Archive for the ‘film/video’ Category

Fellows Notes – Sep 15

Friday, September 4th, 2015

Back to school. Bummer!/Awesome! (Depending on whether you like school.)

Skip the syllabus and read this news from past MCC awardees.

From the ONE TO ONE project by Linda Bond

The Massachusetts Cultural Council (MCC) and The New Art Center (NAC) will present the MCC Awardees in Crafts and Sculpture/Installation/New Genres, 9/18-10/17) at the NAC, with an opening reception on Friday, September 18, 2015 from 7-9 PM, and MCC Support for Individual Artists, a talk about state grants and services for artists, on Wednesday, September 30, 2015, 7-8:30 PM.

David B. Harris and Mimi Rabson join drummer Phil Neighbors in the band Triarky, which will give a free performance 9/10, 7:30 PM, at the Berklee Uchida Building in Boston.

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Sophia Ainslie has been commissioned to create a new, site-specific work for the new Collaborative Learning and Innovation Complex at Tufts University, and the exhibition In Person—574: Sophia Ainslie (9/10-12/6) in the Remis Sculpture Court explores the creation and installation of the commission. The artist also has her first solo show with Gallery NAGA, Pata Pata (9/8-10/3, opening reception 9/11, 6-8 PM).

Amy Archambault and her artist residency at the Boston Center for the Arts are featured on the New England Foundation for the Arts blog.

Linda Bond has a solo exhibition, Reconnaissance, at the Women’s Studies Research Center at Brandeis (thru 10/27, opening reception 9/17, 5-8 PM).

Barry Kiperman had work in three exhibitions this summer: Picture This! Community of Artist exhibition at Danforth Art, Art of the Northeast at the Silvermine Arts Center (where his work Of Rhetoric and Reason 2 was voted “Best in Show”) and the National Juried Competition 2015: Works on Paper at the Long Island Beach Foundation of the Arts and Sciences.

Scott Listfield is exhibiting in LAX/LHR at Thinkspace Gallery in London (9/3-9/26). Recently, he had a “Hot Wheels”-inspired painting in the official Mattel show at Gallery 1988 in Los Angeles.

Sarah Malakoff has a solo show, Sarah Malakoff: Second Nature, at the Vermont Center for Photography (9/4-9/27, opening reception 9/4, 5:30-8:30 PM).

Tara Masih is series editor of the new collection Best Small Fictions, coming in October 2015.

Lisa Olivieri‘s film Blindsided will screen at the Just Film Awards Festival in San Francisco.

Cecelia Raker has a play in Eager Risk Theater’s Shoebox Festival at John DeSotelle Studio in NYC (9/3-9/6).

Jenine Shereos was recently featured in the art journal HiFructose.

Rachel Perry Welty‘s fifth solo exhibition at Yancey Richardson Gallery in NYC, Chiral Lines, runs 9/10-10/17. The works are ambidextrous, two-panel drawings made using every writing instrument in the artist’s home.

Linda K. Wertheimer‘s new book Faith Ed: Teaching about Religion in an Age of Intolerance has gotten recent reviews in the Boston Globe, New York Times Sunday Book Review, and Publishers Weekly, among others. She’ll read from the book at Newtonville Books (9/10, 7 PM), Cary Library in Lexington (9/17, 7 PM), and BookEnds in Wichester (9/27, 2 PM).

Read past Fellows Notes. If you’re a past fellow/finalist with news, let us know.

Image: from the ONE TO ONE project by Linda Bond.

Why Fund Artists? Part 2

Thursday, September 3rd, 2015

Massachusetts has been funding artists for 40 years, and to help illuminate why, we’re asking past Artist Fellowships awardees to tell us what happened next.

This is the second gallery exploring the history of the Artist Fellowships Program (see the first). And if you’re a past awardee, visit our Alumni Book to tell your story.

Alexandra Anthony: a Filmmaking Tale Worthy of Myth

Wednesday, September 2nd, 2015

When she won a state fellowship in 1987, Alexandra Anthony thought her personal documentary Lost in the Bewilderness was nearly complete. But real life doesn’t have a neat ending. Like a journey out of Greek myth, the film project searched for decades before finding its way home.

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The Massachusetts Cultural Council is celebrating 40 Years of Fellowships by sharing video interviews with some of the extraordinary artists who have received Artist Fellowships since the program’s inception in 1975.

  • On MCC’s YouTube Channel, experience the stories of some of the amazing artists we’ve funded over the last 40 years.
  • If you’re a past Fellow or Finalist of the program, sign our Alumni Book to get back in touch and share your own story.
  • Contact us if you have ideas for the project.

Video Credits: all film footage courtesy of Alexandra Anthony (Film & Video Fellow ’81, ’87, ’07); title animation by Basia Goszczynska (Film & Video Fellow 2013); intro music by Laura Andel (Music Composition Fellow 1999), “Sao Dao,” music by Laura Andel, BMI ©1997, performed by the Laura Andel Orchestra; montage and closing music by Deborah Henson-Conant (Music Composition Fellow 1984, ’87), “Merceditas” and “996” from “Invention and Alchemy” © 2006, performed/recorded by The Grand Rapids Symphony, David Lockington, Conductor.

Vintage Vinyl Artist Opportunities

Tuesday, September 1st, 2015

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Poetry Entries are now being accepted for the Patricia Dobler Poetry Award is given annually to a woman poet over 40 years of age who has not published a book in any genre. The winner receives $1,000; publication in Voices From the Attic, the university’s literary journal; and round-trip transportation and lodging to give a reading at Carlow University with this year’s judge, Lynn Emanuel. Learn more.
Deadline: September 5, 2015

Media Art The Massachusetts Convention Center Authority (MCCA) and Boston Cyberarts are issuing the fifteenth call for media art to display on the Marquee at the Boston Convention & Exhibition Center. They are looking for 30-second videos, animations, or computer-generated motion works by Massachusetts artists that push the creative limits of this 80-foot, seven-screen, three-sided LED sculpture. Learn more.
Deadline: September 7, 2015 (midnight)

Short Films Boston Open Screen, an open mic for film, encourages local filmmakers to bring their short films to screen at the next event at the Coolidge Corner Theatre in Brookline. Boston Open Screen will play any film on the big screen as long as it’s 10 minutes or under. More info and tech specs on the Facebook page.
September 8, 2015, 7-10 PM

Public Artists, Designers, Data Visualizers, Environmentalists Applications are now being considered for an Energy Feedback Sculpture at Harvard University. Selected applicants will be awarded funding to develop proposals to be considered for a major public art installation on campus. Learn more.
Deadline: September 14, 2015

Studios at MASS MoCA The Studios at MASS MoCA, a new program from Assets for Artists, offers two professional development tracks: artists can apply for self-directed professional development residencies of 1-4 weeks in length, and/or enroll in week-long “workshops-in-residence” with individual studio space and housing complemented by instructor-led programming. Enrollment is first-come, first-served. Learn more.
Deadline: September 14, 2015

Glass Artists The Workhouse Arts Center (WAF) has announced a call for entries for its 1st Annual Workhouse Glass National Exhibition 2015,  for functional and/or sculptural glass artworks. The juror is Maurine Littleton. Learn more.
Deadline: September 16, 2015

Crafts Artists Entries are now being accepted for the annual Smithsonian Craft Show,  a juried exhibition and sale of contemporary American crafts and design.  Artists are selected on the basis of the originality, artistic conception, and quality of their work. Learn more.
Deadline: September 20, 2015

Amherst/Pioneer Valley Writers Calling all writers in the Greater Amherst/Pioneer Valley region: Luminarium Dance’s “Amherst Storybook Project” is in its final stage. Using artwork from local artists, the company has created 12 fanciful images for a new children’s storybook. Writers are asked to choose an image, and write a poem or short story inspired by the scene. Submissions are completely free, and writers are welcome to submit as many entries as they wish. One submission per image will ultimately be chosen to be printed alongside the artwork in the final book, which will debut at the Eric Carle Museum of Picture Book Art on November 8th. See images, learn more, and submit writing here.
Deadline: September 25, 2015, 5 PM

Dissertation Fellowships in American Art Applications are now being accepted for the Henry Luce Foundation/ACLS Dissertation Fellowships in American Art designated for graduate students in any stage of PhD dissertation research or writing. Stipend: $25,000, plus up to $2,000 as a travel allowance.
Learn more.
Deadline: October 21, 2015

Nominate a Jazz Master Fellowships of up to $25,000 are awarded to living individuals on the basis of nominations from the public including the jazz community. The NEA encourages nominations of a broad range of men and women who have been significant to the field of jazz, through vocals, instrumental performance, creative leadership, and education. Nominees must demonstrate significant contribution to the art form through their body of work in the field of jazz. Learn more.
Deadline: December 31, 2015

Image credit: Original image, via Smithsonian Libraries, from Academy sketches (1877).

Fellows Notes – Aug 15

Sunday, August 2nd, 2015

As our Artist Fellowships turn 40, here’s the current news of the awards’ recent and past recipients.

Still from THE EMPTY SIGN, film-in-progress by Kathryn Ramey

Watch 40 Years of Fellowships videos featuring Diane Arvanites & Tommy Neblett, Niho Kozuru, Melinda Lopez, and Rania Matar.

Mark Cooper and Joo Lee Kang are both exhibiting at the Seattle Art Fair, as part of the Samson Gallery.

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Sandra Allen‘s drawing Warrior is exhibiting in the Minneapolis Institute of Art Michael Graves Stairwell (thru 7/2016). She was recently included in the group show Land and Sea at Danese/Corey Gallery in NYC.

Alexandra Anthony‘s film Lost in the Bewilderness was screened for the closing night event at the International Classics Conference Time & Space in Greek Myth and Religion at the University of Patras, Greece, in July. It also screened in the Independent Film Festival of Bogota in July. As part of that festival, the filmmaker did a master class at Jorge Tadeo Lozano University called “Women Behind the Lens.”

Denise Bergman was interviewed by Mass Poetry about her poetry book A Woman in Pieces Crossed a Sea.

Nancy Berlin is exhibiting paintings and drawings this summer in Line as Structure or Continuation at Causey Contemporary in New York. She was recently in Cape Whale at SEA Space Gallery in Provincetown and had drawings as well in Appearances at the Fine Arts Work Center in Provincetown, as part of the Eco-Arts Festival.

Poems by Kristin Bock were recently published in Apercus Quarterly.

Vico Fabbris is exhibiting work at Rice Polak Gallery in Provincetown (8/20-9/9). He will also teach a workshop, “Exploring Drawing & Mixed Media,” at the Truro Center for the Arts at Castle Hill (8/24-8/28).

D.M. Gordon was Mass Poetry’s July Massachusetts Poet in the Spotlight.

Zehra Khan is exhibiting a series of drawings on bed sheets and blankets at artSTRAND Gallery in Provincetown (8/7-8/26). She recently designed the 2015 Swim for Life! logo.

Colleen Kiely‘s painting Beau (Skyward) was included in the exhibition Faces at Post Office Gallery in North Truro, MA, in July.

Holly Lynton‘s in among the artists in The Disrupted Landscape at Miller Yezerski Gallery (thru 8/14).

Congratulations to Randall MacLowry, who received a grant from the National Endowment for the Humanities for the documentary The Mine Wars.

Ilana Manolson is included in the group show Images of Grief and Healing at the Maud Morgan Arts Chandler Gallery (8/10-9/1).

Greer Muldowney curated the group exhibition Landscape as Fetish at Gallery Kayafas.

Congratulations to Kathryn Ramey, who received a LEF Foundation Moving Image Fund Pre-Production Grant for a new film project about the history of US involvement in Puerto Rico.

Pat Shannon is exhibiting in VILLISSIMA! Des artistes et des villes, curated by Guillaume Monsaingeon, at the Hôtel des Arts, Toulon France (thru 9/27).

Linda K. Wertheimer‘s book Faith Ed: Teaching About Religion In An Age of Intolerance will have its book launch 8/18, 7 PM, at Porter Square Books in Cambridge. She’ll also be reading at Tewksbury Public Library (8/25, 7 PM).

Read past Fellows Notes. If you’re a past fellow/finalist with news, let us know.

Image: still from THE EMPTY SIGN, film-in-progress by Kathryn Ramey.

Three Stages: Sarah Bliss and Rosalyn Driscoll

Thursday, July 2nd, 2015

Moving image artist Sarah Bliss and sculptor Rosalyn Driscoll (Sculpture/Installation/New Genres Fellows ’13) have just premiered their latest collaborative project, a four-channel, 30-minute, immersive sculptural video installation, Blindsight (6/11 – 7/19/15 at Boston Sculptors Gallery). Here, they retrace their journey through its maze.

Installation detail of BLINDSIGHT, with Woody Bliss, photo by Sarah Bliss

Inspiration

Sarah Bliss: We bring to our work together a deeply shared interest in the human body as starting point. Both the visible outer body and the inner, subjective experience of one’s body have long been sources of inspiration, imagery and mystery for both of us. My own experience as a mover very much informs my art practice. I need my body to be physically engaged in my work, which drives the way I approach my filmmaking. We knew from the start that bodies would be central to the project, and decided to focus on aging bodies, which are rarely seen and often taboo.

Roz Driscoll: My work has derived its imagery and materials from my experience of my body, but the body has also become the medium through which I want people to experience my work. For the last few decades I’ve explored tactile, proprioceptive, visceral perception as a basis for my sculpture, making sculptures that people can touch, as well as sculptures that speak to people’s proprioceptive, visceral selves. This is the first time I’ve constructed an entire multisensory, immersive environment animated by moving images and by visitors’ movements within the environment.

Sarah: Yes and likewise, the awareness of place, and its conscious engagement for embodied encounter is a central concern of mine. I create moving image installations that engage site-specific architecture, where space and place are used as central metaphoric and narrative elements. For instance, I’ve projected the moving body onto the massive scaffolding of a bridge-under-construction, and into the extremely cramped space of a miniature stainless steel elevator.

Installation detail of BLINDSIGHT, photo by Sarah Bliss

Roz: We also both shared a desire to work with water—to explore its nature, behavior and life-sustaining qualities. You’d already been experimenting with filming bodies underwater, using an underwater camera housing and an underwater light. When we started work on Blindsight, research of ritual uses of water revealed that sauna, which compresses the elements of steam, fire, water and bodies into a small room, is traditionally considered a ritual cleansing. We ended up filming in a small steam room (another tiny, compressed space filled with water and steam that intensified the feeling of intimacy and internality), and underwater in fast-moving streams beneath ice.

I became intrigued with the physical, psychological power of these small, contained spaces as a way to imagine the structure of the installation. The obscurity of the steam room suggested being lost and wandering in the dark, which crystallized for me into the idea of a maze. The concept of maze suggested the Daedalus/Icarus myth, which offered us a narrative line as well as a physical structure for the installation.

Installation detail of BLINDSIGHT, photo by Sarah Bliss

Sarah: I’ve long grappled with the question of how to make meaning in the absence of a shared cultural story, religious framework or mythology. How do we face and embrace aging, loss, death, entrapment, destruction? Can we face the apocalypse of climate change without denial, and without collapse? For me, the answers lie in community and connection, and the creative act.

So I drew from a rich world of visual and cultural referents: early WWII-era paintings by Phillip Guston that depict troupes of street kids reenacting their world at war using the detritus of back alleys; filmmaker Bela Tarr’s remarkable opening scene in Werckmeister Harmonies, in which a young man injects possibility and meaning into listless has-beens in a barren bar, catalyzing them to co-create with him a literal dance of the spheres; the masks and costumes adopted by Carnival-goers as memento mori in medieval times; and Diane Arbus’ unsettling photographs of developmentally disabled people promenading in masks on Halloween.

We wanted to create an encounter with these elemental forces of Eros and Thanatos that was not fully tamed — still wild, raw, mysterious and sensual. It was also important to us to give people enough space to enter the risk of encounter. We needed to find ways they could modulate their distance.

Installation detail of BLINDSIGHT with Hope Wen, photo by Sarah Bliss

Into the Maze

Roz: By designing the installation as a loose maze, we could invite people to enter into the experience, take a journey, find their way and choose their path. Like a labyrinth, there is a center, but with many ways to move around it. We also wanted to contrast the ephemeral evanescence of film with concrete, palpable matter, so we searched for materials to bridge those two poles.

My favorite material is rawhide cow skins. Their capacity to both reflect and transmit light is what originally led me to incorporate moving images into my work. In this project, the use of the skins as receptive surfaces resonates with the rich variety of human skin in the film — skin of various ages, genders, colors and textures, skin with many sorts of markings, and skin that both hides and reveals the being inside. The rawhide skins underscore the film’s themes of death and transformation, and hint at the presence of the Minotaur. We also explored other reflective, translucent materials, such as various kinds of cloth, paper, and metal, to see how they would interact with the projected images.

Sarah: Wanting to break the constraints of standard projection screens, and its collusion in turning the viewer into a passive observer, we experimented with projections onto and through these materials, from various angles and heights. The tension between the integrity and legibility of the moving image and its transformation and abstraction by the materials and angles of projection became a source of joy and wonder as we played. We thrilled to the many ways that the physical architecture of the installation created opportunities for new kinds of engagement with people’s bodies, and for new perceptual practices.

Roz: Right. We wanted to create an experience for visitors that would speak to the somatic, haptic dimensions of their perception—the way we sense with our bodies and respond empathically and viscerally to what we see. We wanted to create a range of sensory possibilities and to stimulate people’s perceptual powers. We wanted to reveal how context determines what we perceive — how the same image appears radically different on rippling cloth, wrinkled rawhide, hanging vellum or a flat wall; when seen from different sides, angles or perspectives; or when seen in changing relationship to other moving images, spaces or materials.

Sarah: That said, we sometimes felt trapped in a maze of our own making. The challenges of filming multiple bodies enveloped in fog and steam in a tiny, dark space in complex lighting conditions, and filming in fast-moving water under ice, along with the challenges that inherently arise in any collaborative venture, amplified that feeling of being trapped in a maze, and mirrored for us the narrative that we were seeking to express. We found ourselves actors in our own story.

In addition, I wanted the choreography of bodies in the film shoots to continue and extend into a choreographic dance between the four projections in the installation. This required development of a software and hardware system that could implement the finely tuned choices we made concerning rhythm, pacing, convergence, emphasis, singularity and focus. Arcs of movement, gestures, forms, and color move from one projection to another, appearing and disappearing like dancers throughout the installation. We were very fortunate to work with the highly skilled artist and software designer, Jeff Warmouth, to develop and program a hardware and software system that could meet our needs.

Roz: Throughout the project, we explored the territory between visual and tactile (optical and haptic) perception: in the film shoots, in the editing process, in the projections, and in the installation materials and structure. The film shoots, for example, were intensely physical and haptic as you moved with the actors and I moved with the light. The imagery then became optical when footage was transferred and compartmentalized onto the flat computer screen for editing. It was a revelation when you realized that the editing process could only be accomplished by projecting the images onto the materials and spaces of the maze, thus returning the imagery to hapticity and tangibility.

Installation detail of BLINDSIGHT, with Hope Wen and Peter Schmitz, photo by Sarah Bliss

And Out Again

Sarah: It’s interesting too, to reflect on our different relationships to narrative. We felt tension between the desire to create a coherent experience and the desire for an open, polymorphous container for the work. Between literality and abstraction. The choice of the flight and fall of Icarus as our narrative inspiration provided rich interpersonal themes as well as a metaphor for the cycles of creativity, dissolution, death and rebirth that informed all stages of the filming, editing and projection. That narrative arc also became a metaphor for our own creative and collaborative processes, for the ways we work through the differences in our respective disciplines, temperaments and aesthetic intents.

Roz: In the end, the materials, structure and imagery of the installation — the maze — became a place to be inhabited by the two of us, by the filmed figures, and by visitors to the installation, a place both dream-like and substantial—underworld, inner world, and the world itself. The maze invites an experience of wandering, losing one’s way, and encountering unexpected revelations, just as we did in our collaborative creative process. We hope the metaphor enables visitors to the installation to undergo their own liminal, transformative experiences.

 

Blindsight is on view at Boston Sculptors Gallery thru 7/19. Read a glowing review in the Boston Globe.

Sarah Bliss is a moving image artist focused on the intersections of body, place, language and memory. Recent screenings include the Alchemy Film Festival, Scotland; TransArt Film Festival in Berlin; and a new media public art commission on Boston’s 80-ft tall, seven-screen MCCA Marquee. Bliss received her M.T.S from Harvard Divinity School, and teaches video production at Greenfield Community College.

Rosalyn Driscoll explores the dynamic relations between sight, touch and the body. Her work has received awards from the New England Foundation for the Arts, Massachusetts Cultural Council, Dartington Hall Trust, UK, and Wurlitzer Foundation of New Mexico. She is a member of Sensory Sites, an international collective in London, and has been a member of Boston Sculptors Gallery since 2008.

Images: installation details featuring performers Woody Bliss, Hope Wen, and Peter Schmitz, photos by Sarah Bliss.

Fellows Page to Screen

Wednesday, June 24th, 2015

The Massachusetts Cultural Council is celebrating 40 Years of Fellowships by delving into the Commonwealth’s history of support for Massachusetts individual artists.

We have awarded many superb literary artists since 1975, and one fun sidenote to this history is the number of past Artist Fellowships awardees who’ve gone on to have novels adapted into films.

Here are the page-to-screen adaptations we know of:

Andre Dubus (Fellow ’76) wrote Finding a Girl in America (1980). One of the stories, “Killings,” is the source material for the 2001 movie In the Bedroom.

Tim O’Brien (’76) wrote the short story “Sweetheart of the Song Tra Bong,” included in his seminal book The Things They Carried (1980). “Sweetheart” was later adapted into the movie A Soldier’s Sweetheart (1998), which starred Kiefer Sutherland.

Rita Mae Brown (’77) is the author of the Mrs. Murphy “cat” mysteries, and she adapted her novel Murder, She Meowed (1996) into the 1998 TV movie Murder She Purred: A Mrs. Murphy Mystery. (Fun fact: Brown has written a number of other screenplays and teleplays, including the script to the 1982 film Slumber Party Massacre. According to IMDB, she wrote the script as a parody, but the producers decided to film it straight-faced!)

Denis Johnson’s (’83) Jesus’ Son (1992) became a movie of the same name in 1999. Johnson himself has a cameo as a man who arrives at an emergency room with a knife in his eye.

Sue Miller’s (’84) novel The Good Mother (1986) was made into a movie in 1988; same goes for Inventing the Abbotts (1987) in 1997.

Stephen Dobyns (’85) wrote the novel Cold Dog Soup (1985), which was adapted to an American film of the same name in 1990 and a 1999 French film called Doggy Bag. Also, his novel Two Deaths of Senora Puccini (1988) spawned the film Two Deaths in 1995.

Tom Perrotta (’98) published Election (1998) while the movie version was being made (it was released in 1999). Little Children (2004) became a movie, too, in 2006.

Michael Downing (Finalist ’08) wrote the book Breakfast with Scot (2000), which was adapted into a 2007 film starring Tom Cavanaugh. Read about this process.

Other Literary Adventures in Film
Mary-Louise Parker is connected to a proposed TV series adaptation of the life and writing of Mary Karr (’87). Rumor has it that Parker, the former Weeds star, would not only executive produce, but actually portray the past Massachusetts Poetry Fellow!

Sabina Murray (’02) wrote the lauded short story collection The Caprices. While her books have yet to be adapted to the screen, film director Terrence Malick commissioned her to write the screenplay for the film Beautiful Country.

Regie Gibson (’10) and his poetry appear in the 1997 movie Love Jones. According to a Taunton Daily Gazette interview, the film was actually loosely based on events from Regie’s life.

Steve Barkhimer (’11), along with being an award-winning playwright, is an accomplished actor who has appeared in feature films such as The Fighter.

Are there other Fellows-to-film stories we’ve missed? Tell us.

Images: Cover art from the original edition of BREAKFAST WITH SCOT (Counterpoint, 2000); cover art from the movie tie-in edition (Counterpoint, 2008).

Artist Opportunities Netminder

Tuesday, June 9th, 2015

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Take your best shot!

Of Note: SpaceFinder Mass is like an Airbnb for creative spaces.

Of Note: The Massachusetts Cultural Council is hosting a series of webinars for the UP inclusive design initiative. A webinar on Wednesday, June 10, 1-2 PM, explores Inclusive Theater, followed by a discussion of Inclusive Exhibits on Monday, June 15, 1-2 PM. Both webinars will feature representatives from Massachusetts cultural organizations discussing their work in inclusive theater and exhibits, share tips and lessons learned from their experience, and spark ideas for simple things you can do to make your work more inclusive to all. Learn more and register.

Choreographers Luminarium Dance has announced their call to artists for The 24-Hr ChoreoFest, an opportunity for Boston’s diverse and varied choreographers to unite through an equally shared experience, while pushing each other to our personal limits and to create new work. Learn more.
Deadline: June 12, 2015

Printmaking Residency Zea Mays Printmaking, one of the premier green studios in the USA, is now accepting applications for residencies which would provide artists an opportunity to learn the latest developments in safer and non-toxic printmaking. Learn more.
Deadline: Rolling basis

Women Filmmakers, Directors, Producers Entries are now being accepted for the Loreen Arbus Disability Awareness Grant,  a film completion grant of $7,500 to a woman filmmaker for a film on physical or developmental disability issues. Director and producers are eligible to apply. Films may be of any length or genre, and must be works-in-progress that have completed principle photography. Filmmakers must be U.S.-based.  Learn more.
Deadline: June 15, 2015

Call for Art The Jonathan Ferrara Gallery is accepting entries for their annual exhibition NO DEAD ARTISTS,  open to living, emerging to established artists working throughout the world. All mediums are accepted including, but not limited to, painting, sculpture, design, glass, metalwork, photography, video, mixed media and installation art. Learn more.
Deadline: June 15, 2015

Fiction Entries are now being accepted for the New American Press Fiction Prize. The winner receives $1,000 and publication by New American Press. Larry Watson will judge. Using the online submission system, submit a collection of short stories or flash fiction, a novella, or a novel between 100 and 500. Learn more.
Deadline: June 15, 2015

Poets Entries are now being accepted for the Cultural Center of Cape Cod’s Poetry Competition. A prize of $1,000 is given annually for a poem that has not won a national competition. Sascha Feinstein will judge. Submit up to three poems totaling no more than five pages. Learn more.
Deadline: June 19, 2015

Women Playwrights The Athena Project is now accepting submissions for its Plays In Progress Series (PIP Series). This series will take place in Denver over the course of 3 weekends, in March 2016, as part of a larger arts festival celebrating women artists, including the yet-to-be named world premiere, winner of this year’s PIP Series. Four new plays will be selected based on a blind submission process and given a dramaturg, director, designers, cast and workshop presentation during the festival. One play from the 2016 PIP Series will win a full production to be produced in March of 2017, based on a combination of audience vote and board input. Learn more.
Deadline: June 19, 2015

Playwrights The North Park Playwright Festival in San Diego, CA, is seeking new short plays (15 minutes or shorter) that are easily staged, have casts of 4 or fewer, and have minimal set requirements. Plays should be complete (no excerpts from longer works) and preferably unproduced. Festival directors will choose plays. Any themes and subjects are welcome; the only regulation is no nudity. Include a title page with complete contact information, a character summary, and the script in proper format. Only one submission per playwright. NOTE: No e-mail submissions. No Fee. North Park Vaudeville and Candy Shoppe, 2031 El Cajon Blvd., San Diego, CA 92104, Attn. Summer Golden, Artistic Director .
Deadline: June 30, 2015

Filmmakers The Broad Humor Film Festival (September 24-27, 2015, Los Angeles, CA) features funny films written and directed by women. Entries must either be written or directed by a woman, and the subject matter must include “a healthy dose of humor.” Learn more.
Deadline: June 30, 2015

Photography Entries are now being accepted for the 2015 Somerville Toy Camera festival at Nave Gallery, Nave Gallery Annex and Washington Street Art Center. The juror is Aline Smithson. Learn more.
Deadline: July 1, 2015

Artist Grants The Artist’s Resource Trust provides grants to talented mid-career visual artists who have demonstrated substantial commitment and who have a financial need. A.R.T. supports artists (aged 35 or older) living in New England, or Columbia or Northeast Dutchess Counties, NY. Learn more.
Deadline: August 1, 2015

Image credit: Photograph from Bread City.org.

Fellows Notes – Jun 15

Monday, June 8th, 2015

This June, our past Artist Fellows & Finalists are exhibiting, publishing, premiering, winning, and just generally being excellent, here and abroad.

Still from BLINDSIGHT, immersive sculptural video installation by Sarah Bliss and Rosalyn Driscoll

Sandra Allen, Dale Broholm, Todd McKie, and Harold Reddicliffe are among the artists exhibiting in Dynamic Conversations, fine craft furniture paired with distinctive two-dimensional works, at the Dillon Gallery of the South Shore Art Center (thru 7/9).

Michael Beatty, Stephanie Chubbuck, Joo Lee Kang, Andrew Mowbray, Cristi Rinklin, and Elaine Spatz-Rabinowitz are among the exhibiting artists in Nature, Askew at Suffolk University Gallery (6/11-7/5, opening reception 6/11, 5-7 PM).

Frank Egloff, Raul Gonzalez, Masako Kamiya, Colleen Kiely, and Mary Bucci McCoy are all exhibiting in the pop-up exhibition No Shake, Not Here at the Montserrat Gallery, Montserrat College of Art (6/8-6/12, opening reception 6/11, 7-9 PM).

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Sarah Bliss and Rosalyn Driscoll‘s new room-sized, multichannel immersive sculptural video and sound installation, Blindsight, premieres at Boston Sculptors Gallery (6/11-7/19, opening reception 6/11, 5-8 PM, artists’ talk 6/25, 5-6 PM).

David J. Bookbinder has signed with the literary agent Stephany Evans of FinePrint Literary Management for his recently completed book Fifty-Two Flower Mandalas, a collection of images and essays that distill into one volume his work as artist and healer.

Sari Boren‘s essay In a Corner of the Hebrew School Classroom is in the Spring issue of Lilith Magazine.

Ria Brodell has five paintings in the 2014 Boston Artadia Awardees exhibition at deCordova Sculpture Park and Museum in Lincoln, MA (6/11-6/21, opening reception 6/11, 6-8 PM).

Kelly Carmody‘s painting Father and Son has been selected for the 2015 BP Portrait Award Exhibition at the National Portrait Gallery in London (6/18-9/20). The exhibition goes on tour to the Scottish National Portrait Gallery, Edinburgh (October–February ‘16) and the Ulster Museum, Belfast (March–June). Her painting Woman with Rooster is also a Semi-Finalist for the Outwin Boochever Portrait Competition from the National Portrait Gallery in D.C.

Mary Jane Doherty‘s documentary Primaria (6/9, 8 PM) is screening as part of the Dance for World Community Festival at Jose Mateo Ballet Theatre.

Dana Filibert is among the artists with work in the Peep This empty storefront project in Springfield, MA. Her installation will be at 176 Worthington St until 9/2015.

Patrick Gabridge has published a new novel, Steering to Freedom, about an escaped slave who seeks to convince Abraham Lincoln to enlist black troops in the Civil War.

Ralf Yusuf Gawlick‘s composition Kollwitz-Konnex (…im Frieden seiner Hände), a large song-cycle for soprano and guitar will be the musical centerpiece of the Boston Guitar Fest (The Eternal Feminine) at New England Conservatory (6/20). It will be performed by Soprano Anne Harley and guitarist Eliot Fisk, the festival’s artistic director.

Holly Guran will read from her recently published poetry book River of Bones at the New England Mobile Book Fair in Newton (7/1 7 PM). She’ll also read on 8/1 at the Hunnewell Building of the Arnold Arboretum, with the Jamaica Pond Poets, in conjunction with an exhibit called Arboretum Inspiration: Image and Word, featuring poems by Holly and photographs by Philip McAlary.

Danielle Legros Georges, the Poet Laureate of Boston, was recently profiled in the Boston Globe.

Scott Listfield has new paintings in Astronaut at Rotofugi Gallery in Chicago, IL (6/12-7/12, opening reception 6/12, 7-19 PM).

Congratulations to Yary Livan, who was named a National Heritage Fellow from the National Endowment for the Arts!

Holly Lynton‘s photographic series Bare Handed exhibits at Goodwin Fine Art in Denver, CO (6/5-7/18) (read a review of her recent solo show in Miami). She’ll be part of the group shows The Disrupted Landscape at Miller Yezerski Gallery in Boston (6/12-8/15) and Fraction of a Second at 516 Arts in Albuquerque, NM (6/5-8/8).

Rania Matar exhibits photographs at the Carnegie Museum of Art in Pittsburgh, as part of She Who Tells a Story (thru 9/28), a group show that originated at the Museum of Fine Arts Boston. She is also exhibiting in a dual show (with Gordon Parks) called Exposure at Richard Levy Gallery (6/13-7/24, opening reception 6/19, 6-8 PM), and in the group show Fraction of a Second at 516 Arts (6/5-8/8); both shows are in Albuquerque, NM.

Caitlin McCarthy‘s TV pilot “Free Skate” recently received a glowing review from the prestigious script reviewing site Black List. Read excerpts of the review.

Congratulations to DK McCutchen, whose novel in progress Ice has won a Speculative Literature Foundation grant, and whose short story Jellyfish Dreaming will be published in the July ’15 issue of Lady Churchill’s Rosebud Wristlet.

Nathalie Miebach has work in Mapping Knowledge at the Mundaneum Museum in Mons, Belgium (6/27-5/15/16) and in Flight Patterns at The Welch Gallery at Georgia State University in Atlanta, GA (6/4-7/31). Also, she recently completed a commissioned piece for the Troy Boston, a condominium tower in Boston’s South End, and she’ll be giving a talk at the Cannes Lyon Festival in Cannes, France (6/23).

Lisa Olivieri‘s film Blindsided has been selected to show at the OM Film Festival in Kansas City, MO in September. The films for the festival are selected by audience votes, and Blindsided has received more votes than any other film thus far.

Cecilia Raker is co-creator of Shiver: A Fairytale of Anxious Proportions, a devised piece of theater by Project:Project. It premieres at Boston Playwrights’ Theatre (6/19-6/28).

Monica Raymond’s play The Owl Girl won the 2015 Jewish Plays Project‘s Jewish Playwriting Contest-Boston, and placed second in the international competition, with over 200 entrants. Also, her play A TO Z has a reading at Virago Theater in Oakland, California (6/8).

Congratulations to James Rutenbeck who, with Diana Fischer, received a $15,000 Production grant from the LEF Foundation Moving Image Fund for The Clemente Project. The film explores the Clemente Course, a rigorous, college-level instruction in humanities for students from disadvantaged backgrounds.

Carolyn Webb is exhibiting in a three person show, with Betsey Garand and Kathryn Fanelli, in the Jannotta Gallery at Smith College (thru 8/21).

Scott Wheeler, currently on a residency fellowship at the MacDowell Colony, recently performed new compositions for the MacDowell Downtown series.

Read past Fellows Notes. If you’re a past fellow/finalist with news, let us know.

Image: still from BLINDSIGHT, immersive sculptural video installation by Sarah Bliss and Rosalyn Driscoll (Sculpture/Installation/New Genres Fellows ’13).

LEF New England for Nonfiction Filmmakers

Tuesday, June 2nd, 2015

Still image from THE CLEMENTE PROJECT, a film by James Rutenbeck & Diana Fischer

Congratulations to the Spring 2015 recipients of the LEF Foundation Moving Image Fund awards.

As a funder and resource for nonfiction filmmakers in New England, the LEF Foundation has helped bring to life an amazing – and important – array of nonfiction films (see a sampling in their highlight reel).

Among the most recent LEF grantees is past MCC awardee James Rutenbeck who, with Diana Fischer, received a $15,000 Production grant for The Clemente Project. The film explores the Clemente Course (a project of our sibling organization, Mass Humanities). The Clemente Course is a rigorous, college-level instruction in humanities for students from disadvantaged backgrounds. James Rutenbeck’s past work includes Scenes from a Parish, a documentary about a Lawrence, Massachusetts parish working to transform its community (watch a clip).

The recent grantees also include a $25,000 Post-production grant for Ian Cheney for his film Bluespace, called “a science fiction-infused documentary about the changing waterways of New York City.” This year, Ian Cheney was a Knight Fellow at MIT.

Still image from BLUESPACE, a film in progress by Ian Cheney

Next Award Deadline: June 19
If you have a nonfiction film in the works, don’t miss the next deadline for Pre-production Funding: Friday, June 19, 2015. Learn more.

Beyond the Moving Image Fund, LEF also sponsors fellowships for New England filmmakers to attend the annual Flaherty Film Seminar in NYC. What’s more, LEF Program Director Sara Archambault is co-founder and co-director of The DocYard, a series of contemporary documentary films screening in the Boston area.

Images: stills from THE CLEMENTE PROJECT, a film in progress by James Rutenbeck & Diana Fischer and BLUESPACE, a film in progress by Ian Cheney.


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