call for exhibition proposals NCECA

Prospectus For 2018 Concurrent Exhibition Proposals
DEADLINE: Wednesday, February 1, 2017 (EST)

52st ANNUAL NCECA CONFERENCE: CrossCurrents: Clay and Culture
Wednesday March 14 – Saturday, March 17, 2018
Pittsburgh, Pennsylvania

Overview
The exhibition and expansion of
contemporary ceramic practice will include diverse approaches to ideas
and senses of materiality involving clay and process. NCECA’s annual
conference is enriched by the innovation and vision that emerges from
our community to present ceramic art of the highest caliber in the form
of Concurrent Exhibitions (CEs). These exhibitions make ceramic art
visible and accessible to communities in which the conference is based.
Concurrent Exhibitions also provide a platform for participating artists
to engage with the global audience of ceramic enthusiasts to expand,
challenge, and celebrate critical and aesthetic horizons of art made
with clay. NCECA promotes Concurrent Exhibitions through the print
conference guide, app, website, Blog and social media. While NCECA makes
efforts to cluster the shows within art/ cultural districts to maximize
viewer attendance, it is not able to guarantee that all exhibition
venues will be included on tour routes.

2018 Exhibitions Focus
NCECA seeks exhibition proposals
that incorporate clay as the principal medium of expression and have
conceptual resonance with the theme of its 52nd annual conference, CrossCurrents: Clay and Culture.
The conference will take place in Pittsburgh, Pennsylvania in March
2018. Cross-currents within Pittsburgh’s three rivers are traversed by
446 bridges. These natural and cultural features are vibrant metaphors
for the intersectionality, significance, and experience of different
cultural constructs. Traditions and innovations coexist throughout the
ceramic medium’s history. Our creative work with ceramic art in the 21st
century can be a catalyst to generate dialog and empathy. When art
grapples with change through underrepresented ideas, new models of
creating, teaching, and learning, it has the capacity to crystalize
experiences of diversity and notions of community. Through these
exhibitions, NCECA hopes to share and promote innovative approaches to
ceramic art that explore and highlight the experiences of diverse
cultures within a dynamic society. 

http://nceca.net/concurrent-exhibition-proposals/

call for proposals – Open Engagement Conference

Open Engagement (OE) is an annual, three-day, artist-led conference
dedicated to expanding the dialogue around and creating a site of care
for the field of socially engaged art. The conference highlights the
work of transdisciplinary artists, activists, students, scholars,
community members, and organizations working within the complex social
issues and struggles of our time.

Since 2007, OE has presented seven conferences in two countries and
four cities, hosting over 1,300 presenters and over 5,000 attendees.
Annual programming is selected by committees comprised of artists,
educators, professionals, and community members from a free, open call
for proposals.

Curatorial Statement

“The only standard for judging socially engaged art should be how much justice it creates in the world.”  –– Rick Lowe

Justice is the theme of the 2017 Open
Engagement Conference. The weight of historical injustice interrupts
daily life nationally and internationally. There is no better time than
now, and no better city than Chicago, for examining pathways to create
justice and exploring the manifold artistic strategies that demand and
enact fairness, and equality. Chicago is a city that is under the
spotlight and in the news for horrific gun violence, devastating public
school closures, and police brutality that is carried out with impunity.
These are conditions, of course, that have been a part of black and
working class peoples’ lives in our city and across this nation for a
long time, but only most recently with the rapt attention of the media.

As the co-curators for OE 2017, we
are committed to an exhilarating and expansive exploration of this
year’s theme. We are equally committed to OE’s mission of creating a
site of critical care and
critical inquiry for the vast, complex and diverse field of individuals
and organizations working at the intersections of art and activism.

There is a fierce urgency of now
for artists and cultural workers who audaciously believe in the immense
capacity of art to help shift our sense of what is possible, to unleash
our radical imaginations, to model and experiment with new ways of
being in the world, to enact social change.

We believe socially engaged art and artists challenge us and one
another to ask trenchant questions, to reflect, to seek creative
solutions, to hold nations and institutions and each other accountable.
Some of the questions we encourage participants to grapple with,
formally and informally, during the conference include the following:

  • What does it mean to work in
    solidarity with communities that are marginalized and the most
    challenged by racial, economic, and gender injustice around issues that
    impact them?
  • As artists, curators, and cultural
    producers, how are we implicated in the particular conditions we are
    working in, all the while engaged in challenging and changing these
    conditions?
  • The radical power of social practice
    has come in many respects from its inclusivity. But this promise has
    not yet been experienced in the lived realities of most people who make
    up the field. How do we push for more fair and equitable distribution of
    resources?
  • Is it possible to advance solutions
    and encourage actions in a social movement for justice while preserving
    one’s individual artistic practice?
  • What is the unique contribution that
    art and artists can make to the efforts to create a more just society?
    In what ways do we want to continue to insist on the differences between
    artistic practices committed to social justice and the organizing that
    is taking place in grassroots communities?

In solidarity with the organizers of
Open Engagement, we will relentlessly push to ensure that the diversity
of people who make up the ecology of social practice can be present at
this year’s OE. Arundhati Roy has provocatively suggested the following:
“There’s really no such thing as the ‘voiceless’. There are only the
deliberately silenced, or the preferably unheard.” We want to hear from
the widest possible range of stakeholders.

No justice, no peace,
Romi Crawford & Lisa Lee

Find out more on the website: http://openengagement.info/

call for artists: Future Flux Prospectus for Concurrent Exhibition Proposals

51st ANNUAL NCECA CONFERENCE
Wednesday March 22 – Saturday, March 25, 2017
Portland, Oregon

Overview
NCECA is committed to the exhibition and expansion of contemporary
ceramic practice including diverse approaches that range from
utilitarian and designed objects to sculpture, installations,
site-specific works and performative events.

A member driven organization, NCECA is enriched by the innovation and
vision that emerges from our community to present ceramic art of the
highest caliber in the form of Concurrent Exhibitions (CEs). These
exhibitions represent an important feature of NCECA’s Annual Conference
experience bringing high visibility to the work of participating
artists. Moreover, NCECA’s efforts to site and promote Concurrent
Exhibitions expand awareness of and engagement with ceramic art for
audiences that travel to and reside throughout the conference’s host
region.

NCECA promotes CEs through the print conference guide, app, website,
Blog and social media. While NCECA makes efforts to cluster the shows
within art/ cultural districts to maximize viewer attendance, it is not
able to guarantee that all exhibition venues will be included on tour
routes.

2017 Exhibitions Focus
NCECA seeks exhibition proposals that have conceptual resonance with the theme of its 51st annual conference, Future FluxThe
conference will take place in Portland, Oregon and NCECA specifically
seeks Concurrent Exhibition proposals that resonate with our theme.  As
journey’s end for Lewis and Clark in the early 18th century, expedition and discovery have
framed our imagination of the Pacific Northwest. As we pass beyond
NCECA’s first fifty years, the interconnection of mind, materials, and
transformation at the heart of ceramic process, art and education can
serve as trail heads to our future. Our creative work in the 21st century increasingly engages with hybrid practices, issues of diversity, notions of community and dynamic change. How
will more sustainable models of ceramic art and education continue to
evolve? What are the essential competencies and capacities for ceramic
artists and educators today and for the future? How can we continue to
draw from rich historic traditions while reinvigorating their relevance
in rapidly changing global societies? 
Portland, Oregon, a city of
rivers, makers, and entrepreneurs is an ideal vantage point from which
to investigate these questions and others. NCECA seeks Concurrent
Exhibition proposals that will help transport us to the ways that
ceramic art and education will continue to matter going forward.

All proposals and accompanying support materials must be submitted online by midnight Wednesday, February 3, 2016 (EDT).  

Full details here: http://nceca.net/concurrent-exhibition-proposals/

Call for proposals: NCECA 2014

DEADLINE JAN 4th
 
From March 19 to 22 of 2014 Milwaukee will serve as the host city for the 48th
Annual Conference of the National Council on Education for the Ceramic Arts
(NCECA).  I am pleased to be serving as the on-site liaison for this conference.
The theme of the conference, Material World, will be dedicated to an
investigation of the complex ways that materials acquire meaning through the things
that we make and those that surround us in our daily lives. Exhibitions and programs
will expand on traditional definitions of fine and decorative arts, craft and design in
the context of the 21st century.
As
a way of reaching out to innovative artists and thinkers I am writing
to let you know about the call for proposals for the 2014 NCECA
concurrent independent exhibitions. We
are looking for dynamic exhibition proposals from artists at various
stages in their career that will be housed throughout Milwaukee in
conjunction with the conference.  Deadline for submission is January 4.

Selected

by a review committee, proposals are considered for their ability to
successfully respond to the thematic structure of the conference and in
the way that they showcase the field at this particular moment in time.  

Please follow this link for complete information: http://nceca.net/static/conference_concurrent_info.php
I
hope that you will consider making a proposal, and would ask that you
pass this email along to anyone that you feel would be interested in the
project.  Feel free to contact me if you have any questions.
Best,
Paul Sacaridiz

________________
Associate Professor and Graduate Chair
Art Department
University of Wisconsin-Madison 
2014 on-site conference liaison
The National Council on Education for the Ceramic Arts
www.nceca.net

Requests for Exhibition Proposals

 

Northern Clay Center
periodically solicits for guest curatorial opportunities and exhibition
proposals. These exhibitions require artwork made either partially or
completely of ceramic materials. There will be at least one exhibition
opportunity each year. The Galusha Gallery will be made available for these
opportunities. The gallery space measures 31′ x 19′ with a wall height of 11′.
There are two windows on the south wall of the space. The maximum size for an
object is 9.5′ x 5.5′. A gallery map is available upon request.

If you are interested in submitting a proposal for an exhibition, please
provide the following information:

  1. A cover letter describing the purpose or curatorial intent of the
    exhibition.
  2. A resumé.
  3. A price list including NCC’s 50% gallery commission, if the work
    is to be for sale.
  4. A maximum of 20 slides representing the type of work to be
    included in the exhibition. Each slide must be labeled with the artist’s
    name, title of work, medium, date, size (H x W x D), photo credit, and a
    dot in the lower left corner to indicate orientation.
  5. Northern Clay Center is now accepting digital images submitted on
    a CD. Images must be in JPEG format at 300 dpi. Please be certain to
    identify all images on the CD with the following information: artist’s
    name, title of work, medium, date, size (H x W x D), photo credit.
  6. A corresponding image list that includes the same information as
    the slide labels if submitting slides, or image information on the CD if
    submitting digital images.
  7. A self-addressed stamped envelope for return of submitted materials.
    If postage is not included, materials will not be returned.
NCC’s jurors will make every effort to review and
respond to submissions in a timely manner. They plan to meet again in
January  2013 for opportunities in 2014. Please expect the process to take
at least 2 – 3 months. Because we do not maintain a slide registry or artist
file, all materials will be returned to you (in the SASE provided) unless your
proposal is under consideration.

Proposals should be mailed to:

Exhibitions
Northern Clay Center
2424 Franklin Ave. East
Minneapolis, MN 55406

NCC will require that artists or guest curators deliver work to be included in
the exhibition to the Clay Center and assist with both installation and
de-installation. NCC will provide promotion for the exhibition and a reception
for the public.

If your proposal is accepted, you will receive detailed information about
schedules and terms.

Please contact the exhibition manager with any questions or concerns at
612.339.8007 x 304 or michaelarnold@northernclaycenter.org.