relevant to the cultural landscapes of the Midwest. Priority will be given to writing by, about, and for BIPOC and LGBTQIA+ artists, artists with disabilities, and the long list of writing, art-making, and cultural practices that have been neglected in...

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Film opps and screenings | Experimental Cinema.org

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Film opps and screenings | Experimental Cinema.org

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News and resources on experimental films

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UK based documentary festival. Provides wonderful and affordable virtual short courses. 

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UK based documentary festival. Provides wonderful and affordable virtual short courses. 

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Celebrating the art of non-fiction, Open City Documentary Festival creates an open space in London to nurture and champion the art of creative documentary and non-fiction filmmakers.

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Studio practice and artwork about studio practices from Collezione Maramotti

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Studio practice and artwork about studio practices from Collezione Maramotti

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https://youtu.be/SdeBGJTeg1c

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School Watch presents critical perspectives on art and academia. Featured profiles, surveys, and dialogues consider education in fine art, curating, and critical theory, as well as the ideas and conditions that influence practice.

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School Watch presents critical perspectives on art and academia. Featured profiles, surveys, and dialogues consider education in fine art, curating, and critical theory, as well as the ideas and conditions that influence practice.

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School Watch presents critical perspectives on art and academia. Featured profiles, surveys, and dialogues consider education in fine art, curating, and critical theory, as well as the ideas and conditions that influence practice.

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Office Hours is a new questionnaire series that gathers insights on teaching from artists. In response to ten prompts, educators reflect on the discourses and approaches that animate their teaching, share their visions for the future of art education, and offer advice for students navigating the field of contemporary art.

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Office Hours is a new questionnaire series that gathers insights on teaching from artists. In response to ten prompts, educators reflect on the discourses and approaches that animate their teaching, share their visions for the future of art education, and offer advice for students navigating the field of contemporary art.

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1. Why did you decide to go into teaching?
Teaching was a way to earn a living that intersected with and was supported by my own artwork. I've grown to appreciate that the conversation supported by the University of Chicago embodies values that are distinct from those of the commercial art world; the intersection of the two yields richness not found in either alone.

2. What drew you to your school and what is your teaching philosophy?
The quality of dialogue brought me here, together with a warm collegial sprit and my colleagues' care for teaching.

I hope to help students understand that the ball is in their park. Together, we look at art history and contemporary art to develop an understanding that the art landscape is one where each of us is empowered to make a difference.

3. What theory and art history do you consider most essential for your students? What artist or artwork do you refer to most often?
A moving target! I like to share the words of artists and creative writers with students, and I find it important for artists to be aware of context, so I often share with them the writings of Brian O'Doherty, Miwon Kwon, and Charlotte Klonk.

4. How do you navigate generational or cultural differences between you and your students?
I expect-and hope-that there will be difference, as the difference between us in the classroom creates space for all to learn. I try to initiate conversations that engage with the work that each student brings to class, and in this way, the students have a hand in driving the focus of the class.

5. What changes would you like to see in art education?
It would be great if there was more funding for MFA students so that we could engage more students from less affluent backgrounds in our programs and launch artists into the world unburdened by debt.

6. What is your educational background? Did you arrive at art from another field?
I aimed toward being an artist when I was a teenager-I don't know exactly why! That said, I was happy to study art in universities. Art is always made in relation to something in the world, and universities cast a wide net. This, I think, allows artists to bring all kinds of subjects into our work.

7. How have recent cultural movements and activism informed your curriculum?
Our curriculum has always been open to engaging the currents of the moment. We continue to listen to and engage with what our students tell us about their experiences. We continue to ask a lot of questions!

8. How much structure or independence do students have in your courses?
That depends on the level of the course. There is more structure for foundation classes and much less structure in more advanced courses. Art-making is an activity where free will can be recognized.

9. How does the program connect students to the surrounding art scene? How do they learn outside the classroom?
Chicago is a lively place, and the University of Chicago has many venues where artists and thinkers from the city are invited to participate in dialogue. The MFA students here sometimes organize critiques together with other MFA programs in the city. There are multiple avenues here in Chicago for interested artists to engage the city.

10. What advice do you give to your students as they leave school and enter the field?
Don't lose track of what you value and stay open to what comes your way.

Jessica Stockholder was born in 1959 in Seattle, Washington, raised in Vancouver, Canada, and currently lives in Chicago, where she teaches at the University of Chicago. Her work is represented in the permanent collections of numerous museums including the Vancouver Art Gallery, Whitney Museum of Art, New York; Art Institute of Chicago; Museum of Contemporary Art, Los Angeles; San Francisco Museum of Modern Art; the British Museum, London; and Stedelijk Museum, Amsterdam. Drawing attention to ordinary everyday materials, Stockholder engages the sensuality and pleasure evoked by color and formal order in an effort to call attention to the edges of understanding. She orchestrates an intersection of pictorial and physical space, probing how meaning derives from physicality.

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Office Hours: Jessica Stockholder: University of Chicago Department of Visual Arts - School Watch - Art & Education

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1. Why did you decide to go into teaching? Teaching was a way to earn a living that intersected with and was supported by my own artwork. I've grown to appreciate that the conversation supported by the University of Chicago embodies values that are distinct from those of the commercial art world; the intersection of the two yields richness not found in either alone.

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The Chicago Arts Census is the first comprehensive, cross-discipline data collection effort in the city created by and with the art workers of Chicago. The Census is built to amplify our voices as art workers in Chicago, serve as an advocacy tool fighting for better working, living, and making conditions, and create opportunities for coalition-building across the art sectors of Chicago.

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Creative Capital resources: Jobs and opportunities

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Creative Capital resources: Jobs and opportunities

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Funding the creation of groundbreaking art since 1999.

Visual Arts

Jennie C. Jones' Counterpoint investigates African-American modes of formalism at mid-century, with an emphasis on the contributions of composer and pianist John Lewis. Explore more visual arts projects.

Literary Arts

The Rough by Arturo Vidich focuses on a queer pirate radio operator who travels to the Russian Steppe to broadcast banned literature for a troop of anti-Soviet pranksters. Explore more literary arts projects.

Technology

Changing Same: An American Pilgrimage uses immersive virtual reality in a room-scale installation to take users on a journey to witness the historical experiences of racial injustice. Explore more technology art projects.

Moving Image

How to build a wall and other ruins by Karina Aguilera Skvirsky is a video installation that looks at engineering feats of the Inca to insert the body into an archeological site. Explore more moving image projects.

Creative Capital is a 501(c)(3) nonprofit organization whose mission is to fund artists in the creation of groundbreaking new work in the visual arts, performing arts, literature, film, technology, and multidisciplinary practices, including socially-engaged work in all forms. Our pioneering model of grantmaking also provides thousands of artists with scaffolding and infrastructure support via professional development programs, networking opportunities, and educational resources.

Read about our upcoming award cycle.

Support all of our efforts that help artists develop thriving practices and amplify the power of creative communities across the country.
Join Us

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Creative Capital Foundation is a 501(c)3 organization supporting individual artists.

2021 Creative Capital. All rights reserved. Website: CHIPS

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Funding the creation of groundbreaking art since 1999. Visual Arts Jennie C. Jones' Counterpoint investigates African-American modes of formalism at mid-century, with an emphasis on the contributions of composer and pianist John Lewis. Explore more visual arts projects.

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Chicago Artists Resource

has a new home

We remain committed to sustaining vibrant and accessible artistic communities in Chicago by offering CAR's online resources on the Chicago Artists Coalition site. Users can still post and find calls for artists, job opportunities, and available art studio space. Emerging artists, curators, and businesses can also learn more about CAC grants and art advising services.

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Chicago Artists Resource has a new home We remain committed to sustaining vibrant and accessible artistic communities in Chicago by offering CAR's online resources on the Chicago Artists Coalition site. Users can still post and find calls for artists, job opportunities, and available art studio space.

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Reviews

Thanks Lisa! Wow. I found this class very inspiring and exciting. Besides the logging and planning parts that really amuse me in general, I found the idea of setting boundaries and working while keeping distractions in check quite revolutionary. I can see how working focused on x thing for a period of time over several days can work wonders in completing projects. Super recommended.

I just love love love this system(s) AND the fact that Lisa explains them so clearly -and leaves the space to each of her students to "be creative" and adapt the system to your own way of working too. I found this course right on time in my life where i needed to clean out things, become more efficient and calmer too. I think Lisa's systems are indeed a perfect way to calm down any anxieties caused by too much / too few work, overwhelm and such... THANK YOU Lisa, merci beaucoup !

Awesome class. Lisa is very generous in sharing a very useful system that has helped her turn her creative gifts into things that we can all enjoy. I am already starting to use it and to see the benefits. It helps me "trap" all the disparate initiatives that I am working on in one place and make progress on them. Thank you Lisa!

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Workflow, Time Management and Productivity for Creatives with Lisa Congdon | CreativeLive

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Reviews Thanks Lisa! Wow. I found this class very inspiring and exciting. Besides the logging and planning parts that really amuse me in general, I found the idea of setting boundaries and working while keeping distractions in check quite revolutionary.

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How this Fiscally Sponsored project utilizes public art to encourage community and spur conversation. Art on the Avenue (Art on the Ave) activates the streetscape by turning vacant storefronts into street-facing galleries displaying work by underrepresented voices. The project, which is Fiscally Sponsored by NYFA, was conceived in June 2020 by teachers Barbara Anderson and...

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The Music Residency provides musicians and sound artists with the exclusive use of a professional recording studio. Residents work independently or with the support of an in-house audio engineer to create and record new work free from commercial constraints over the course of a month.

Location: Brooklyn, NY

Deadline: September 30

Residency Period: One month, rolling

Millay Arts Core Residency
The historic Core Residency program, offered free-of-charge (application fee of $40) includes a creative cohort of 6-7 other residents, private bedrooms and studios, shared living/dining/kitchen/bathrooms, laundry room, workstation, B&W darkroom, and use of the Alumni and Nancy Graves Memorial libraries; in addition, groceries and chef-prepared communal dinners are provided. Several fellowships available.

Location: Austerlitz, NY

Deadline: October 1, 2021

Residency Period: 3 ½ weeks through May-July, 2022

The dots between Fellowship

The dots between is a six-month virtual fellowship aimed at helping artists gain financial literacy. The fellowship offers $500 and is open to artists in any discipline who are based in Colorado, New Mexico, Arizona, and Texas.

Location: Santa Fe, NM

Deadline: October 1, 2021

Residency Period: November 2021-May 2022

Early-career artists, curators, and producers based in the UK can apply for this fund to strengthen existing or start new collaborations after the isolating impact of Covid-19. Awards worth £2,000 will help artists connect, develop their work, and generate new ideas.

Location: United Kingdom

Deadline: October 4, 2021

Mirante Xique-Xique Research Residency

This residency program is geared toward visual artists, curators, writers, architects, cooks, environmentalists, and academics who are interested in living, creating, or having an immersion experience in the Chapada Diamantina. The program is research-oriented, and it welcomes those who can establish their own working conditions in the area.

Location: Chapada Diamantina, Brazil

Deadline: October 10, 2021

Art Omi has five residency programs for artists (of all disciplines), writers, dancers and choreographers, architects, and musicians and composers. The program is located in the historic Hudson River Valley.

Location: Ghent, NY

Deadline: October 15, 2021

Dresher Ensemble Artist Residency

This residency supports artists in Northern California who are in their early to mid-career stage with free studio space and up-to-date equipment to create new work in the time-based arts such as theater, performance, dance, movement, music, sound art, instrument invention, as well as collaborative and interdisciplinary work. Artists also receive a stipend of up to $1,500.

Location: San Francisco, CA

Deadline: October 29, 2021

The 2021 FORGE Fellowship invites individual makers and small teams (of no more than three) at any point in their career or process to spend a year (February through January) digging in, getting curious, and defining success. Learn to articulate your work to fellow innovators, concoct creative solutions to today's conundrums, and retrofit your process with guidance from FORGE and leaders in your field.

Location: New York, NY

Deadline: November 1, 2021

Residency Period: February 1-January 31, 2021

Yaddo is a retreat for artists located on a four-hundred-acre estate in Saratoga Springs, New York. Its mission is to nurture the creative process by providing an opportunity for artists to work without interruption in a supportive environment.

Location: Saratoga Springs, NY

Deadline: January 5, 2022

About 300 artists in seven disciplines are awarded fellowships each year and the sole criterion for acceptance is artistic excellence. There are no residency fees. Travel grants as well as need-based stipends are available to open the residency experience to the broadest possible community of artists. Artists with professional standing in their fields, as well as emerging artists, are eligible to apply. MacDowell encourages artists from all backgrounds and all countries in the following disciplines: architecture, film/video arts, interdisciplinary arts, literature, music composition, theatre, and visual arts.

Location: Peterborough, NH

Deadline: February 10, 2022

Residency Period: September 1, 2022-February 28, 2023

NES Artist Residency was founded in March 2008 in Skagaströnd, a small town in northwest Iceland. The first artists in residence arrived in June of that year. As one of the largest residencies in Iceland, NES currently hosts between 90-120 artists per year. NES provides artists with a workspace and living quarters within Skagaströnd, and the freedom to create as they wish.

Location: Skagastönd, Iceland

Deadline: Rolling

Rauschenberg Emergency Grant

NYFA and the Rasuchenberg Foundation have teamed up to offer visual and media artists and choreographers in the US grants of up to $5,000 for medical related emergencies.

Deadline: Rolling
Stochastic Labs Summer Residency
Stochastic Labs awards fully sponsored residencies to exceptional engineers, artists, scientists, and entrepreneurs from around the world. Residencies are of variable length and include housing, work space, and equipment; a $1,000 monthly stipend; and a budget for materials.

Location: Berkeley, CA

Deadline: Rolling
Photo Green Book Residency
This inaugural residency seeks artist scholars interested in engaging to conduct research and resource building that benefits the "People of the Global Majority" working within lens based mediums. Residents will receive a $500 stipend, scholastic and professional development, and more.

Deadline: October 1, 2021

The Artadia Awards provide financial support, exposure and recognition to artists in Atlanta. The awards are unrestricted, allowing artists to use the funds in any way they choose.

Location: Atlanta, GA

Deadline: October 1, 2021

Craft Research Fund Artists Fellowship

This fellowship awards $20,000 to two artists to support research projects that advance, expand, and support the creation of new research and knowledge through craft practice. There is a $15 application fee.

Deadline: October 4, 2021

Foundwork Artist Prize

For the first time, Foundwork will award two artists unrestricted $10,000 grants and studio visits with each of the distinguished jurors.

Deadline: October 10, 2021

Collective Imagination for Spatial Justice Grant

NEFA's grants ranging from $2,000 to $5,000 support Massachusetts-based imagination teams that are dreaming up public art that can help us see, feel, experience, and imagine justice now without the pressure of having to predetermine a project that may come out of the imagination stage.

Location: Massachusetts

Deadline: October 18, 2021

Public Art for Spatial Justice Grant

NEFA's Public Art for Spatial Justice grants, worth $5,000 to $15,000, support Massachusetts artists and artistic collaborations to create public art in Massachusetts that fosters public imagination and contributes to more just futures for our public spaces and public culture.

Location: Massachusetts

Deadline: October 18, 2021

Recharge New Surrealist Prize

This $7,000 award by the Recharge Foundation was created for painters living in the United States who are working in the New Surrealist style.

Deadline: October 19, 2021

Artistic Production Grant

VIA Art Fund is accepting letters of inquiry (LOIs) for their Artist Production grant program. The grant awards individual artists, nonprofit organizations, and institutions $25,000-100,000 in support of new artistic commissions that take place outside museum or gallery walls, within the public realm, or in nontraditional exhibition environments. Project must have a confirmed exhibition venue.

Deadline: October 25, 2021
The Hopper Prize
The Hopper Prize seeks to create new relationships between artists, curators, writers, and collectors in addition to providing unrestricted cash awards to artists. The Hopper Prize network reaches professionals who are committed to supporting the field of visual arts. Support from The Hopper Prize makes it possible for artists to fully realize their creative expression while reaching new curatorial audiences, collectors, writers, and advisors.

Deadline: November 15, 2021

Women's Studio Workshop Artist's Book Residency

The Artist's Book Grant is a six- to eight-week residency for artists to produce a limited edition book work. Working intensively in their studios, artists print and bind their own books and are encouraged to create an edition size no larger than 100 and no smaller than 50. The grant includes a stipend of $350 per week, up to $750 for materials, up to $250 for travel within the Continental US, free onsite housing, and 24/7 studio access. WSW can provide technical advice; training on new equipment, techniques, and materials; and production assistance.

Location: Rosendale, NY

Deadline: November 15, 2021

Atlantic Center for the Arts

Atlantic Center for the Arts is an innovative nonprofit artists-in-residence program that provides artists with an opportunity to work and collaborate with some of the world's masters in the visual, literary, and performing arts. Since the program began in 1982, over 3,500 artists have been served from the US and around the world. Due to COVID-19 and the immense stress it has put on artists, ACA is offering FULL scholarships to all accepted artists.

Location: New Smyrna Beach, FL

Deadline: December 5, 2021

Residency Period: May 15-June 04, 2022

Center for Book Arts Curatorial Proposal for Main Gallery Exhibitions

Curators and artists are invited to submit Main Gallery exhibition proposals at The Center for Book Arts. They are seeking proposals that elaborate, challenge, and contribute to the artistic, theoretical, historical, and contemporary aspects of Book Arts. The selected curatorial projects will be given access to the Center's resources such as the archive and collection artworks, as well as administrative support during the curation process. In addition, the curator will be awarded a $3,000 honorarium; an honoraria budget to divide amongst participating artists and program speakers; and a budget for production, including an exhibition catalog.

Location: New York, NY

Deadline: January 15, 2022

Virginia A. Groot Foundation

The Virginia A. Groot Foundation offers three grants (up to $50,000, $20,000, $10,000) to artists who have exceptional talent and demonstrated ability in ceramic sculpture or sculpture. Artists may be at any stage of career development, from emerging to mature. Applicants must be 21 years or older at the time of the application deadline.

Deadline: February 1, 2022

Light Work Artist in Residency Program

Each year Light Work invites 12-15 artists to participate in its residency program, including one artist co-sponsored by Autograph ABP and one artist commission for Urban Video Project (UVP). Artists selected for the residency program are invited to live in Syracuse for one month. They receive a $5,000 stipend, an apartment to stay in, a private digital studio, a private darkroom, and 24-hour access to our facility. Applications are open to all artists working in photography or image-based media.

Location: Syracuse, NY

Deadline: July 1, 2022

Athena Standards Residency

The Athena Standards Residency is a month-long studio artist residency program in the bustling metropolis of Athens, Greece. The In-Studio Residency program provides the artist with an open format studio in an expansive, repurposed commercial building and shared housing with another residency artist in proximity to the studio. Professional development is integral to the Athena Standards Residency program; artists work closely with Art Historian and Curator Elizabeth Plessa to fully experience the Athenian Art scene and all it has to offer.

Location: Athens, Greece

Deadline: Rolling

Foundation for Contemporary Arts Emergency Grant

Do you have an unanticipated opportunity to present your work? Did you incur an unexpected expense that you didn't budget for? The Foundation for Contemporary Arts offers Emergency Grants between $200 and $2,500 for visual and performing artists. They review applications once a month, so you can quickly take advantage of momentum or solve any budget errors.

Deadline: Rolling

Gottlieb Emergency Grant Program

This emergency grant provides financial assistance to painters, printmakers, and sculptors whose needs are the result of an unforeseen incident, and who lack the resources to meet that situation.

Deadline: Rolling
Squeaky Wheel Workspace Residency
Squeaky Wheel's Workspace Residency is a project-based residency for artists and researchers working in media arts. Offered twice per year, the residency is open to applicants from Buffalo and across the United States who are seeking resources, time, and support for ongoing projects or the creation of new work.

Location: Buffalo, NY

Deadline: October 15, 2021
Red Hen Press Fiction Award
Established in 2015 to nurture the unique and vibrant channels through which fiction has carried us, the Red Hen Press Fiction Award is for a previously unpublished fresh and original work of fiction, either a novel or short story collection, with a minimum of 150 pages. The awarded manuscript is selected through an annual submission process which is open to all authors.

Deadline: October 1, 2021

Wilkes University - James Jones First Novel Fellowship

The James Jones First Novel Fellowship was established in 1992 to "honor the spirit of unblinking honesty, determination, and insight into modern culture as exemplified by (the writings of) James Jones." Jones was the author of the National Book Award-winning novel From Here to Eternity as well as the novels Some Came Running and The Thin Red Line. It is awarded to a North American author of a first novel-in-progress.

Deadline: October 1, 2021

Lexi Rudnitsky Editor's Choice Award

Held annually in memory of poet Lexi Rudnitsky (1972-2005), the Editor's Choice Award is open to any American citizen living anywhere in the world, or anyone living in the United States regardless of residency status, with at least one previous collection of poems. The winner receives publication and $2,000.

Deadline: October 31, 2021
Quill (Queer) Prose Award
Founded in 2015 by Tobi Harper of Red Hen Press, Quill seeks to publish quality literature by queer writers.

The Quill Prose Award is for a work of previously unpublished prose with a minimum of 150 pages by a queer (LGBTQIA+) writer.

Deadline: October 31, 2021

American-Scandinavian Foundation

The American-Scandinavian Foundation (ASF) offers fellowships (up to $23,000) and grants (up to $5,000) to individuals to pursue research, study or creative arts projects in one or more Scandinavian country for up to one year.

Location: Any Scandinavian Country

Deadline: November 1, 2021

Residency Duration: Up to one year

Benjamin Saltman Poetry Award

Established in 1998 in honor of the poet Benjamin Saltman (1927-1999), this award is for a previously unpublished original collection of poetry. Awarded collection is selected through an annual competition which is open to all poets.

Deadline: November 1, 2021

Shearing Fellowship for Emerging and Distinguished Writers-Black Mountain Institute and The Believer

The Shearing Fellowship is for emerging and distinguished writers who have published at least one book with a trade or literary press. It includes a stipend of $20,000 paid over a four-month period, a semester-long letter of appointment, eligibility for health coverage, office space in the BMI offices on the campus of UNLV, free housing (fellows cover some utilities) in a unique and vibrant arts complex in the bustling district of downtown Las Vegas-home to The Writer's Block, our city's beloved independent bookstore-recognition in BMI's literature, and on The Believer 's masthead as a "Shearing Fellow."

Location: Las Vegas, NV

Deadline: November 1, 2021

PEN/Robert J. Dau Short Story Prize for Emerging Writers

The PEN/Robert J. Dau Short Story Prize for Emerging Writers recognizes twelve emerging writers each year for their debut short story published in a literary magazine, journal, or cultural website, and aims to support the launch of their careers as fiction writers. Each of the twelve winning writers receives a cash prize of $2,000, and the independent book publisher Catapult will publish the twelve winning stories in an annual anthology entitled Best Debut Short Stories: The PEN America Dau Prize, which will acknowledge the literary magazines and websites where the stories were originally published.

Deadline: November 15, 2021

Sandy Crimmins National Prize for Poetry

The Sandy Crimmins National Prize for Poetry is an annual prize offering the first-place winner a cash award of $1,000 and $250 runner-up awards. The Prize celebrates risk, innovation, and emotional engagement; and especially encourages poets from underrepresented groups and backgrounds to send their work.

Deadline: November 15, 2021

Yale Series of Younger Poets

The Yale Series of Younger Poets champions the most promising new American poets. Awarded since 1919, the Yale Younger Poets prize is the oldest annual literary award in the United States. Past winners include Muriel Rukeyser, Adrienne Rich, William Meredith, W.S. Merwin, John Ashbery, John Hollander, James Tate, and Carolyn Forché. Louise Glück was the judge of the Series from 2003-2010, and Carl Phillips is the current judge.

Deadline: November 15, 2021

Bucknell University Stadler Fellowship

Since 1998, the Stadler Fellowships have offered recent MFA graduates in poetry the opportunity to receive professional training in editing and literary arts administration. Beginning in the 2021-22 academic year, the program will be divided into two distinct tracks: a fellowship in literary editing and a fellowship in literary arts administration. Applicants can apply to one or the other. Both fellowships are designed to balance the development of professional skills with time to complete a first book of poems. Fellows serve for twenty hours each week during the academic year. The balance of the fellows' time is reserved for writing. The ten-month fellowships provide health insurance and a stipend of at least $33,000.

Location: Lewisburg, PA

Deadline: December 1, 2021

The Mesa Refuge Residencies

The Mesa Refuge has supported more than 800 writers and other creatives, mostly focused on "ideas at the edge" of nature, human economy, and social equity. A Mesa Refuge residency is an opportunity to develop ideas and present them to the public. They encourage applicants from diverse backgrounds and disciplines.

Location: Point Reyes Station, CA

Deadline: December 1, 2021

Residency Duration: Tw o weeks in spring of 2022

Wallace Stegner Fellowship

Unique among writing programs, Stanford offers ten two-year fellowships each year, five in fiction and five in poetry. All the fellows in each genre convene weekly in a three-hour workshop with faculty. Fellows are regarded as working artists, intent upon practicing and perfecting their craft. The only requirements are workshop attendance and writing. The program offers no degree. In awarding fellowships, we consider the quality of the candidate's creative work, potential for growth, and ability to contribute to and profit from our writing workshops. The Stanford Creative Writing Program's students are diverse in style and experience, with talent and seriousness the true common denominators.

Location: Stanford, CA

Deadline: December 1, 2021

Fellowship Duration: Two years

Steinbeck Fellow Program at San José State University

The Steinbeck Fellow Program, endowed through the generosity of Martha Heasley Cox, offers emerging writers of any age and background the opportunity to pursue a significant writing project while in residence at SJSU. The emphasis of the program is on helping writers who have had some success but have not published extensively, and whose promising work would be aided by the financial support and sponsorship of the center and the university's creative writing program.

Location: San José, CA

Deadline: January 2, 2022

Bucknell University - Philip Roth Residence in Creative Writing

Named for Bucknell's renowned literary alumnus and initiated in fall 1993, the Philip Roth Residence in Creative Writing offers up to four months of unfettered writing time for a writer working on a first or second book of fiction or creative nonfiction. The residency provides lodging in Bucknell's "Poets' Cottage" and a stipend of $5,000.

Location: Lewisberg, PA

Deadline: February 1, 2022

Fellowship Duration: August-December 2022 and January-May 2023

Red Hen Press Women's Prose Prize

The Women's Prose Prize is for a previously unpublished, original work of prose. Novels, short story collections, memoirs, essay collections, and all other forms of prose writing are eligible for consideration. Awarded manuscript is selected through an annual competition which is open to all writers who identify as women.

Deadline: February 28, 2022

AWP - Writer to Writer Mentorship

AWP's mentorship program, Writer to Writer, matches emerging writers and published authors for a three-month series of modules on topics such as craft, revision, publishing, and the writing life. Mentors volunteer their time and receive a free one-year AWP membership. Writer to Writer is free of charge to mentees.

Deadline: Rolling

Eyebeam Center for the Future of Journalism

The Eyebeam Center for the Future of Journalism (ECFJ) is a grant-making program that supports artists producing innovative and revelatory journalistic work for major media outlets. Grant support will range from $500 to $5,000.

Deadline: Rolling

Rockvale Writers' Colony

Rockvale Writers' Colony exists to support, promote, and educate writers of all backgrounds who write in any genre.

Location: College Grove, TN

Deadline: Rolling

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Fellowships and Residencies Fall 2021 by - BOMB Magazine

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The Music Residency provides musicians and sound artists with the exclusive use of a professional recording studio. Residents work independently or with the support of an in-house audio engineer to create and record new work free from commercial constraints over the course of a month.

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Here you find an overview of regional and national online databases, which guide you to artist-in-residence opportunities. The databases are run by online platforms, which mostly serve their regional and local audience - often in their own language. They also publish calls for applications and give background information.

The TransArtists desk connects and collaborates with these fellow platforms. Please visit their websites if you want to get a closer and more detailed look on artist-in-residence opportunities in a specific region or country.
Please note that this list will be carefully checked and updated in the coming weeks. Thank you for your understanding!
China: chinaresidencies
China Residencies is a new platform aiming at creating a comprehensive directory and an online platform for visiting artists and hosting organizations in China. Its other missions are to foster successful creative exchanges by strengthening the network of programs, as well as to research organizational best practices, archival systems, and mapping exchange.
www.chinaresidencies.com

Finland: Finnish Artists' Studio Foundation
Since 1950's the Finnish Artists' Studio Foundation has promoted the opportunities of Finnish artists to work abroad, with it's own studio houses in Spain and Italy. FASF also maintains a database of all Artist-in-Residence programmes of Finland.
ateljeesaatio.fi

Germany: Touring Artists
Touring artists, an information portal for artists working internationally, provides comprehensive information on visas/residence, transport/customs, taxes, social security, other insurances, and copyright. Through a joint project of the German Center of the International Theatre Institute (ITI) and the Internationale Gesellschaft der Bildenden Künste (IGBK; English: International Association of Art (IAA) in Germany), these topics have been examined for both the performing arts and the visual arts.
touring-artists.info
Host an Artist
Host an Artist is an online exchange platform for property owners and artists. Owners of summer houses, bungalows, apartments,warehouses, empty offices can share their space with artists as temporary artistic residencies. In exchange for this hosting, artists will offer a work of art, an original work, singing or painting lessons, a private concert or any other art form to create a unique link between themselves and their hosts. The platform mainly lists French residences, but also offers a few international ones.
www.hostanartist.com
Italy: artinresidence.it
artinresidence.it - AIR is a platform dedicated to residency programs in Italy and abroad for artists and curators. AIR collects information on Italian residences, indicates "how to apply" conditions for participation, contacts the coordinators and facilitates the identification of particular features of each program. Check their website here

Latin-America: residency_network iberoamerica is an Ibero American platform of spaces working with research, production and exhibition of contemporary art and culture, connected particularly through its residency programs. It brings together different formats of art residencies and enhances its diversity.
http://residenciasenred.org (currently on hold)

Russia: ArtResideRUS
ArtResideRUS collects and distributes information and expertise on artist-in-residence opportunities in Russia. ArtResideRUS was launched in June 2010. ArtResideRUS should be regarded as more than only a network of existing Russian AiR programmes, it is also a group of experts and organizations, representing the potential of the AiR concept in Russia. ArtResideRUS is there to give an impulse to the potential for AiR in Russia, in a pragmatic, step by step way.
ArtResideRUS.org (on hold)

Slovenia: Art Servis
Are you looking for a studio for exchange? Are you organising an art event? Do you need collaborators, participants or public? Publish your message at Artservis Forum! There is room enough for various topics. Although it has been conducted in Slovenian language, there is the English Speakers Corner for non-Slovenian language speakers.
www.artservis.org
The majority of artists' residencies programmes in Slovenia are listed on www. culture.si, a website supported by the Ministry of Culture, which is designed to help professionals explore possibilities for collaboration with Slovene cultural organisations.
For a comprehensive list of residencies with corresponding links see here

United States: Alliance of Artists' Communities
"The Alliance" gathers the interests of more than 500 artists' communities in the United States. The Alliance website gives an extensive database of all artist-in-residence opportunities in the USA, artists' experiences, know-how, support.
www.artistcommunities.org

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Here you find an overview of regional and national online databases, which guide you to artist-in-residence opportunities. The databases are run by online platforms, which mostly serve their regional and local audience - often in their own language. They also publish calls for applications and give background information.

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98/92 % of Illinois Senate/House districts receiving direct IACA support (FY2018). Follow this link for a list of all IACA grantees by Legislative District.