This is a free space for the exchange of information of general interest to artists. ArtThrob reserves the right to edit contributions.
Open City Productions 2002 (OCP), a non-profit community arts organisation based in Montreal Canada, is inviting applications for the above position. A suitably qualified person will co-ordinate the international internship project for Canadian youth spending six month terms working with community organisations in South Africa, predominantly in the cultural non-profit milieu, run by OCP. Applicants will be South Africans with experience in the not-for-profit sector, will have a solid understanding of community organisations around the country, will be self-motivated, have strong administrative skills, and compassion for others.
Responsibilities of the co-ordinator will include:
- Regular liaising between OCP, Host Organisation's (HO's) in South Africa, and Canadian interns living in country
Applicants will have a valid driver's license, will be living or willing to relocate to Johannesburg, and will be available to travel around the country. Basic Microsoft Office knowledge will be essential. The position requires someone who can work well on their own. The contract will commence mid-January and the salary is negotiable based upon experience. OCP is an affirmative action employer and accepts applications from all qualified parties.
Send CV's and a letter of intent to email@example.com , Cc. to firstname.lastname@example.org "attention- YIIP co-ordinator position". For more information, in SA, call Wolfgang Vachon at 082 535-0860 until October 26, after which queries can be made through email at the above addresses to Glenn Hilke. For an overview of OCP please visit our website at www.opencity.ca.
Trebor Schulz, from the Department of Art, University of Arizona, is curating a project entitled 'Borders'. It is to take place in New York, Weimar (Germany) and London (UK) in the third quarter of 2001. The programme entails an exhibition, a debate and film screenings.
'Borders' is meant in the broadest sense: International borders, class borders, borders in the urban framework, borders in institutions, borders between rich and poor or between the genders, as well as many others.
Submissions for the project in all media are welcome from scholars, artists and film or video makers.
Send your submissions to:
Or email Joanna Mahon, Administrative Associate, School of Art at email@example.com or call 621-7000.
I make a range of photographic chemicals. These have been tried and tested over many years by the Technikon Pretoria Photography School, where I am a lecturer. They are available in the following shops:
ORMS Prophoto Warehouse, Cape Town
You can also order directly from me.
Black and White fine grain film developer 11/76 (Identical to Ilford ID11/ Kodak D76). 1 litre - R16.50 (can be used concentrated 1-1 or 1-3). 5 litres - R44.00
Black and White paper developer for RC and fibre base paper 1 litre - R17.00. (Dilute 1-2 for use). 5 litres - R56.00
Sepia Toner for RC and fibre base paper. Special odourless formula, no rotten eggs smell! Gives a rich brown tone. Makes 1 litre Bleach and 1 litre Toning Bath - R35.00
Sepia / Selenium Toner for RC and fibre base paper. Contains selenium to give a purplish brown sepia tone. Can also be used to achieve a selenium tone similar to normal Selenium Toner. Makes 1 litre Bleach and 1 litre Sepia/SeleniumToning Bath - R45.00
Blue Toner for RC and fibre base paper. Single solution Blue Toner. Concentrate, Part A and B to make 4 litres working solution - R30.00
Brown Toner (copper toner) for RC and fibre base paper. This not sepia, it is a single bath toner that gives a chocolate brown to reddish tone if left in the toner for 10 minutes. Makes 2 litres working solution - R38.00
Selenium Toner for RC and fibre base paper. Gives cool black to purple tones depending on paper. Black areas of the print are intensified. Used to increase permanence of Black and White prints and prevent fading. Dilute 1-5 to 1-9. 1 litre concentrate makes 6 to 10 litres working solution - R88.00
Rapid Fixer for film and paper (concentrate). Same as above but must be diluted 1-4 for film and paper. Fix film for 1-1.5 minutes when fresh. Fix paper, RC and Fibre for 60 sec with constant agitation. 1 litre concentrate, makes 5 litres working solution - R27.00
Stop Bath with indicator. Dilute 1+19 to make Film and Paper Stop Bath. The solution is orange when fresh and turns purple when exhausted. 500 ml bottle, makes 10 litres working solution stop bath - R15.00
Wetting Agent. Immerse the film in wetting agent after the final wash to prevent drying marks. Also prevents static electricity. Dilute 1-200. 200ml bottle concentrate makes 40 litres working solution - R15.00
If you need any specialised photographic chemicals made up or have any problems with photographic chemicals, contact me.
Harold Carlsson, 73 Rietbok Avenue, Monument Park, 0181, South Africa
The Bag Factory is a collective studio setup in Johannesburg which offers early- to mid-career artists the opportunity to work temporarily with an established group of 14 permanent artists. These include Kay Hassan, David Koloane and Joachim Schonfeldt. Each year they sponsor a stay for one South African artist for just less than three months. During this period the Bag Factory covers the artist's basic living and material costs. In return the artist must produce an exhibition at the end of the period and undertake voluntary community outreach work. The Bag Factory does not cover the cost of transport to and from Johannesburg.
An unexpected cancellation had led to an immediate opening - a residency has become available for the period from October 1 until mid-December 2000 for which applicants are invited to submit a CV, 10 - 15 slides of recent work as well as motivation detailing potential workshops and projects as soon as possible..
Call administrator Les Cohn on (011) 834--9181 or email him at firstname.lastname@example.org
Two adjoining small studio spaces have become available in the All Star Studio in Woodstock - an open plan studio on the top floor of an old factory with great views across the city. The All Star is run as an artists' cooperative, and there are kitchen, fax and photocopying facilities, and 24 hour security on the building. The working atmosphere is congenial and friendly. Take one space for R345 per month, or both for R690.
Dark Matter II: Speculative Fiction from the African Diaspora is an international literary anthology to be edited by Sheree R. Thomas, and for this, submissions are invited.
Guidelines for Submissions
The science fiction and fantasy genres have always offered readers bold, extraordinary ways to examine society. The results have often been visionary, with writers acting as unflinching voyeurs who deliver engaging, sometimes scathing critiques of our traditions, values, nightmares, and dreams. Through speculative fiction, writers posit alternative ways by which to measure our lives and offer fascinating prisms through which to consider our mortality. A well executed work of speculative fiction is at once a reflection and a distortion. It is an extrapolation where all that can be imagined is able to co-exist on the page: the past, the present, and the future -or, what may never be. In the past, it was thought that black writers had few speculative visions to offer the world, but as technology and rapidly changing demographics hurl us closer to tomorrow, more black writers are adding their voices, daring to engage themselves with the business of our future.
What if we can create, for ourselves and others, worlds crafted from the foundations of dreams we imagine, peopled by the souls of s/heroes who walk in our image, who live and love and evolve on our terms?
What if, indeed.
Dark Matter: A Century of Speculative Fiction from the African Diaspora (Warner Aspect, hardcover, July 2000) was the result of these questions. As the first collection dedicated to speculative fiction by black writers, this landmark anthology united the works of established, emerging and new authors and received much critical acclaim. Dark Matter II will continue this groundbreaking work by introducing new writers from throughout the African Diaspora, including an additional selection of critical essays illuminating the contributions of black writers to speculative fiction and the role of black speculative visions in the Afrodiasporic literary canon.
Content (Fiction): Write what you will - whether it is humorous, erotic, horrific, political, or whatever you imagine. I am seeking original short stories, bold voices unafraid to imagine themselves and the many forms of blackness across the boundaries of time, space, and convention. Familiarity with the preceding book is recommended, although as with the first volume, there are no specific "thematic" requirements. Dark Matter II welcomes black writers from throughout the African Diaspora.
Content: (Essays): The first volume of Dark Matter concluded with several original essays and re-prints discussing black speculative fiction. For example, Samuel R. Delany wrote about "Racism and Science Fiction." Charles R. Saunders discussed "Why Blacks Should Read (and Write) Science Fiction." Walter Mosley discussed his long love of the genre and his hopes for an "explosion" of black speculative fictions in "Black to the Future." Paul D. Miller aka DJ Spooky offered a hypertext entitled "Yet Do I Wonder," discussing the intersection between science fiction and DJ culture. Octavia E. Butler had the last word in "The Monophobic Response," when she questioned society's age-old impulse to "create aliens." I would like to continue these discussions with other works that illuminate the contributions of black folk to the speculative fiction genre.
Length: I suggest approximately 1500-8500 words; however, I am flexible on this point. Outstanding work will not be returned simply because it exceeds or falls below this guideline. Do what you must to tell your story well.
Format: Two copies, double-spaced on white paper with standard 1" (2,5 cm) margins. Include a bio and a photo of yourself. Please include a self-addressed, stamped envelope. If you would like confirmation of receipt, then please add a self-addressed postcard or send your material by certified mail. Please do not send your only copy, as I cannot be responsible for lost work. Multiple submissions are accepted. Incomplete submissions will be returned.
Don't: Send previously published work or poetry at this time.
Do: Send your best work(s).
Deadline: Monday, April 30, 2001. Warner Aspect Books will publish the anthology in hardcover in 2002. I strongly recommend that you submit your work early, rather than late, when most of the slots will be filled and there would be less time to work with you on revisions.
Terms: Monetary payment will be offered to those writers whose work is selected for publication. The fees to contributors begin at $250 US. Contributors will share royalties with the editor.
About the editor: Sheree R. Thomas is the editor of Dark Matter: A Century of Speculative Fiction of the African Diaspora (Warner Aspect, July 2000), the first collection of speculative fiction by black writers. She is also the co-publisher of the literary journal, Anansi: Fiction of the African Diaspora. Her short fiction and poetry have appeared in a number of literary publications, including Alicubi, Breathe, Drumvoices Revue, Ishmael Reed's KONCH magazine, mélange: journal of the written arts, Obsidian III: Literature of the African Diaspora, and Voices: The Wisconsin Review of African Literatures.
Contact Sheree Thomas at email@example.com or 765 Amsterdam Avenue 3C, NYC, 10025, USA
The 15th annual competition is sponsored by Agora Gallery, Art-Mine and Artis Spectrum magazine and is open to all artists working in all media. Please photocopy this page for the use by additional applicants. The group exhibition will be held from January 17 - February 7, 2001 and offers $10,000 in awards.
The money will be awarded as follows:
The competition's juror is Lenore Scendo, the director of the art consulting agency Art Vue. There is a $35.00 entry fee for 1-5 visuals (slides or photographs) and $5 for each additional visual. This fee is non-refundable. The gallery takes a commission of 30% and the retail price is to be determined by the artist.
October 15, 2000 is the deadline and winners will be notified of the results by December 5.
To submit online, complete all forms and email them along with attached Jpeg images to: Competition@Agora-Gallery.com. The only files that should be attached are the images, all the rest of the information should appear directly in the email. The longer side of the image should be at least 350 pixels long and the image should be 72 dpi. File size should not exceed 120K. 560 Broadway New York NY 10012 (212) 226-4151
Please use the entry form below or go to www.agora-gallery.com/2001 to enter online.
1. Please include only slides or photographs.
Visuals List: number visuals and list: title, medium, dimensions and selling price
* $5 for each additional visual, add extra sheet for more than 5 slides
Fee can be paid by check or money order (US banks only) payable to Agora Gallery. You may also pay by Master Card, Visa or American Express.
Number of visuals submitted ___________ Amount to charge_________________
Mail by October 15, 2000: 1) Visuals 2) Entry Form 3) Self-addressed stamped envelope 4) Entry Fee Mail to: Agora Gallery - 560 Broadway, New York, NY 10012
*Framing & Storage services are available - please inquire.
*Although every precaution is taken, Agora Gallery is not responsible for loss of or damage to any portfolio material. Although every effort is made Agora Gallery is not responsible for problems beyond its control in the operation of the Internet sites.
On the evening of November 3, we will be hosting a free public outdoor/indoor celebration of the Latin American holiday, the Day of the Dead. We are seeking artists of all kinds to participate in this event.
El Dia de Los Muertos, the Day of the Dead, is celebrated widely in the Western Hemisphere around the first day of November, when the worlds of the dead and the living are felt to be in close proximity. It blends African, Native American and European elements in a joyful, humorous and creative remembrance of the ancestors both recent and remote. The holiday typically involves processions, art installations and exhibitions, community altars and "rooms for the dead" as well as public performances, music and dancing. It is not a mournful holiday, but one of laughter and celebration that has become an important venue for the contemporary arts.
The Day of the Dead recognises death as a part of the cycle of life. Participants dress as skeletons - in black with painted faces - carry candles and bring flowers, photos, food and other momentos to place on the community altars. The holiday pokes fun at the inevitability of death and fragility of life while honouring the memory of those who have died, recognising the presence of the dead amongst us in the world of the living.
We are extending an open invitation to artists of all kinds to participate in this event. We are seeking creativity of all kinds: visual art, installation, video and digital media, music, poetry, performance, dance... anything that will contribute to the spirit of the evening. We are also seeking help in creating a series of outdoor community altars. The event will be free to the public, and will offer an unusual participatory venue for artists to show their work. We also envision a compelling sub-theme to the evening: the celebration of the lives of those who have died, and those living now, who will die of AIDS. Artists are invited to work within this theme if they choose.
Friday November 3 at 8 p.m. on Hiddingh Campus, University Cape Town
A study at the confluence of arts and sciences Olats/Virtual Africa (http://www.olats.org/africa/avva.shtml), in collaboration with the River Festival announce the launching of a multicultural and interdisciplinary three-year project focused on the cultural and scientific contexts of water entitled 'The Spirit and Power of Water'. Water has always held a privileged place in the history of humans' imagination and artistic creation. In Africa, like anywhere else in the world, water is very often seen as a living substance inhabited by spirits, by supernatural beings that humans have imagined to explain natural phenomena and some aspects of the human condition. Around this ambivalent and extraordinary world inherent in water, some myths, legends, fairytales and ritual religious practices have crystallized.
It's on the basis of these quasi-universal cultural representations, associating water with spirituality, wonder, and with imagination, that a series of art exhibitions and workshops will be organized on-line and eventually off-line. They will allow the examination of the various cultural and artistic representations linked to water, in Africa as well as on the other continents. Artists whose work is/has been inspired by the water theme are strongly encouraged to participate in this special event. All media and artistic trends will be represented. Most of all, 'The Spirit and Power of Water' should be considered as the starting point of an aesthetic study on water. For, water, as the French philosopher Gaston Bachelard wrote, has its own aesthetic characteristics, its own imagination, just like fire, air and earth. A selection of artworks and articles will be equally published in the American arts and sciences journal 'Leonardo' (published by MIT Press).
For more information on the project, please, contact Jocelyne Rotily, Curator at jocelyne.Rotily@wanadoo.fr. Jocelyne Rotily, 174 Bis rue Jean Mermoz, 13008 Marseilles, France
For more information on Virtual Africa, please, visit our web site www.olats.org/africa/avva.shtml.
Entries for the 16th annual Absa Atelier Art competition for 2001 are now officially welcome. Artists between the ages of 21 and 35 are invited to start working on their pieces, which will be received at SANAVA (South African National Association for the Visual Arts) offices and other venues around the country from March 5 - 9, 2001.
Billed as the premier art competition in the country with the highest value in prize money, the Atelier consistently attracts the cream of young South African talent every year. The rewards are unquestionably worthwhile. The first prize consists of R60 000 in cash, a round trip to Paris, and accommodation for up to 6 months in the Cit� Internationale des Arts. This gives the winner the opportunity to live and work with artists in the creative capital of the world. Each of four runners-up receives R10 000. Apart from the prizes, the Absa Atelier also provides a platform for emerging artists to showcase their work. Entrants in the competition also stand the chance of selling their work to ABSA, which has a large corporate collection. Further details of the competition and entry forms are available from branches of SANAVA (South African National Association for the Visual Arts), universities, technikons, galleries and museums nationwide or by calling Absa on (011) 350-5793 or (012) 328 7109.
More information can be obtained from Cecile Loedolff, Manager Arts & Functions (011) 350-5793
'Thicker Than Water: Images and Issues of Blood in Contemporary Art' is to be curated by New York-based Dominique Nahas and Koan Jeff Baysa, MD. They are looking for artists whose work explores these issues.
Paper proposals are invited for the Sixth International Cultural Heritage Informatics Meeting (ICHIM). Since its beginning in 1991 when it focussed on hypermedia and interactivity, ICHIM has broadened its scope to include the full range of technical, social, organizational, and content issues to do with Cultural Heritage Informatics. Recent ICHIM conferences in Paris and Washington DC attracted attendees from over 20 countries.
Proposals will be accepted until November 30, 2000. All papers are subject to critical peer review and will be judged on the basis of the quality of the abstract. Selected speakers will be notified by December 31, 2000. Full papers are required by June 15, 2001. Papers will be published. All speakers must register for the meeting. Proposals must address methods of access to cultural heritage information, with specific attention to the interaction between users, information resources and providers.
Topics of interest include:
Proposals must include speaker's name, job title, institution, address, phone, fax and email, and explain the thesis of the proposed presentation in a full abstract.
ICHIM explores a full range of interactive multimedia issues, including technological, legal, economic, organizational and design concerns, that are discussed from the perspective of museums and cultural heritage applications.
The best projects worldwide are demonstrated, discussed and critiqued.
ICHIM includes Technical Papers, a Museum Project Demonstration Fair, a Commercial Exhibit, and Pre-Conference Workshops.