Application Deadline for Visual Arts, Music Composition/Sound Sculpture, Creative Writing, Moving Image: February 18, 2013
Application Deadline for Environmental Art, Landscape/Garden Design, Architecture: April 1, 2013
Self-directed, multi-disciplinary artists’ residencies will be offered from May through November 2013. Most sessions are 4-weeks in duration and are offered to those working in the Visual Arts, Music Composition/Sound Sculpture, Architecture, Creative Writing, Moving Image and Landscape/Garden Design. There is also a special Environmental Art Program in 2013.
Except for the $30 application fee, the residency is offered at no cost to accepted artists and includes comfortable private living quarters, a private studio and meal program. International applicants are welcome. To defray the cost of travel, four $750 grants will be awarded in 2013 to non-North American artists.
The call for papers for the ASA Conference 2012, which will be held in Delhi on 3-6th April, is now open.
The deadline is the 6th of December, 2012.
We would like to invite you to submit an abstract for our panel ‘The Art of Improvisation’.
We are interested in securing contributions from a broad range of perspectives, e.g. anthropology, the visual arts, music and performance. We are hoping to develop a dedicated journal issue as a result.
Anne Douglas (Robert Gordon University, Aberdeen).
The panel is driven by an interest in understanding embodied, experiential knowledge through the lens of experimental arts practice. Taking an expanded notion of improvisation as a state of ‘being alive’ (Ingold 2011), the panel will explore trajectories between improvisation in life and improvisation in art as follows:
In life, asserts Tim Ingold, there exists no script. The primacy of experience is a form of ‘trying out’. We might think of this then as a movement from an indefinable and undifferentiated state to one of feeling our way through creating direction.
In art we cast a critical eye on the ‘givens’, the predetermined structures of social, cultural, material experience while recognising that freedom and constraint are profoundly interrelated. Improvisation in art across cultures is a specific approach to form making that centres the imagination (of the creator/ performer/spectator) precisely on managing the interplay between freedom and constraint.
In artistic research, the artist/researcher places him/herself at the sharp point of the inquiry, re-imagining, re-configuring, intensifying and scrutinising practice to create insights within and beyond the arts.
How might a revisiting of improvisation as a condition of life open up approaches to improvisation in art, challenging its current formulation as a specific formal approach?
In what ways might such an inquiry inform new understandings of embodied knowledge within and beyond artistic practice?
How might such knowledge sit beside anthropological formulations of improvisation and creativity?
ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
The Arts (music, poetry, theater and film) are one of the best vehicle in which to reach specific target audiences with your message. Hollywood films (An Inconvenient Truth), Live Aid, and Rock the Vote are some examples that come to mind. However, I think we’re only just scratching the surface and need to more fully integrate sustainability messages into cultural programming. Someone needs to create a Sustainability Hip Hop Dance that rivals the Macarena. Maybe the movements could simulate recycling?