Archive for April, 2017

Artist’s Voice: Debra Weisberg

Friday, April 28th, 2017

Using tape, paper, and other unexpected materials, Debra Weisberg (Drawing Fellow ’08) explores the boundaries of drawing. Here, she discusses a recent commission to create a large-scale installation as part of the Facebook Artist in Residence Program.

Debra Weisberg creates a drawing installation at the Facebook Cambridge Office. Photo by Simone Scheiss.

I recently completed a 22-ft long commission for Facebook Cambridge Office, done mostly on-site over a 10 day period. The installation was made using black and white tape, vinyl signage tape, and pre-fabricated paper based sculptural elements. The tape and sculptures were applied directly to the wall/ceilings emerging from and contrasting with the angularity of the industrial aluminum pipes and ducts – the poetry of the hand-made bumping against the manufactured – using an industrial material to create the illusion of the ephemeral.

Debra Weisberg creates a drawing installation at the Facebook Cambridge Office. Photo by Simone Scheiss.

Debra Weisberg creates a drawing installation at the Facebook Cambridge Office. Photo by Simone Scheiss.

All of my work is rooted in drawing, which I define, following anthropologist Tim Ingold, as “an indelible record of the pressure of the fingers on the pencil that makes it, driven by impatience, control, or anxiety of the maker… an archive of the maker’s muscle.” For me, the act of drawing is dynamic, improvisational, and mutable inside any installation.

Debra Weisberg creates a drawing installation at the Facebook Cambridge Office. Photo by Simone Scheiss.

Debra Weisberg creates a drawing installation at the Facebook Cambridge Office. Photo by Simone Scheiss.

Part of my studio practice also includes temporary large-scale collaborative drawing projects with students in public and private high schools, museums and in colleges including Wheaton College, St Paul’s and Milton Academy. I recently created collaborative drawings with students from Wheaton College over a ten day residency (see below). These installations are tailored to meet the budget and time schedules of the supporting institutions and remain up from 6 weeks to a year, as in the case of Milton Academy. When collaborating with students, one of the main goals is to expand their definition of drawing and to adapt their prior drawing methodology into a physical relationship with the architectural space by using a malleable material to generate the gesture and mark instead of a pencil or piece of charcoal.

Students collaborate with Debra Weisberg on a drawing installation at Wheaton College.

Drawing installation at Wheaton College.

Image: all images courtesy of Debra Weisberg. Photo credit: Simone Scheiss.

Massachusetts Poetry Festival 2017

Thursday, April 27th, 2017

Massachusetts Poetry Festival

The ninth annual Massachusetts Poetry Festival will be held May 5-7, 2017 in downtown Salem, Massachusetts.

The festival is a schedule of events, workshops, performances, and readings organized by Mass Poetry. Not to be missed: a reading by Mass Cultural Council Poetry Fellows Scott Challener, Aaron Krol, Richard Michelson, Sarah Sousa, and Elizabeth Witte on Saturday, May 6, 2 PM, at the Peabody Essex Museum.

Other current and past Artist Fellows/Finalist taking part include Tom Sleigh (one of the headliners), Kathleen Aguero, Maria Luisa Arroyo, Carrie Bennett, Duy Doan, Danielle Legros Georges, Regie Gibson, Richard Hoffman, and Rosann Kozlowski.

Learn more and see full schedule.

Artist Opportunities Scale the Heights

Tuesday, April 25th, 2017

Writers, Visual Artists American Therapy Booth, a Civic Engagement Art Installation in Boston, September 2017, is seeking writers and visual artists. Writers and quick-form visual artists who speak Spanish, Chinese, French, Portuguese, or Arabic to act as paid facilitators and creators during the installation of American Therapy Booth in September 2017. Brazilian, Chinese, Congolese, Iraqi, and Somali community organizations who would like to partner with American Therapy Booth to make visible and heard their stories of living in America. American Therapy Booth (ATB) is a civic engagement art installation promoting “active receptivity” listening through sharing/listening booths. Its mission is to deepen the empathy and understanding between people of different beliefs, values, backgrounds, and cultures and to foster creative expression as both a process and product of empathetic community building. Seeking bilingual artist/facilitators with a background in empathetic/non-violent communication and an artistic medium of creative writing, poetry, or quick-form visual art. Artists will support participants in questioning, listening, and creatively interpreting the sharings of others into written or visual pieces. They will also create written or visual art based on participants sharing their experiences living in America. These are paid positions for 6-15 hours
per week for 3-4 weeks. Learn more.

Poets The Rosebud, Dylan Thomas American Poet Prize, is currently accepting entries. A prize of $1,000 and publication in Rosebud is given biennially for a poem by a poet under the age of 40. Peter Thabit Jones, Molly Peacock, and John Smelcer will judge. Submit up to three poems of any length.  All entries are considered for publication. Learn more.
Deadline: May 1, 2017

Fiction Writers Entries are currently being accepted to the Raymond Carver Short Story Contest. Now in its 17th year, the Raymond Carver Short Story Contest is one of the most renowned fiction contests in the world. Featuring prominent guest judges and offering $2500 across five prizes, the contest delivers exciting new fiction from writers all over the world. Learn more.
Deadline: May 15, 2017

Call to Artists Artists and Art Students working within all aspects of Evolutionary Biology- be it bird or biomimicry- Darwin or DNA- are welcome to enter the Art Science Exhibits Berlin 2017. There are no age or border restrictions. Apply within any art discipline. Curatorial team is Aric Mannion, mp Warming, and Matt Burnett. Learn more.
Deadline: May 15, 2017

Arts Writers Grant Program Applications are now being accepted for the Creative Capital/Andy Warhol Foundation Arts Writers Grant which supports writers whose work addresses contemporary visual art. The program issues awards directly to individual authors for articles, blogs, books, new and alternative media, and short-form writing projects. It supports a broad spectrum of writing on contemporary visual art, from general-audience criticism to academic scholarship. Learn more.
Deadline: May 17, 2017

Call to Artists Post Office Gallery on Cape Cod in North Truro, MA invites visual artists to participate in their 6th Annual Open Call Juried Exhibit. Selections will be based on artistic and creative quality, interpretation of the theme and space allotment. There is no fee to enter. Retail price assumes a typical 50% gallery commission. All medium will be considered, including sculpture. You may submit up to three high resolution jpeg images (named with its title) of your work in any medium along with any questions to: Please include your name, and the title, size, medium and support of each piece and any questions in the body of your e-mail. in your submission. Exhibit dates: June 4 – 25, 2017. Learn more.
Deadline: May 19, 2017

Workshop Residency Seminar: Denniston Hill in Woodridge, New York, is currently accepting applications from emerging performance-based artists. The workshop-residency includes shared rooms, one home-cooked meal per day, breakfast and lunch supplies, and a modest stipend for materials or travel. There is no fee to apply for or participate in the project. Housing, food and a small stipend are provided. Learn more.
Deadline: May 19, 2017

Artist-in-Residence Applications are currently being accepted for a nine-month residency at The Umbrella Community Arts Center in Concord, MA. Free studio and housing provided. The Umbrella Community Arts Center in Concord, MA is proud to continue its Artist-in-Residence program for 2017-2018. The program provides space and support for an emerging artist to develop their work while connecting to the Greater Boston art community. This year, The Umbrella begins a long-awaited renovation that will bring welcome state-of-the-art changes for all to enjoy. Using an artistic approach, the selected 2017-2018 Artist-in-Residence should consider The Umbrella’s transformations as a point of departure for their own creativity during their nine month residency. Learn more.
Deadline: June 1, 2017

New England Playwrights The Firehouse Center for the Arts in Newburyport MA is now accepting submissions for their 16th Annual New Works Festival. This festival fosters the growth of New England playwrights while showcasing the talent of local and regional actors and directors. Playwrights from across New England are encouraged to submit their 10-minute, one-act, and full-length plays. An independent blind panel will select the festival’s shows in anonymous readings. From the selected plays, one from each category will be awarded The Pestalozzi Prize (for the Full-Length category), with an honorarium of $150.00, and The Peter Honegger Prizes (for the One-Act and Short Play categories) will each be awarded an honorarium of $75.00. Festival dates are January 19 & 20 January 26 & 27, 2018. Learn More.
Deadline: June 11, 2017 (11:59pm)

Image credit: Photo of a 17-year-old Prince, by photographer Robert Whitman.

Artist’s Voice: Matthew Mazzotta

Thursday, April 20th, 2017

Matthew Mazzotta’s (Sculpture/Installation/New Genres Fellow ’11) new project CLOUD HOUSE, is a “cloud” that rains on a tin roof when you sit in the rocking chairs (location: Farmer’s Park – Springfield, MO).

CLOUD HOUSE is a unique rain harvesting system that creatively reuses the rainwater it collects to provide a deeper look into the natural systems that give us the food we eat.

On rainy days, a gutter system collects rain that hits the roof and directs it to storage tank underneath the house. Sitting in the rocking chairs triggers a pump that brings the collected rainwater up into the “cloud” to drop onto the roof, producing that warm pleasant sound of rain on a tin roof.

At the same time, rainwater drops from the tops of the windows onto the edible plants growing in the windowsills.

Designed to collect and store rainwater for the “cloud” to rain, this display of the water-cycle illustrates our fragile dependence on the natural systems that grow the food we eat, and at points throughout the year when there is low rainfall, the ‘cloud’ will not rain on the roof because it is simply out of water. CLOUD HOUSE is clad with barn wood and tin reclaimed from a nearby abandoned farm by group of Amish builders.

With rocking chairs on a barn wood floor, the sound of rain on a tin roof, and rain drops bringing the necessary elements for plants growing in the window sills, the look and feel of CLOUD HOUSE is the epitome of a rural farm experience from simpler times, and creates a space to reflect on the natural processes of food production. Located at Springfield, MO’s largest farmers market, CLOUD HOUSE is a poetic counterpoint to the well-attended market and offers a meditative moment to slow down, enjoy the fresh edible plants, and listen to rain on a tin roof.

Watch a video about Matthew Mazzotta’s CLOUD HOUSE.

Matthew‘s work Open House was part of the Cooper Hewitt, Smithsonian Design Museum NYC show called “By the People: Designing a Better America.” 

All images courtesy of Matthew Mazzotta.

Spring 2017 Open Studios

Thursday, April 20th, 2017

Artists across the map.

Abstract map of Lowell, Mass. by Jennifer Carland, one of the artists participating in Western Avenue Studios Open Studios

Open studios events are great opportunities to experience and support artists working in your very own neighborhood. Check out these Spring Open Studios events in Massachusetts*.

East Boston Open Studios, April 22-23, 2017
West Medford Open Studios, April 29-30, 2017
Asparagus Valley Pottery Trail, April 29-30, 2017
Brookline Open Studios, April 29-30, 2017
Lexington Open Studios, April 29-30, 2017
SoWa Artist Guild First Friday Open Studios (monthly, first Friday), May 5, 2017
Mudflat Open Studio & Sale, May 5-7, 2017
Western Avenue Studios (Lowell) Open Studios (monthly, first Saturday), May 6, 2017
Motherbrook Arts & Community Center (Dedham) Open Studios, May 6-7, 2017
Needham Open Studios, May 6-7, 2017
Somerville Open Studios, May 6-7, 2017
Fort Point Open Studios/Art Walk, May 12-14, 2017
Cambridge Open Studios, May 13-14, 2017
Cape Ann Artisans Tour, June 3-4, 2017
Cottage Street Open Studios, June 10-11, 2017
Chelsea Art Walk, June 17-18, 2017

Find more throughout the year on the Massachusetts Office of Travel and Tourism Open Studios page.

* List not necessarily comprehensive. If we missed any open studios events in MA between now and the end of June, let us know in the comments.

Image: abstract map of Lowell, Mass. by Jennifer Carland, one of the artists participating in Western Avenue Studios Open Studios.

Artist Opportunities Get Schooled

Wednesday, April 19th, 2017

Call for Artists The Attleboro Arts Museum is currently accepting entries for their national juried exhibition LINE. Open to all mediums, sizes & concepts that relate to, or include, a line. Imagine … a chorus line, signing on the dotted line, horizon lines, jump ropes, a police line up, waiting in TSA lines, cross-hatching, long and winding roads, zip lines, crossing the picket line, lines in the sand, tally marks … where and how do you draw the line? Line will be on display at the Attleboro Arts Museum from June 15 – July 15, 2017. Six prizes of $100 each will be awarded. Learn more.
Deadline: April 25, 2017

Documentary Filmmaking Training for Immigrants and Refugees Community Supported Film of Boston is offering free documentary filmmaking training to ten new immigrant and refugees in the Boston area. The training will take place over 15 weeks starting in June, culminating with each participant producing his or her own short film about the challenges faced or contributions made by their community. Learn more.
Deadline: April 28, 2017

Call to Artists The Cultural Center of Cape Cod invites artists worldwide to submit images for their UPLIFTING ART 2017 elevator door competition. Three images will be selected, one for each elevator door in the Cultural Center’s Education Wing. The images, provided as high resolution digital files, will be reproduced on material to be affixed to the elevator doors for one year. The Cultural Center directors will jury. Learn more.
Deadline:  May 5, 2017

Call to Cape Cod Artists The Cultural Center of Cape Cod has announced a call for a pop up exhibit. Eleven images will be selected for display on the windows at Wings on Route 28 in Yarmouth. The theme is open but a Cape Cod and/or Yarmouth theme will be given priority. All media is welcome. The images, provided as high resolution digital files, will be reproduced on material to be displayed at the site until the building is demolished in Fall 2017. Each artist will receive a $150 stipend and acknowledgement with contact information at the site of the installation. No entry fee. Artists may submit as many images as they wish. Open to local Cape Cod artists. Learn more.
Deadline: May 5, 2017 (11:59pm)

Muralists Beyond Walls is a group of Lynn residents, business owners, and public art/placemaking enthusiasts using grass roots efforts to create a sense of place and safety in the heart of Downtown Lynn. They are currently seeking mural artists to partake in their 10 day mural festival from July 13 – 23, 2017 in Lynn, Massachusetts. Learn more.
Deadline: May 8, 2017 (received by 5:00pm)

Exhibition Proposals ArtSpace Maynard invites artists in all media (except video) to submit proposals for one month solo or group exhibitions for the 2017-2018 season. The proposed exhibit should be based on a unifying concept that is social, historical, philosophical, cultural, political or other. The ArtSpace Gallery is one of the largest nonprofit exhibition spaces in Massachusetts. Preference will be given to New England artists. Learn more.
Deadline: May 15, 2017

Call to Artists The Norman Rockwell Museum in Stockbridge, MA is calling on artists working in all media to create a new work inspired by the theme of the Four Freedoms or the meaning of freedom today. Approximately 30 works in all media will be selected by jury for inclusion in the Museum’s upcoming international traveling exhibition, Enduring Ideals: Rockwell, Roosevelt & the Four Freedoms. Additional submissions will be available on the exhibition website and in other online media. The exhibition will be on view from June 2018 through October 2020 at several United States museums and one international museum, including the Norman Rockwell Museum; New-York Historical Society; Henry Ford Museum; Museum of Fine Arts, Houston; The George Washington University Museum; and at Caen Memorial Museum, France, among others. Learn more.
Deadline: May 26, 2017

Call for Artists The Eighth Annual New England Collective Juried Exhibition at Galatea Fine Art in Boston’s SOWA Art District. August 2-27. All media accepted. Juror: Charles Giuliano, Publisher/Editor of the Berkshire Fine Arts Journal; Critic, Writer, Teacher, Curator, Artist. Questions, call 617-542-1500. Learn more.
Deadline: July 10, 2017

Call for Artists The Newton Free Library is seeking proposals of two-dimensional, original work by local artists for January-June 2018 shows. Questions, contact Ellen at or call 617-796-1410. Learn more about the exhibiting policy.
Deadline: July 14, 2017 (12:00 pm)

Playwrights Nylon Fusion Theatre Company in New York is currently accepting submissions of new works for future projects. Learn more.
Deadline: August 8, 2017

Image credit: Photograph of first grade at the Atherton School, 1944. From the Grove Hall Memory Project.

Myrna Balk: 50 Year Retrospective at Piano Craft Gallery

Wednesday, April 19th, 2017

Mixed media artist Myrna Balk is exhibiting at Boston’s Piano Craft Gallery (5/5-5/28, opening reception 5/7, 3-6 PM, artist discussion 5/21, 3 PM) in Connecting the Dots, encompassing 50 years of her artistic output.

Here, she discusses the exhibition, how a life of social work affected her art, and highlights and surprises from 50 years of working in clay, steel, wood, etching, and more.

Sculptural work by Myrna Balk

You work in a range of materials and processes. What makes you select one material over another in the creation of a new work?
When I choose a new subject, I instinctively decide on the material I think will work best. There is not much inner conversation. It just feels right. I usually focus on one technique at a time. Other times I feel like working in a specific material, and it is only after it is finished that I know if there is a meaning or not.

How has your career as a social worker impacted your art?
It exposed me to many intense social situations, and these experiences inspired the subject of some of my art. For example, in 1998 I was invited to Kathmandu, Nepal to consult on domestic violence and teach at a school of social work. Once there, I was introduced to the victims of sex trafficking. Because of my experience in working with groups, I was comfortable in meeting with women and girls in seven shelters. I gave them the opportunity to have fun and to draw. I did not expect them to want to tell me their stories and to take their experiences home with me. Thus I was exposed to situations that most people do not encounter, firsthand. This led to my doing my own large body of etchings about trafficking. Eight of them were shown at the United Nations in New York City.

Etching by Myrna Balk

How do you know when your work is done?
When I went from welding to etching it was hard for me to know when something was done. This was because I was not secure with the new material. As I became more confident I let the piece speak for itself and knew when it was finished.

Your exhibition at the Piano Craft Gallery is a 50 year retrospective. Any highlights (or lowlights) that stand out from those decades?
At one point, when I was welding, I had 7 unfinished pieces of sculpture. I was stuck on one so started another. When the number got to 7, I was in despair. I just sat in a rocking chair and read in my studio waiting for the ideas to start coming again. Then one day I looked up and there was the piece of steel that would fix one of the unfinished pieces. After that all of the work was finished within a few hours.

Steel sculpture by Myrna Balk

What artist do you most admire but work nothing like?
Ben Shahn is at the top of my list of admired artists. Others, in no special order, are Käthe Kollwitz, Anthony Caro, Alice Neel, and Anselm Kiefer.

What’s the most surprising response to your art you’ve ever received?
The most wonderful surprise that I had was Anthony Caro inviting Clement Greenberg to meet me. Greenberg then came to my home to see my work. He was extremely complimentary and encouraged me to continue sculpting.

What do you listen to while you create?
I usually focus on my inner voice. Sometimes I listen to Amy Goodman from the radio program DEMOCRACY NOW. She keeps me up on a lot of the political issues.

What are you currently reading?
Out Stealing Horses by Per Peterson, The Underground Railroad by Colson Whitehead.

How many revisions does your work typically go through?
I do not work and rework my pieces. I work fast and usually am satisfied with the first results. In the case of outdoor installations, the work is meant to be adjusted when it is in a tree or on the ground or in the water.

Sculptural work by Myrna Balk

Sculpture by Myrna Balk

Myrna Balk: Connecting the Dots
Piano Craft Gallery
May 5-May 28, 2017
Opening reception: May 7, 2017, 3-6 PM
Artist Discussion: May 21, 2017, 3 PM

Images: all images courtesy of the artist.

What Is Your Greatest Need as an Artist?

Wednesday, April 12th, 2017

Periodically, we pose questions to artists about issues they face in their work and lives. This month, we asked practitioners in a variety of disciplines, What is your greatest need, as an artist?

Image from GODDESSES DESCENDING, choreography by Michelle Marroquin. Photo by Tracey Eller.

Michelle Marroquin, choreographer
My needs, if all things were possible?
1. Funding that would be earmarked specifically for dancers to engage in new work. Residencies might include a stipend for the choreographer but rarely pay for dancers. Because I cannot get enough time with my dancers this season, I am working on a solo.
2. Consistent access to space and more performance venues that are supportive and equipped to produce dance. A crew. Someone other than my husband to climb up and down ladders.
3. Administrative support to help enhance work flow. Someone to help increase outreach, search for opportunities, and fundraise. A dream is to have a production assistant.
4. Lifestyle support: Food stamps for artists. A guaranteed minimum income for the process, not just the products. Health insurance for artists. Affordable continuing education. In sum, less intermittent support and more ongoing, lifestyle support.

Robert Knox, writer and poet
I’m a fiction writer and poet. My greatest need is ways to connect with readers. Happily, I’m in a stage of life when my most pressing needs are no longer time or money. But I want to see the books that I finally have time to write get into print, or get read, or even noticed somehow. Commercial publication of fiction is a narrow funnel, except for certain formulaic genres, and agents look to meet specific marketing needs. Newspapers, a declining industry in which I’m partially employed, review few books. After my novel Suosso’s Lane was published a year ago by a small independent, I find most of its readers myself through public programs at libraries. Many of the fiction writers I know publish their own books and sell them on Amazon. Poetry is an even more self-contained universe. I’m not proposing any solutions here, just stating a need: How do we get read?

Dana Clancy, WINTER WEIGHT (2015/2017), oil over acrylic on panel, 36x48 in

Dana Clancy, painter
As an artist-professor-parent, I structure my life around building and maintaining artistic momentum. Momentum arises from consistent and focused time in the studio (including that hour before class or late night after our family dinner). It is also fed by important conversations with artist friends and with students. For me, as a painter whose work is based on responding to contemporary museums, it is vital to my work to spend time with other artists’ work that I find moving and important.

Recently, as part of BADA Second Saturdays, I hosted a conversation event at Alpha Gallery about what artists look for and gain from seeing work in person in the context of the museum. Many of us spoke about how the role of the museum has shifted to symbolize a space apart from fast-click looking. If I have to work quickly and efficiently in the studio, momentum for me includes time to slow down to look on a more critical level and feel highly present with what I am seeing.

As I start a new body of work, the momentum I seek also includes connecting more broadly to other artists, and feeling that I’m doing my part to give voice to the importance of art and culture at a time when funding and support are under threat.

Duy Doan, poet
Outside of the daily search for time and space to write, having mentors has been vital to my writing life. Mentors – writers who have read more, written more, and of course experienced more – can give you career advice and feedback about your writing, detailed as well as overarching, in ways that your peers cannot. I’m grateful to have had a range of extremely supportive mentors both in the literary world and outside of it. When I was an undergraduate at UT Austin, Martin Kevorkian, Judith Kroll, Joseph Slate, Oscar Casares, and Ian Hancock – scholars, poets, fiction writers – all gave me the language to talk about writing with a close eye and ear. These professors encouraged me through challenging times and guided me through the dizzying MFA application process. I attended Boston University where I studied with Robert Pinsky, Louise Glück, and Rosanna Warren, all of whom pushed me to pursue writing, first and foremost, in an organic way. Many writers encounter these kinds of supportive relationships through school, but I think the important conversations continue outside of an academic setting. Casual conversations about poems, outside of the professional world of poetry, are always a pleasure, a vital one.

Yuri Tozuka, BUNNY (2016), sterling silver, fine silver, garnet, coral, 17x3x1.5 in

Yuri Tozuka, metalsmith
A studio space has been my greatest need as an artist for a quite long time. I have been creating most of my work on my bench underneath a loft bed in my little apartment. Because of this, I am constantly in a battle when it comes to the actual construction of the piece; between what I can really make in this space and what I truly want to create. Noise, dusts, and fumes have to be minimal in this environment, which sounds better for everyone’s health, but as a metalsmith, this limits opportunities to play with different techniques, scales, ideas and to go outside of the box.

Having said that, this creative space issue made me focus on my technique, such as lost-wax casting, and also pushed me to try out different materials other than metal.

I have tried having a separate studio space, and the only down side was that it was too far away for me to get to as frequently as I needed. In the near future, I am planning to move into a house with an actual studio space, where only my husband and our dog will be able to complain about my hammering.


Dana Clancy has work in the group show All Things Great and Small at Geoffrey Young Gallery in Great Barrington (5/3-5/28, opening reception 5/6, 5:30-7:30 PM). She recently had a solo exhibition, Sightlines, at Alpha Gallery – read a Boston Globe review.

Duy Doan recently won the Yale Younger Poet Competition, selected by Carl Phillips, for his manuscript We Play a Game. Yale University Press will publish We Play a Game in April 2018. Duy is the director of the Favorite Poem Project.

Robert Knox discusses his novel Suosso’s Lane at the Ventress Memorial Library in Marshfield (4/13, 7 PM). He’ll read from his poetry collection Gardeners Do It With Their Hands Dirty at Plymouth Public Library (4/24, 7 PM). Currently, he has poetry published in, where he is a contributing editor.

Michelle Marroquin is a dancer and performance artist whose training includes ballet, modern dance, Mexican folk dance, and Odissi Classical Indian dance. She premiered her most recent work Goddesses Descending at Park Hill Orchard in September 2016.

Metalsmith Yuri Tozuka has exhibited at galleries and institutions including Mobilia Gallery, Massachusetts College of Art and Design, Hancock 309 Gallery, and 24K Studios in San Francisco.

Images: from GODDESSES DESCENDING, choreography by Michelle Marroquin, photo by Tracey Eller; Dana Clancy, WINTER WEIGHT (2015/2017) , oil over acrylic on panel, 36×48 in; Yuri Tozuka, BUNNY (2016), sterling silver, fine silver, garnet, coral, 17x3x1.5 in.

Artist Opportunities Spin Out

Tuesday, April 11th, 2017

Writing Fellowship for New Parents Pen Parentis is offering Writing Fellowship for New Parents. A prize of $1,000 and publication in Brain, Child is given annually to a fiction writer who is the parent of a child under the age of 10. The winner also receives an invitation to give a reading in New York City. Submit a story of up to 800 words with a $15 entry fee ($20 for two stories) between March 1 and April 17. Learn more.
Deadline: April 17, 2017

Youth Art Addressing Climate Change Amplifier, in collaboration with Earth Guardians, is holding an open call for youth art to celebrate heroes working to address climate change. One youth artist will be selected to receive a $1,000 education scholarship and have their art printed and distributed at the People’s Climate March. Fifty youth submissions will be selected for a group art exhibition at the Amplifier Foundation Gallery in the fall of 2017, and be made available as high resolution downloads on the Amplifier Foundation website. Learn more.
Deadline: April 18, 2017 (11:00 pm PST)

Boston Opportunity Fund Grants will be made to individual artists for specific needs, such as materials, professional development costs, conference fees, and stipends for teaching artists. Applications are available on a monthly basis 10 months out of the year. Applicants may request up to $1,000 in funding. Up to $10,000 will be granted per month. Learn more.
Deadline: April 18 , 2017

Of Note: Lanoue Gallery is presenting, in collaboration with the office of U.S. Congressman Seth Moulton in Massachusetts’ 6th Congressional District and Harvard University’s Middle East Initiative, the solo exhibition, Homeland inSecurity, featuring work by Mohamad Hafez. The artwork featured in Homeland inSecurity came out of Hafez’s pained response to seeing media coverage of his homeland obliterated by a war that has turned more than 11 million Syrians into refugees. The gallery will host a reception and artist’s talk, Thursday, April 13th from 5 to 8 pm. Congressman Moulton will deliver an introduction and remarks beginning at 5:45 pm. The show will run through Sunday April 30, 2017

Call for Curators The New York Art Residency and Studios (NARS) Foundation is pleased to announce its seventh annual Emerging Curator Open Call. The Emerging Curator Program offers an opportunity for an individual to organize a conceptually cohesive group show at the NARS Foundation Gallery. The aim of the program is to encourage new dialogue and to create a platform for emerging curators and artists to experiment and exchange ideas. No prior curatorial experience is necessary. Curatorial collectives and two-person collaborations are welcome. Learn more.
Deadline: May 1, 2017

Call for Art Entries are currently being accepted for Art on the Trails: Finding Solace in the Woods, Beals Preserve, Southborough. Exhibition dates: June 3-September 24, 2017.  Juried by Mary Tinti, Southborough resident and former curator at Fitchburg Art Museum. Learn more.
Deadline: May 1, 2017

Artists and Writers Residencies Ox-Bow 2017 Fall Residency Program is currently accepting applications for two, three, and five week (September 3rd – October 7th) residencies in Saugatuck, Michigan. Accepted residents are fully funded. Artists can apply for additional stipends within the application. Ox-Bow’s Artist-in-Residence program offers artists and writers the time, space, and community to encourage growth and experimentation in their practice. The residency is open to all visual art disciplines and writers. Learn more.
Deadline: May 1, 2017 (Midnight, CST)

Alternative Free Rehearsal Space Project Mass Eye and Ear is inviting artists and art groups to apply for free rehearsal space at the Starr Center at Massachusetts Eye and Ear. The selected artists or group will enter into an agreement with Massachusetts Eye and Ear for a year of free rehearsal space. The Alternative Space Pilot Program is a partnership between the City of Boston and local businesses and institutions. The goal is to help make underused private spaces available to artists. The Mayor’s Office of Arts and Culture helps match art groups and artists to available spaces on a regular basis. Commitments to a space are for at least one year. Learn more.
Deadline: May 5, 2017 (5 p.m.)

Art & Nature Field Study Tropical Field Studies of Art+Nature in Puerto Rico is a hands-on, immersive, and project-based program that integrates biology and art in the field, at various environments in Puerto Rico. The focus of the program is to learn about Puerto Rico’s diverse wildlife through artmaking and field biology. We travel to rainforests, dry forests, beach, coastal, coral reef, mangrove, and mountain environments. The program involves multiple site-specific projects that integrate creativity, art and biology. Learn more.
Dates: May 17-22, 2017

Call for Artists The city of Worcester has announced a call to artists to create Bike Rack, Bench, and Trash Receptacle Designs in conjunction with the construction of the Blackstone Gateway Park. Learn more.
Deadline: May 26, 2017 (delivered)

Image credit: (Source: johnnythehorsepart2)

Studio Views: Janice Jakielski

Monday, April 10th, 2017

Mixed media artist Janice Jakielski makes objects that are sometimes wearable, often interwoven with nature, and always fascinating in their exploration of ideas and materials.

Here, she shares the interplay between her work spaces and her exploratory creative process.

Janice Jakielski, AUSPICIUM (2013), silk, window screen, mixed, 10x8x8 in

Ten different studio spaces over eight years spanning two countries and seven states – this was my reality until three years ago, when a job transfer to Massachusetts brought my peripatetic lifestyle to an end. My husband and I fell in love with a mid-century modern fixer upper in Sutton, MA. A concrete and glass cube, nestled in a forest with plenty of square footage for studio space.

Janice Jakielski's studio space

I am a homebody by nature and love having a combined living and studio space. There are just enough delightful distractions to break up the day, from wrestling with the dogs, peeking into the beehives to searching for the elusive spring orchids out in the woods.

As a mixed media artist, my work spaces are divided by process. I cycle through these spaces as I cycle through my work.

Janice Jakielski's "laboratory" space

Everything starts in the ceramic laboratory where my Ceramic Engineer husband and I create and invent new materials. Here we keep our ceramic processing equipment: tape caster, roller mill, vacuum pump, kilns, etc. By mixing my own ceramic materials I have complete control over my process, and I love having the ability to step into the lab to replenish my stock or mix a new color of porcelain paper.

Detail image of Janice Jakielski's studio space

Janice Jakielski, SLOTTED TEA CUP (detail)


My “clean” studio is upstairs. Here is where I do my assembling, cutting, sewing, etc., the bulk of my time is spent in this space. Then back down to the lab for firing and finally to our small but adequate woodshop for shelf, armature or crate building.

When starting a new body of work my spaces are organized, clean: a blank slate. As I actualize my pieces I leave a trail of chaos, evidence of frenzied making. I love letting the chaos build until every surface is covered and I can’t stand it any longer. Cleaning the studio after finishing an install feels like part of the ritual of making. It gives me time to reflect upon the finished pieces, mentally deconstruct my steps and begin a process of self-critique. This reflection sets the stage for my next round of making.

Detail image of Janice Jakielski's "laboratory" space

Detail image of Janice Jakielski's tape casted porcelain work

I have recently returned to my love of ceramic chemistry and have begun collaborating with my husband to re-invent industrial ceramic materials for application in the artist studio. My latest exploration of deconstructed and quilled porcelain vessels are created using strips of extremely thin, tape casted porcelain. Tape casting is a casting process used to make ceramic sheets traditionally used in the micro-electronics industry, solid oxide fuel cells and piezoelectric devices. I am in love with the challenge of adapting these industrial processes and am blown away by the potential that these new materials bring to my studio.

Detail image of Janice Jakielski's tape casted porcelain work

Janice Jakielski, QUILLED BEE FRAME


In-progress tape-casted porcelain vase by Janice Jakielski

Janice Jakielski, JARDINER (2016), porcelain, 15x9x9 in


Janice Jakielski‘s work will be featured in the soon-to-be-released book Cast: Art and Objects Made Using Humanity’s Most Transformational Process. She has solo exhibition upcoming at the Foster Gallery in Dedham (Fall of 2017) and Gallery 5 at Emmanuel College (Winter 2018).

Images: all images courtesy of the artist.