Drawing from his new book, Craft: An American History, Glenn Adamson will engage in conversation with Anya Kivarkis. They will discuss the implication of race, gender and class in US craft history, and focus particularly on the relationship between craft’s economic and material presence, and its rich symbolic dimension. There are important differences between real and ideal, yet each influences the other in a complex exchange.
Glenn Adamson is a curator, writer and historian based in New York. He has previously been Director of the Museum of Arts and Design; Head of Research at the V&A; and Curator at the Chipstone Foundation in Milwaukee. Adamson’s publications include Thinking Through Craft (2007); The Craft Reader (2010); Postmodernism: Style and Subversion (2011, co-edited with Jane Pavitt); The Invention of Craft (2013); Art in the Making (2016, co-authored with Julia Bryan-Wilson; and Fewer Better Things: The Hidden Wisdom of Objects (2018). His newest book is Craft: An American History, published by Bloomsbury, and he is co-host of the online interview series Design in Dialogue.
Above images : 1.) FISK poster design  2.) “Craft: An American History” by Glenn Adamson
Broto: Art-Climate-Science is an emerging art-sci collaboration conference and community pointed at successful climate endgames. The transdisciplinary organization is asking for proposals for a single paid collaboration team. Each team must include at least one of each of the following — artist, scientist and observer — who will work together on a new project to test our Collaboration Blueprint.
Broto has evolved as a unique opportunity for artists and scientists to collaborate in substantive, real-time, mutual and credible processes without the burden of outcome. The Broto inspiration is to add into the collaboration an “observer†role — the collaborator tasked with communicating, synthesising and mainstreaming the findings of the collaboration. In this model, artists and observers are equal to scientists in their contributions, sharing knowledge, co-creating innovations and experimenting freely.
Applications will be vetted by art-sci peers and the selected team will:
Test the model for strengths, weaknesses and improvements,
Be documented as they move through their process and
Communicate their experiences in a forthcoming Broto conference panel. The collaboration period is up to one year and budgets and stipends, inclusive, will be capped at $5,000.
Submissions via the submission form HERE. Details include project team, scope, goals, timeline and use of funds.Â
Inspire the conversation on the climate challenge with Climanosco
Climanosco’s mission is to make climate science accessible to everyone.
We support researchers and citizens around the world in paraphrasing climate research so that it is readily understandable to a broad audience, and we collaborate with artists and activists who create work that inspires and elevates the conversation on climate change and related societal challenges.
Now, we are pleased to announce our second call for artists and activists in concert with our call for scientific manuscripts. We invite you to join our efforts with this year 2021 call “Oceans on the rise†around the effects of climate change on the oceans.
We welcome art works of all styles, artistic, artivist and activist initiatives, art & science collaborations and everything in between.
Participation offers:
The opportunity to share your art work with a new, diverse audience
The presentation of your art work in this year’s DEAR2050 exhibition
The sale of prints of your art work in our online shop
The chance to have an impact on the public discourse about the climate challenge.
The chance to win exciting prizes (jury selection)
The deadline for finalizing works is 31 August 2021. Please notify us of your intention to participate with your proposal as soon as possible but no later than 25 March 2021.
We look forward to hearing from you! The Climanosco team
Who can participate?
We welcome participants across all forms of arts and activism and across all career stages.
First, notify us of your intent to participate (deadline 25 March 2021)
a description or a sketch of your project for this call;
your portfolio or an example of your art work or activist work.
The selection for the exhibition will be based on the submitted proposals.
By sending a notification of intent, you indicate that you commit to create a piece of art by the due date (see below) that will satisfy the following conditions:
it is original and signed by you;
it is specifically created for this call;
its format reasonably allows digitalization and shipping;
Climanosco is granted the right to produce and sell copies of the work.We will be in touch with you within a few days of receiving your proposal.
Send your original work (deadline 31 August 2021) We suggest that you keep us updated as you progress on your project and we expect that you finalize it by 31 August 2021.Once your art work is finalized, please get in touch with us at dear2050@climanosco.org. We will organize shipping and digitization with you.
Prizes After reception of all works, a jury will be elected by the Board of Directors to choose the winners and award prizes for the best works. The prizes are as follows:
First prize: CHF 1000
Second prize: CHF 500
Third prize: CHF 500
The cash prizes will be sent to the winners by bank transfer. It is the responsibility of the participants to make sure that they have access to a bank account where the prizes can be deposited. It is the responsibility of the winners to declare the prizes to the tax authorities in their country.
Climanosco was launched in 2015 with the vision that we can all play a part in addressing the climate challenge – and that a first step towards doing so is to make the best knowledge about climate science accessible to everyone. Find out more at www.climanosco.org/about/.
We work with climate scientists and citizens to create collections of accessible and reliable climate research articles. Browse through our research articles at www.climanosco.org/research-articles/. Further, we collaborate with artists, activists and scientists on creating interdisciplinary projects to raise awareness to climate change and to develop visions of a sustainable world.
Disclaimer
We might have to adjust the deadlines for the submission of the notifications of intent and the submissions of artworks depending on the responses we receive. All participants will be notified in due time of any such adjustments.
Climanosco will make all efforts to sell in its own capacity the original and prints of the art works submitted for this call for artists. However, this comes without any warranty of any kind. Climanosco does not take any responsibility and cannot be made liable in the event where it may be unable, for any reason, to sell a piece of art submitted for this call for artists.
I’m beyond excited to announce the official launch of Fix’s writing contest, Imagine 2200: Climate fiction for future ancestors. After a year few of us could have imagined (not to mention a tumultuous start to 2021), my team at Fix is looking, optimistically, to the future. And we hope you’ll help us spread the word about this contest far and wide!
I’d like to share a quick note about how this project came to be. In the spring of 2020, just after the pandemic had hit the United States, Fix convened (virtually) a group of New England Fixers to foretell the next 180 years for their region. They visualized a complete societal transformation and a path to a clean, green, and just future: A dissolution of political parties and borders. Reparations. The return of land to Indigenous and Black stewardship. Restorative justice replacing prisons. Food sovereignty triumphing over monoculture farming. An economy built on ecological restoration, mutual aid, and care work. Out of their visions grew the idea to launch a climate-fiction initiative at Fix.
Check out our media kit (below) for graphics and sample social copy to spread the word about this new project.
Imagine 2200 draws inspiration from Afrofuturism, as well as Indigenous, Latinx, Asian, disabled, feminist, and queer futures. The contest is also grounded in hopepunk and solarpunk — literary genres that uplift equitable climate solutions and continued service to one’s community, even in the face of despair.
In the contest’s inaugural year, we’re calling for short stories that envision the next 180 years of equitable climate progress. What will the world look like in the year 2200 — or anywhere between then and now? Submissions open today (January 12) and close on April 12. Stories will be judged by a board of literary experts including authors Adrienne Maree Brown, Morgan Jerkins, and Kiese Laymon. The first, second, and third-place winners will be awarded $3,000, $2,000, and $1,000 respectively, and nine additional finalists will each receive a $300 honorarium. Winners and finalists will be published in a digital collection on the Fix website and will be celebrated in a public-facing virtual event.
We hope you’ll help us get this opportunity out in front of the world. Together, we can fix the future with fiction. Join this creative uprising of imagination. In your story lies our collective liberation.
Tory Stephens Imagine 2200 Project Director & New England Network Weaver, Fix
Stay in touch Did a friend forward you this newsletter? Drop me a line and I’ll add you to the list so you can get more updates from the Imagine 2200 crew.
(Top photo: Carolina RodrÃguez Fuenmayor)
Grist is an independent, nonprofit media outlet covering the climate crisis and the many facets of life it touches. Our award-winning journalism elevates solutions, exposes inequity, and gives our readers the context, knowledge, and tools to make a difference.
Fix is Grist’s solutions lab. We combine solutions-oriented storytelling with gatherings that bring together a growing community of Fixers to create a planet that doesn’t burn and a future that doesn’t suck.
[re]Shaping Exhibition Practices — A Virtual Conference by Art / Switch
This conference is part of our virtual trilogy [re]Framing the Arts: A Sustainable Shift, organized in collaboration with the Amsterdam School for Heritage, Memory and Material Culture (AHM) at the University of Amsterdam and Nyenrode Business University.
In this second edition [re]Shaping Exhibition Practices, we will focus on environmentally sustainable exhibitions. Our speakers will discuss sustainability in curatorial practice, discuss the structure and process of loans, explore what the art market can do to create environmentally conscious exhibitions, and question how we can shift our thinking around blockbuster and travelling exhibitions, taking into account the effect of Covid-19 on the arts sector. We will emphasize how sustainability can be systematically integrated in the planning and decision-making processes of exhibitions in a post-pandemic world.
Program
16:00 – 16:10 Welcome by Art / Switch
16:10 – 16:40 Alice Bonnot — How Can Art Curators Lower the Environmental Impact of Contemporary Art Exhibitions: Choosing Environmentally Responsible Artists (with 10min Q&A)
16:40 – 17:10 John Thomas Robinette III — Don’t Look Back: Cognitive Dissonance and Traveling Collections (with 10min Q&A)
17:10 – 17:25 Virtual booths with all Speakers or Break (choose booth prior to conference)
– – choose breakout room prior to conference – –
17:25 – 18:10 24 ORE Cultura — Case Study: Rethinking Frida Kahlo (with 10min Q&A)
17:25 – 18:10 Galleries Commit & Gallery Climate Coalition: Heath Lowndes, Laura Lupton & Orlando Estrada —Environmentally- Conscious Exhibition Planning in the Art Market (with 10min Q&A)
18:20 – 18:50 Joel Taylor & Caitlin Spangler-Bickell — Factors that Influence the Changing of Climate Specifications for Museum Loans in Practice (with 10min Q&A)
18:50 – 19:00 Take Aways with Sara Kassam
Discussions lead and moderated by Art / Switch in collaboration with:
Sara Kassam — Sustainability Lead at Victoria & Albert Museum
Louisa Buck — Contemporary Art Correspondent for The Art Newspaper
The City of Culver City will implement a permanent Public Art Program for the Washington/National TOD (Transit Oriented Development) District. The Washington National TOD Gateway Public Art Program will inspire artists in the creation of world-class, aesthetically rigorous artwork(s) that respond to the natural, cultural, and infrastructural resources present at the site. Formerly the site of the Hal Roach Studios, the Washington National TOD gateway has continued to be a site of artistic and entrepreneurial activity. This Public Art Program will offer artists the opportunity to aesthetically respond to the past, present, and future of this unique cultural site.
Deadline to submit SOQuals is March 4, 2021 at 11:59PM (PST). Please visit our website to access all RFQual Documents and Resources.
Questions concerning this RFQual should be submitted by e-mail to Dyson & Womack at info@dysonwomack.com by Thursday, February 11, 2021 at 4:00 PM (PST). All Artists or Artist Teams registered for the RFQual will receive responses to the questions and any other addenda that may be released via e-mail on Thursday, February 18, 2021.
Tired of typical Zoom meetings? This online forum is a place for the international artist community to meet and share ideas and practices on the climate crisis! Network with artists around the world – come explore how art can be actions in both our professional and personal lives!
Spanning South Korean, the UK and Canadian time zones, delivered with translation between Korean and English, the program will include artists and panelists from multiple disciplines: expect poetry, sound art, visual art, games and theatre. This is a great opportunity to get a different perspective from members of our international community.
How Are You Doing? (a series of reflective and interactive activities + discussions run by Blooming Ludus, Hyunjin Kim, Sierra O’Neill, Jibhin Yang and Canadian Green Alliance )
Please register for tickets to one or both sessions. The Green Forum will be taking place on Topia.io and joining instructions will be sent out a few days prior to the event via email. You’ll need a laptop or desktop computer, headphones and Chrome browser to access the Forum.
Hope to see you there!
We gratefully thank our team, Arts Council Korea and Broadleaf Theatre for their support. We acknowledge that this Forum is physically hosted on the unceded territory of the Mi’kmaq and other Indigenous groups.
Situated on Canada’s beautiful west coast Salt Spring Island, within the territories of the Coast Salish peoples,here you will find a sanctuary to breathe, dream, experiment, create and play.
The Creation Barn
The Woodland Farm Creation Barn is approx. 790 ft2 (73 m2) in a newly-built, comfortably-heated space with soaring 19ft (6m) gabled ceilings and a sprung floor. The barn includes a small conference table in a large open space with plenty of natural light, sound, lighting and video equipment, along with design and development support available upon request.
Surrounding the Creation Barn is a stunning forest, with old growth trees, walking paths and gardens. Owls, deer, even the occasional river otter visit us here at Woodland Farm. We are situated walking distance to the ocean, the small town of Ganges, grocery stores, a winery and cidery and bakery.
Here is a Video of the Woodland Farm Artist Residency build!
The Private Cottage
This spacious one-bedroom cottage is peaceful, warm and inviting; with everything you might need to feel at home while you immerse yourself in nature and art.
A fully equipped kitchen and an outdoor BBQ make your stay comfortable. Suitable for maximum two people.
Woodland Farm is a small organic farm on Salt Spring Island in British Columbia, Canada.
Owned by sisters Sheila Dobie, Gwenyth Dobie and William Mackwood, they aim to offer healthy food, lifestyle, and personal space for creative renewal and revitalization.
Their Farm Stand provides delicious produce for Salt Spring Islanders and guests. Eggs, Berries, Greens, Apples, Squash, Beans, Beets, and Herbs… plus beautiful flower bouquets.
Artist Residency Fees
Creation Barn Rates* $1000/Month
Private Cottage Fees for Artist in Residence* Maximum of 2 people: $1,500/Month (Includes all utilities and wifi)
*Emerging Artists may be offered a reduced rate (to be negotiated)
Sweat Contribution Every individual on Woodland Farm is asked to spend at least 1 hour per day working on the farm, in a capacity that is suitable to them. We know from experience that working in nature clears the mind and inspires creative thinking.
Woodland Farm Mushroom Forest
Things to know and consider about the Woodland Farm Artist Residency
Woodland Farm is our home and we would ask you to treat the spaces and the land with respect and consideration.
Why are all your residencies 1 month in length? We know from experience that it takes at least a week to start sleeping and breathing. When we are all running so fast in our usual lives, it takes dedicated time to slow down- to allow the creative juices to start flowing again.
What kind of artists and projects would fit well at Woodland Farm Artist Residency? Founders William Mackwood and Gwenyth Dobie are both extremely experienced in the development of new work through their company Out of the Box Productions and having been on Faculty at York University’s Theatre and Dance Departments.
William and Gwenyth have delved into the worlds of Dance, Theatre, Music, Interactive Stage, Immersive and Site Specific creation, and we welcome applications from emerging and established artists of all performance based practices.
Will we get help and support when we are at the Woodland Farm Artist Residency? William and Gwenyth are available as needed to be an outside eye, offer feedback, suggest lighting, video, interactive stage ideas. This would be decided together.
Can we share a presentation of our developed work during our Residency? That is completely up to you. Up to 20 people can be invited to offer you constructive feedback. We can help arrange this showing at a time that works well with your process.
What the heck… I see that I have to work on the farm for at least 1 hour a day?! Yes! Everyone who comes to stay at Woodland Farm is asked to contribute to the care taking of the land for 1 hour each day. What you do depends on your skills and comfort level. You could be raking leaves, weeding, clearing the walking paths in the forest, planting in the garden. In our experience, this time in nature, away from the creation process actually clears the brain for innovative ideas.
Where is Salt Spring Island?
Salt Spring Island is truly a nature lovers’ paradise. With spectacular coastal and pastoral scenery and the moderate climate, a variety of activities can be comfortably pursued all months of the year. From leisurely walks along pristine beaches to challenging uphill hikes, the vistas, flora and fauna are always inspiring. Surrounded by miles and miles of the mainly sheltered waterways of the Pacific Ocean’s Salish Sea, this Gulf Island archipelago offers countless opportunities to explore the marine world. https://www.saltspringtourism.com/salt-spring-news/
To get to Salt Spring Island, there are 3 Ferry Routes. Arrivals and Departures for Vancouver go via Tsawwassen Ferry Terminal to Long Harbour. The Ferry from Crofton (near Nanaimoon Vancouver Island) arrives at Vesuvius, and the Ferry from Swartz Bay near Victoria arrives via Fulford Harbour.
Woodland Farm is walking distance to the small town of Ganges and Churchill Beach. You can walk to excellent Restaurants, Kutatás Winery, Salt Spring Cider, Francis Breads, and Country Grocer.
If you are interested in being considered for an Artist Residency at Woodland Farm… please APPLY HERE
Open Call for submissions to the Center for Sustainable Practice in the Arts Quarterly, Q35: “The Ground Beneath Our Feet: Decolonizing Art & Ecologyâ€
This issue of CSPA Quarterly destabilizes Colonial Settler perspectives in ecological art practices. By bringing together artists and writers who re-center BIPOC, and particularly Indigenous, voices in decolonial eco-art, this issue proposes a different way to view ecology. Currently inviting submissions. Artists of any media, or style encouraged to submit their work. Poets, Painters, Photographers, Authors of Fiction, Non-Fiction, or Essays all welcome. Please submit your name and a short (50-100) word description of the work you would like to contribute, along with a writing sample, or small portfolio to the editor, Jonah Winn-Lenetsky by February 28th at jonah.winn-lenetsky@iaia.edu
More information about the Quarterly, include past issues, here. https://www.sustainablepractice.org/programs/quarterly/
One day I dig the bowl out from the upper kitchen shelf, blow off most of the dust, and scratch the dry dough flakes to the bottom of the bowl. I measure 2 dl of lukewarm water, and add the same amount of flour and mix it together. I make a promise to it, that next morning I’ll knead it into dough. I wrap a yellow plastic bag around the bowl and I write a note: ‘careful, sourdough waking up’.
Mustarinda Magazine vol. 7 thinks about acts of maintaining in the house, the yard and the forest. We are interpreting maintaining in relation to long-term thinking, longer-term processes and commitments, and to actions that involve collective participation, care, and dialogue. The issue celebrates ten years of the Mustarinda association by stating: let’s keep going!
Contributors include: Elisa Aaltola, Michaela Casková, Paavo Järvensivu, Harrie Liveart, L.V. Maa, mirko nikolić, Marta Martinová, Riitta Nykänen, Sanna Ritvanen and Hanna Kaisa Vainio. The volume is edited by Neal Cahoon and Miina Kaartinen. The design of the print edition is by Pauliina Leikas.
You can pre-order the magazine for postal delivery ahead of the launch by emailing us: info@mustarinda.fi. We will answer with payment info. Price 12€ + shipping costs. The magazine is bilingual (Finnish/English).
The magazine will be available to buy at selected bookstores, museums, and galleries and from the Mustarinda House. The list of places where the magazine will be available will be updated on the Mustarinda website and social media platforms.
Old-growth forests, as precious rarities in european contexts, maintain themselves over time through their diversity – each staggered process of growth and decay has an inherent value, as they contribute to an entangled performance where many communities weave their lives together.
