Wednesday, February 28, 2007
Monday, February 26, 2007
March 8th Performance
He everyone,
I've been down with some complicated medication/medical issues, but wanted to pass on some flyers/info about a performance I'm doing on March 8th to celebrate International Woman's Day.
http://roboriada.org/ultrafuturo/
http://roboriada.org/boryana/pages/news.htm
Sincerely,
Sarah Paul
I've been down with some complicated medication/medical issues, but wanted to pass on some flyers/info about a performance I'm doing on March 8th to celebrate International Woman's Day.
http://roboriada.org/ultrafuturo/
http://roboriada.org/boryana/pages/news.htm
Sincerely,
Sarah Paul
Thursday, February 22, 2007
Blog Change
Hi all.
My blog address has changed. No more mermaid. I will now have a standard blog. :)
http://artwealthy.blogspot.com/
My blog address has changed. No more mermaid. I will now have a standard blog. :)
http://artwealthy.blogspot.com/
Monday, February 19, 2007
New Location for Feb. 23 Class
MFA Students:
There is a location change for our Graduate Seminar class this Friday (2/23). Instead of meeting in our normal classroom in the CFA, we will be meeting at 10 a.m. at the UB Anderson Gallery. The reason for the change is twofold - a "change of scene" for the presentation that day and to provide an opportunity to see the artwork of our guest presenter - Bruce Adams - who has a major mid-career exhibition on view at the Anderson Gallery.
UB Anderson Gallery is located near UB's South or Main Street campus, adjacent to the intersection of Englewood Avenue and Kenmore Avenue, on Martha Jackson Place.
For more specific directions and a link to do a map quest, visit the UB Art Galleries website:
ubartgalleries.buffalo.edu
See you Friday...
There is a location change for our Graduate Seminar class this Friday (2/23). Instead of meeting in our normal classroom in the CFA, we will be meeting at 10 a.m. at the UB Anderson Gallery. The reason for the change is twofold - a "change of scene" for the presentation that day and to provide an opportunity to see the artwork of our guest presenter - Bruce Adams - who has a major mid-career exhibition on view at the Anderson Gallery.
UB Anderson Gallery is located near UB's South or Main Street campus, adjacent to the intersection of Englewood Avenue and Kenmore Avenue, on Martha Jackson Place.
For more specific directions and a link to do a map quest, visit the UB Art Galleries website:
ubartgalleries.buffalo.edu
See you Friday...
Thursday, February 15, 2007
Juried Statewide Exhibition
For your consideration: In most of your boxes I put a prospectus for Made in NY 2007, a statewide juried exhibition at The Schweinfurth Memorial Art Center (If I missed you, you can get the info at www.myartcenter.org) It's a nice exhibition venue in Upstate NY (Auburn - where the electric chair was invented, by the way) and draws entries from across the state and NYC. It's inexpensive (only $20) by juried exhibition standards and doesn't seem to get thousands of entries so you have a better chance of getting in. I juried it last year, have shown there in the past and our own Stephanie Rothenberg got an award last year (I didn't recognize her name or work at the time so no nepotism was at play...)
Tuesday, February 13, 2007
Licata on the AKAG
Whoops, I almost forgot to post a link to a short article by this week's guest speaker, Elizabeth Licata, on the current controversy surrounding the Albright-Knox's upcoming sale of works, so here you go.
While I'm at it, here's a link to Elizabeth's personal site, though it looks a little out of date at the moment.
While I'm at it, here's a link to Elizabeth's personal site, though it looks a little out of date at the moment.
Question
I have questions somehow related to the stereotyped artistic personnalities.
It is pretty current to hear, even among artists, that art as to move or change things or people (social worker, rule breaker, etc). We can honestly see that somehow militant or political work seems to often be favored.
For you, is social critique necessary to art making?
What is it with politically involved art that makes it so acclaimed?
Is beauty and poetry obsolete in art?
It is pretty current to hear, even among artists, that art as to move or change things or people (social worker, rule breaker, etc). We can honestly see that somehow militant or political work seems to often be favored.
For you, is social critique necessary to art making?
What is it with politically involved art that makes it so acclaimed?
Is beauty and poetry obsolete in art?
Your Moms should have known...
Here is an extract from an article stating that you are all (but very little exception) crazy. Sorry to copy it but the text is very long I doubt you want to read it all. If so you can find it there: http://www.answers.com/topic/creativity
Here is my favorite part:
"When to Call the Doctor"
"Several studies have shown relationships sometimes exist between creativity and mental illness, including depression, schizophrenia, and attention-deficit hyperactivity disorder (ADHD).
For decades, scientists have known that eminently creative individuals have a much higher rate of manic depression or bipolar disorder than does the general population. But few controlled studies have been done to build the link between mental illness and creativity. One study that does support such a link was presented at the 2002 annual meeting of the American Psychiatric Association by Stanford University researchers Connie Strong and Terence Ketter. Using personality and temperament tests, they found healthy artists to be more similar in personality to individuals with manic depression than to healthy people in the general population.
While creativity itself is not a sign of mental illness, parents should be aware that there is a much higher degree of mental illness, especially depression and bipolar disorder, in creative children than in their less creative peers."
So dont let your kids draw to much you all!
Here is my favorite part:
"When to Call the Doctor"
"Several studies have shown relationships sometimes exist between creativity and mental illness, including depression, schizophrenia, and attention-deficit hyperactivity disorder (ADHD).
For decades, scientists have known that eminently creative individuals have a much higher rate of manic depression or bipolar disorder than does the general population. But few controlled studies have been done to build the link between mental illness and creativity. One study that does support such a link was presented at the 2002 annual meeting of the American Psychiatric Association by Stanford University researchers Connie Strong and Terence Ketter. Using personality and temperament tests, they found healthy artists to be more similar in personality to individuals with manic depression than to healthy people in the general population.
While creativity itself is not a sign of mental illness, parents should be aware that there is a much higher degree of mental illness, especially depression and bipolar disorder, in creative children than in their less creative peers."
So dont let your kids draw to much you all!
Monday, February 12, 2007
Value of Art
Valuable art in school corridors...
http://www.npr.org/templates/story/story.php?storyId=7244113
http://www.npr.org/templates/story/story.php?storyId=7244113
Sunday, February 11, 2007
another blog
this lady posts some interesting things that pertain to the class...
http://deborahfisher.blogspot.com/
http://deborahfisher.blogspot.com/
Thursday, February 08, 2007
Grantwriting workshop this weekend
Dorothea Braemer of Squeaky Wheel is conducting a one-daygrantwriting workshop from 10 a.m.-noon at Squeaky tomorrow, Sat. Feb. 10. Click here for details.
I'm hoping to bring Dorothea into class later in the semester to talk about her own career, running an alternative space and being a member of a collective, and grantwriting, among other things, but this workshop will likely be more in-depth than what she'll have time to do in class.
I'm hoping to bring Dorothea into class later in the semester to talk about her own career, running an alternative space and being a member of a collective, and grantwriting, among other things, but this workshop will likely be more in-depth than what she'll have time to do in class.
Want to go to "Site Specific Summer School" in Ireland?
For details, click here.
(Side note: In order to keep this blog readable, I suggest that people posting announcements like this try to make them as brief as possible if there is a separate website you can link to. I am happy to help spread the word about residencies, fellowships, etc., but I don't want the descriptions of them to overwhelm readers looking for other class-related info.)
(Side note: In order to keep this blog readable, I suggest that people posting announcements like this try to make them as brief as possible if there is a separate website you can link to. I am happy to help spread the word about residencies, fellowships, etc., but I don't want the descriptions of them to overwhelm readers looking for other class-related info.)
No money, no honey?
I'm not really sure how this blog will be inteprited, but I have never really considered the possibility of making a living off of my art. It just never seemed like an option. I have never sold an artwork and I have never made art in order for it to be sold. However, I have given away thousands of dollars worth in supplies out of my pocket so that people interested in my work could have something.
During Eric Avery's visit to UB, he mentioned that art making without the intention of exhibition is therapy; not art. In last week's class I overheard someone stating this same basic idea. I understand that for artwork to exist in a public realm it needs to be sent out into the world, digested, then burped back up; but SHOULDN'T ALL ART BE THERAPEUTIC? What's so wrong with that? To me, the overwhelming urge in a civilization to create; is civilization's expression of coping with the growing complexity of itself. If not therapeutic, then what?
As for the Artist/Teacher dileama, a printmaker doesn't have many choices. I cannot afford to buy a litho/intaglio press, let alone safely stock a lab, stones, acids, etc. It just makes sense to be in a creative environment such as a university. Plus, I like teaching and I think I'm good at it. So, I have no dileama being an artist who's art may someday dry up teaching others to become passionate about the same thing I myself feel passionately about. Beats making sandwiches. I'm happy just having my prints for myself. If I were to take them too seriously and begin to depend on them as my daily bread; I wouldn't be happy.
Isn't passion the most important thing? Art is a result of passion for life. Teaching is also an expression of passion for knowledge and humanity. I feel that doing both is very noble. In fact, I think something becomes lost when the element of teaching/learning is not involved in the creative process. Learning is certainly a property of creating, so why not teaching?
Maybe I'm just being naive, or maybe I'm being realistic, but I'm not interested in being just an artist. I make art for myself, because I love objects created from passion. I do whatever I need to in order to support and enrich my artmaking. I appreciate them and thats enough for me. Its my passion.
During Eric Avery's visit to UB, he mentioned that art making without the intention of exhibition is therapy; not art. In last week's class I overheard someone stating this same basic idea. I understand that for artwork to exist in a public realm it needs to be sent out into the world, digested, then burped back up; but SHOULDN'T ALL ART BE THERAPEUTIC? What's so wrong with that? To me, the overwhelming urge in a civilization to create; is civilization's expression of coping with the growing complexity of itself. If not therapeutic, then what?
As for the Artist/Teacher dileama, a printmaker doesn't have many choices. I cannot afford to buy a litho/intaglio press, let alone safely stock a lab, stones, acids, etc. It just makes sense to be in a creative environment such as a university. Plus, I like teaching and I think I'm good at it. So, I have no dileama being an artist who's art may someday dry up teaching others to become passionate about the same thing I myself feel passionately about. Beats making sandwiches. I'm happy just having my prints for myself. If I were to take them too seriously and begin to depend on them as my daily bread; I wouldn't be happy.
Isn't passion the most important thing? Art is a result of passion for life. Teaching is also an expression of passion for knowledge and humanity. I feel that doing both is very noble. In fact, I think something becomes lost when the element of teaching/learning is not involved in the creative process. Learning is certainly a property of creating, so why not teaching?
Maybe I'm just being naive, or maybe I'm being realistic, but I'm not interested in being just an artist. I make art for myself, because I love objects created from passion. I do whatever I need to in order to support and enrich my artmaking. I appreciate them and thats enough for me. Its my passion.
Tuesday, February 06, 2007
Interesting opportunity!
I came across this artist's space on the CAA website listing of calls for work and thought it looked really interesting. I especially thought of Don Paul, but I know many of you could do some incredible things at a place like this:
Elsewhere
Elsewhere
photo opportunity
i just wanted to post a link to a photo gallery in nyc that focuses on emerging artists and offers a photo contest every season. the gallery is in soho and run by a really nice young woman (jen bekman) who is very supportive. there is a fee for the hot shot contest, but it is not a scam, the gallery is a bare bones operation and they get a bazillion submissions if they don't charge. oh and hanz was picked as one of the winners last season, so if you have resevations about nepotism- you can rule that out.
http://www.heyhotshot.com/
colleen
http://www.heyhotshot.com/
colleen
Google Reader
Hi,
I have already talked in class about Google Reader. It is a really good way to keep up with blogs. It is really time consuming to go and visit everybody's blog and keep up with their blurb. I sugest you to open a google reader account. (in order to be able to see Ron's blog you had to sign up for a google accoutn right? now you just have to set up a google reader account, it shouldn't be harder). Here is the link to sign in:
Google Reader
Once you have your account, you can start adding websites and blogs (as long as they have a reader, which most blog are suppose to do) to your account and you will be able to check all your friends blogs at one time by looking at your reader account. Maybe I'll let you try and if it is not self explanatory enough I will give more instruction. Really, it will make your life easier.
I feel I make no sense at all by writing. It would be way easier to show you... Try it and maybe I'll explain more later.
bye
Veronique
I have already talked in class about Google Reader. It is a really good way to keep up with blogs. It is really time consuming to go and visit everybody's blog and keep up with their blurb. I sugest you to open a google reader account. (in order to be able to see Ron's blog you had to sign up for a google accoutn right? now you just have to set up a google reader account, it shouldn't be harder). Here is the link to sign in:
Google Reader
Once you have your account, you can start adding websites and blogs (as long as they have a reader, which most blog are suppose to do) to your account and you will be able to check all your friends blogs at one time by looking at your reader account. Maybe I'll let you try and if it is not self explanatory enough I will give more instruction. Really, it will make your life easier.
I feel I make no sense at all by writing. It would be way easier to show you... Try it and maybe I'll explain more later.
bye
Veronique
Monday, February 05, 2007
Me again,
Thought this sounded interesting..
penelope
CRCP Symposium.
Between Adaptation and Death: Artist, Critic, Designer, Curator
Saturday, February 10, 9 am - 6 pm
The separation of professions into specialized practices has become a staple of modernized societies. With changing times we encounter changing mores, and with them the birth, adaptation, and extinction of various professions. How does this affect the roles of the artist, the curator, the designer, and the critic?
What does the term creative professional mean today if professions are defined by their specific objectives and comparable methodologies? Are they all struggling to define themselves relative to one another in order to solidify their credentials within today's complex social landscape?
Six undergraduate and graduate students deliver papers asking:
Should professional interdisciplinarity be encouraged?
What can be achieved - or lost - with the blurring of boundaries?
Might the future foresee further divisions within these creative professions?
How do educational strategies and industry standards affect these discussions?
Also featuring keynote speaker Alex Alberro, Professor of Art History at the University of Florida; speakers include Peter Theodoropolous (U of T), Shirley Yoon (OCAD), J.Bounty (YorkU), Johan Lundh (Konstfack), Liz Pead (OCAD) and Paul Byron (McMaster).
This event will be followed by a reception at 4 pm.
Rm 128
The Ontario College of Art and Design
113 McCaul St.
Toronto, Ontario
For more information, contact Rosemary Donegan, Faculty of Liberal Studies, 416.977.6000 ext. 389.
Between Adaptation and Death: Artist, Critic, Designer, Curator
Saturday, February 10, 9 am - 6 pm
The separation of professions into specialized practices has become a staple of modernized societies. With changing times we encounter changing mores, and with them the birth, adaptation, and extinction of various professions. How does this affect the roles of the artist, the curator, the designer, and the critic?
What does the term creative professional mean today if professions are defined by their specific objectives and comparable methodologies? Are they all struggling to define themselves relative to one another in order to solidify their credentials within today's complex social landscape?
Six undergraduate and graduate students deliver papers asking:
Should professional interdisciplinarity be encouraged?
What can be achieved - or lost - with the blurring of boundaries?
Might the future foresee further divisions within these creative professions?
How do educational strategies and industry standards affect these discussions?
Also featuring keynote speaker Alex Alberro, Professor of Art History at the University of Florida; speakers include Peter Theodoropolous (U of T), Shirley Yoon (OCAD), J.Bounty (YorkU), Johan Lundh (Konstfack), Liz Pead (OCAD) and Paul Byron (McMaster).
This event will be followed by a reception at 4 pm.
Rm 128
The Ontario College of Art and Design
113 McCaul St.
Toronto, Ontario
For more information, contact Rosemary Donegan, Faculty of Liberal Studies, 416.977.6000 ext. 389.
Hello all,
Here is info about a really interesting tiny gallery just across the border in St. Catharines. It is a very small space but has been receiving both national and international reviews. It might be of interest to everyone...check it out at the opening.. it is only 40 minutes from downtown Buffalo and about 30 minutes from UB via Lewiston. Tobey Anderson is the contact person.. he is both an artist and curator. Joel I think you might really like the next show. Who knows.??? the possibility of an international show.
penelope
The CRAM collective includes, naturally, the traditional fine art mediums and constructions as well as installation, audio, music, mixed media, video, multi media, writing, and new media by the following practitioners: Tobey C. Anderson, John B. Boyle, Carolyn Wren, the Judy Bowyer, Alice Crawley, Sandy Fairbairn, Alan Flint, Dave Gordon, Ernest Harris, Jr., Marinko Jareb, Ed Aoki, Melanie MacDonald, John Moffat, Richard Purcell, Stephen Remus, Kevin Richardson, Dennis Tourbin, Nadia Laham, Hayden Booth, Peter S. Wing, Kyle Bishop, John Venditti.
---------------------------------------- --------------------------------
Here is info about a really interesting tiny gallery just across the border in St. Catharines. It is a very small space but has been receiving both national and international reviews. It might be of interest to everyone...check it out at the opening.. it is only 40 minutes from downtown Buffalo and about 30 minutes from UB via Lewiston. Tobey Anderson is the contact person.. he is both an artist and curator. Joel I think you might really like the next show. Who knows.??? the possibility of an international show.
penelope
CRAM
Luck of the Draw
Stephen Remus
February 17 - 27, 2007
Opening Reception: Saturday, February 17, 8 pm
Luck of the Draw is an exhibition of affordable prints that must be scratched off like lottery tickets in order to be seen. Stephen Remus lives in beautiful downtown St-Catharines-on-the-Parking-Lot and works at the Niagara Artists' Centre, just around the corner.
For more information: www.cramart.ca
Contact: Tobey C. Anderson
cel: 905.380.3910
CRAM
24 James Street - 2nd Floor
between Christopher's Magazine's & Smoke Shop and The Office
downtown St. Catharines, Ontario
Hours: when the sandwich board is out and by appointment
CRAM (8 ft x 10 ft) is Niagara's smallest and hottest gallery, and a growing concern. CRAM promotes and encourages local investment and support of contemporary art produced by the regional artists who live in Niagara or have strong ties to St. Catharines and the CRAM collective.
Luck of the Draw
Stephen Remus
February 17 - 27, 2007
Opening Reception: Saturday, February 17, 8 pm
Luck of the Draw is an exhibition of affordable prints that must be scratched off like lottery tickets in order to be seen. Stephen Remus lives in beautiful downtown St-Catharines-on-the-Parking-Lot and works at the Niagara Artists' Centre, just around the corner.
For more information: www.cramart.ca
Contact: Tobey C. Anderson
cel: 905.380.3910
CRAM
24 James Street - 2nd Floor
between Christopher's Magazine's & Smoke Shop and The Office
downtown St. Catharines, Ontario
Hours: when the sandwich board is out and by appointment
CRAM (8 ft x 10 ft) is Niagara's smallest and hottest gallery, and a growing concern. CRAM promotes and encourages local investment and support of contemporary art produced by the regional artists who live in Niagara or have strong ties to St. Catharines and the CRAM collective.
The CRAM collective includes, naturally, the traditional fine art mediums and constructions as well as installation, audio, music, mixed media, video, multi media, writing, and new media by the following practitioners: Tobey C. Anderson, John B. Boyle, Carolyn Wren, the Judy Bowyer, Alice Crawley, Sandy Fairbairn, Alan Flint, Dave Gordon, Ernest Harris, Jr., Marinko Jareb, Ed Aoki, Melanie MacDonald, John Moffat, Richard Purcell, Stephen Remus, Kevin Richardson, Dennis Tourbin, Nadia Laham, Hayden Booth, Peter S. Wing, Kyle Bishop, John Venditti.
---------------------------------------- --------------------------------
Friday, February 02, 2007
Hello all,
This is a wonderful program and thought some of you might be interested. I have a friend from Holland who applied a couple of years ago and felt it was a wonderful experience. The Toronto Island is only 15 minutes from downtown by ferry and is quite spectacular. This one is truely worth the time..good luck.. If you have any questions let me know? penelope
GIBRALTAR POINT INTERNATIONAL ARTIST RESIDENCY PROGRAM
ON TORONTO ISLAND, TORONTO, CANADA
REMINDER: FINAL CALL FOR SUBMISSIONS
Artscape is currently accepting applications for the
Gibraltar Point International Artist Residency Program
taking place June 1st – 30th, 2007.
Submission Deadline: February 21st, 2007, 4pm EST
2007 Program Dates: June 1st - 30th
For further information including the Guidelines for Submissions, Application Form and Answers to Frequently Asked Questions, please visit Artscape’s website at http://www.torontoartscape.on.ca/gpiarp
ABOUT THE GIBRALTAR POINT INTERNATIONAL ARTIST RESIDENCY PROGRAM
The Gibraltar Point Residency transcends political, aesthetic and geographic boundaries, welcomes diversity and provides a spawning ground for unique cultural alliances. The program is open to Canadian and international artists who are engaged in the research, development or creation of work. Emerging, mid-career and established professional artists are invited to apply. Participants in the residency program receive accommodation, a private work studio and all meals at no cost. Travel and material costs are the responsibility of participating artists.
The residency program aims to further the professional development of artists by: enabling the creation and production of new work; fostering an exchange of ideas and influences; encouraging the sharing of expertise; inspiring new works of art and creative collaborations; and building relationships between artists working in different media. The program is designed and managed by Artscape and takes place for a single 30-day term each calendar year at the Gibraltar Point Centre for the Arts on Toronto Island.
ABOUT THE GIBRALTAR POINT CENTRE FOR THE ARTS AND TORONTO ISLAND
Situated on the south-western beachfront of Toronto Island, The Gibraltar Point Centre for the Arts owes its name to its location marked by Toronto's oldest landmark – the Gibraltar Point Lighthouse, which was erected in 1808. Operated by Artscape, this 30,000 square foot unique facility provides permanent studio space to more than a dozen artists and a Retreat Centre which can be rented for a variety of functions. In addition to hosting the Residency Program, the Gibraltar Point Centre for the Arts features Artscape Lodge; a short-term rental service with accommodation and work studios for up to 13 visiting artists.
Toronto Island is a peaceful 230-hectare natural park in Toronto's harbour, a short 15-minute ferry ride from the thriving downtown core of Canada’s cultural capital. The Island is part of the Carolinian Zone which includes flora and fauna not found anywhere else in Canada. Naturalized areas and wildlife reserves make it a popular stopover point for southern song birds. The Island is also home to approximately 800 individuals whose remarkable community boasts one of the highest per capita populations of artists in Canada and is the largest urban car-free community in North America.
Mail submissions to:
GIBRALTAR POINT INTERNATIONAL ARTIST RESIDENCY PROGRAM
Artscape
Suite 111 - 60 Atlantic Avenue
Toronto, Ontario M6K 1X9
Canada
Submission Deadline: February 21st, 2007, 4pm EST
2007 Program Dates: June 1st - 30th
GUIDELINES FOR SUBMISSIONS, APPLICATION FORM AND ANSWERS TO FREQUENTLY ASKED QUESTIONS CAN BE FOUND AT http://www.torontoartscape.on.ca/gpiarp
For questions regarding the Gibraltar Point International Artist Residency Program
please contact by email only residency@torontoartscape.on.ca
The Gibraltar Point International Artist Residency Program is hosted and managed by Artscape with the generous support of the City of Toronto and the Ontario Arts Council
Celebrating its 20th anniversary this year, Artscape is a Toronto-based non-profit enterprise that unlocks the creative potential of people and places. Artscape's work encompasses building creative places, developing creative districts and clusters, and cultivating cities on a local, national and international level. http://www.torontoartscape.on.ca
Original artwork + photo: Tine Bech, 2006 alumnus
Media Contact: Liz Kohn, Director of Communications, 416-392-1038 x25
ON TORONTO ISLAND, TORONTO, CANADA
REMINDER: FINAL CALL FOR SUBMISSIONS
Artscape is currently accepting applications for the
Gibraltar Point International Artist Residency Program
taking place June 1st – 30th, 2007.
Submission Deadline: February 21st, 2007, 4pm EST
2007 Program Dates: June 1st - 30th
For further information including the Guidelines for Submissions, Application Form and Answers to Frequently Asked Questions, please visit Artscape’s website at http://www.torontoartscape.on.ca/gpiarp
ABOUT THE GIBRALTAR POINT INTERNATIONAL ARTIST RESIDENCY PROGRAM
The Gibraltar Point Residency transcends political, aesthetic and geographic boundaries, welcomes diversity and provides a spawning ground for unique cultural alliances. The program is open to Canadian and international artists who are engaged in the research, development or creation of work. Emerging, mid-career and established professional artists are invited to apply. Participants in the residency program receive accommodation, a private work studio and all meals at no cost. Travel and material costs are the responsibility of participating artists.
The residency program aims to further the professional development of artists by: enabling the creation and production of new work; fostering an exchange of ideas and influences; encouraging the sharing of expertise; inspiring new works of art and creative collaborations; and building relationships between artists working in different media. The program is designed and managed by Artscape and takes place for a single 30-day term each calendar year at the Gibraltar Point Centre for the Arts on Toronto Island.
ABOUT THE GIBRALTAR POINT CENTRE FOR THE ARTS AND TORONTO ISLAND
Situated on the south-western beachfront of Toronto Island, The Gibraltar Point Centre for the Arts owes its name to its location marked by Toronto's oldest landmark – the Gibraltar Point Lighthouse, which was erected in 1808. Operated by Artscape, this 30,000 square foot unique facility provides permanent studio space to more than a dozen artists and a Retreat Centre which can be rented for a variety of functions. In addition to hosting the Residency Program, the Gibraltar Point Centre for the Arts features Artscape Lodge; a short-term rental service with accommodation and work studios for up to 13 visiting artists.
Toronto Island is a peaceful 230-hectare natural park in Toronto's harbour, a short 15-minute ferry ride from the thriving downtown core of Canada’s cultural capital. The Island is part of the Carolinian Zone which includes flora and fauna not found anywhere else in Canada. Naturalized areas and wildlife reserves make it a popular stopover point for southern song birds. The Island is also home to approximately 800 individuals whose remarkable community boasts one of the highest per capita populations of artists in Canada and is the largest urban car-free community in North America.
Mail submissions to:
GIBRALTAR POINT INTERNATIONAL ARTIST RESIDENCY PROGRAM
Artscape
Suite 111 - 60 Atlantic Avenue
Toronto, Ontario M6K 1X9
Canada
Submission Deadline: February 21st, 2007, 4pm EST
2007 Program Dates: June 1st - 30th
GUIDELINES FOR SUBMISSIONS, APPLICATION FORM AND ANSWERS TO FREQUENTLY ASKED QUESTIONS CAN BE FOUND AT http://www.torontoartscape.on.ca/gpiarp
For questions regarding the Gibraltar Point International Artist Residency Program
please contact by email only residency@torontoartscape.on.ca
The Gibraltar Point International Artist Residency Program is hosted and managed by Artscape with the generous support of the City of Toronto and the Ontario Arts Council
Celebrating its 20th anniversary this year, Artscape is a Toronto-based non-profit enterprise that unlocks the creative potential of people and places. Artscape's work encompasses building creative places, developing creative districts and clusters, and cultivating cities on a local, national and international level. http://www.torontoartscape.on.ca
Original artwork + photo: Tine Bech, 2006 alumnus
Media Contact: Liz Kohn, Director of Communications, 416-392-1038 x25
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