Residency: Canada

Eastern Bloc

Deadline for submissions: 21 November 2014, 5pm
Production residency: 26 January – 20 March 2015
Public presentation: 26 – 29 March 2015

Eastern Bloc’ media lab is a space for experimenting, learning, theorizing and creating – a place to further develop systems-based, networked, generative and hybrid practices through an artist-led discourse. The lab is a site of convergence for artists (both emerging and established), professionals, students, technicians, theorists and curators – encouraged to work side by side, supporting one another conceptually as well as technically.

Eastern Bloc’s residency program is a chance for artists and audiences to critically engage in the artistic process, with a focus on DIY and open source culture as well as the political discourse surrounding contemporary digital culture, with a special consideration for pedagogy and technological democratization.

For the upcoming Winter residency, artists (or artist collectives) are asked to submit a project in one or more of the following disciplines: Net art, interactive installation/performance, bio art, audio/video installation, A/V performance, sound performance, public intervention.

Please include in the project description how the proposed project responds to the following criteria (the artistic merit of your application will be judged based on these criteria):
Puts forward a process of exploration/risk-taking/experimentation within a public context
Presents critically engaged content
Exploits the material framework and conceptual parameters of the mediums and technologies used
Use of multiple platforms/systems/networks and/or use of open source technologies
Explores current trends in digital culture
Investigates the digital language and its norms and structures
Looks to build upon or challenge the normative structures of New Media art production and exhibition
The selected artist or artist collective will benefit from a 6 week production residency in the Eastern Bloc lab (26 January – 20 March 2015), followed by 4 days to present the completed work or work-in-progress in one of the centre’s gallery spaces (26 – 29 March 2015). The artist or collective will benefit from the following services:
Open access to the research & production lab
Guided technical assistance during the 6 week production period (provided by the Lab Coordinator and/or a lab volunteer)
Access to the lab’s equipment and tools (click here for detailed list of lab equipment and tools)
Access to small storage space for materials and personal equipment
A maximum of 10 hours of in-gallery technical assistance for the installation and dismantle of the project before and after the presentation period
Photo and video documentation of the residency process (including production, exhibition, workshop and artist talk)
The selected artist or collective is required to give at least one workshop, on a related subject, in the lab (open to Eastern Bloc’s members and the general community, maximum of 15 participants); as well as give an artist talk (open to the general public) about the project created while in residency at Eastern Bloc. The selected artist or collective will receive a total fee of $1500 for the residency (including production, presentation and workshop).

Artists must submit the following:
Artistic statement (max 250 words)
Detailed description of the project including technical requirements (max 500 words)
Bio and up-to-date CV of all collaborators
Support material of current or past works (max. 10 images and/or 2 audio/video excerpts, no more than 20 MB)
All completed submissions must be sent by email to no later than 5pm on Friday, November 21st, 2014.

Call: The Working Art Grant/Purchase Award

Working Artist Org

Deadline: October 31, 2014
$1000.00 Working Art Grant/Purchase Award

The Working Art Grant/Purchase Award is a meager one-time purchase award intended to disperse small but vitalizing bursts of funding to support an artist’s ongoing art making process.

The Working Art Grant/Purchase Award is available to all domestic and international artists working in all media. As a stipulation for eligibility to receive the Working Art Grant/Purchase Award, we ask that each prospective recipient be willing to exchange one of their works of our later mutual agreement in return. We will reimburse the artist’s shipping costs.

If you are interested in being considered for one of these awards, please send us 5 digital images/files of recent work, (total mail size no larger than 2 MB please), or web links to video/multimedia, via email. No written proposals or CV’s are required unless the artist would like to include them. Instead, please simply include in the body of your email current contact information, and send to: There is no application form.

There is an application review fee of $25.00, which helps offset the costs of this effort to fund meaningful work by serious artists.

Grant recipients agree by submitting their completed application to limited use of their images or other representation of their artwork and general information to be featured on this site and corresponding promotional media. All rights will be retained by the artists.

Applications for the next deadline of the Working Art Grant/Purchase Awards must be submitted by midnight of October 31, 2014. All participants will be notified of results.

Residency: Philadelphia

Neighborhood Time Exchange
Deadline: October 24

Neighborhood Time Exchange: West Philadelphia Artist Residency was conceived by the founders of Broken City Lab, who will be curating the residency in collaboration with PEC - People’s Emergency Center, the City of Philadelphia Mural Arts Program, and the Office of Arts, Culture and the Creative Economy (OACCE).

Time Exchange is based on a simple model: A community gives artists studio space in which they can develop their work, and the artists commit time and efforts to community-identified projects that lay the groundwork for civic and economic renewal. In exchange for hours in the studio to work on personal projects, artists will be expected to apply their unique skill sets to neighborhood needs and revitalization efforts. Time Exchange will provide a community process for residents to voice needs and concerns, encourage artists to lend their skills to community growth, and draw new audiences and businesses to the area.

Time Exchange will select a co-hort of 12 artists for the residency. Six of these resident artists slots are reserved for local artists residing in Philadelphia, with an emphasis on the neighborhoods centered around Lancaster Avenue, including Mantua, Belmont, West Powelton, Saunders Park and Mill Creek. For more information or to download the Call for Artists please visit

Call for Papers: Hybrid Practices

Hybrid Practices Call For Papers And Projects

Deadline: November 1

In partnership with the Terra Foundation for American Art, the Spencer Museum of Art (SMA) at the University of Kansas (KU) is organizing a conference on hybrid research practices in the arts, sciences, and technology from the 1960s to today. Distinguished scholars involved in the conference include D. Graham Burnett (Cabinet magazine) and Anne Collins Goodyear (Bowdoin College Museum of Art). Together with papers, roundtables, and keynote presentations, the conference will incorporate performative and event-based creative projects grounded in hybrid art-science-technology research. Selected conference presenters will be invited to a follow-up colloquium, led by David Cateforis (KU) and Shepherd Steiner (Emily Carr University) in May 2015. We anticipate publishing selected papers and projects in an edited volume that serves as both conference proceedings and guide for researchers undertaking work in this field.

To date only a small group of scholars has focused attent ion on collaborative projects between artists and practitioners in technological and scientific fields during the 1960s and 1970s. Hybrid Practices seeks to broaden our understanding of this pivotal period in U.S. history and in American art by investigating the cultural, political, and social factors that enabled and encouraged such projects to emerge. Although the conference will focus on the United States, we intend to include international perspectives and welcome applications from scholars and practitioners based in other countries. By thoroughly examining early research collaborations among artists, scientists, and technologists, we will establish a context through which to explore the resurgence in hybrid research practices today.

We are seeking proposals for papers and practice-based projects that explore one or more of the following aspects of hybrid artistic research:

1. Key hybrid projects from the past 50 years, including but not limited to Experi ments in Art & Technology (Bell Laboratories), Art & Technology (Los Angeles County Museum of Art), and the Artist Placement Group (U.K.)
2. Shared vocabularies among the arts, sciences, and technology, and the role of language in cross-disciplinary collaboration
3. The impact of interdisciplinary work on the identity of the hybrid practitioner

Papers may be organized as case studies or theoretical approaches to the topic. Case studies should focus on one or two projects; they may interrogate the historical moment of the project’s existence, the hybrid methodology involved, and/or the impact of the work as it was assessed both at the time the project took place and in the present. Participants are encouraged to use archival material in these case studies. Theoretical papers may address multiple projects across a broad geographical or historical range. While the conference’s theoretical framework will draw on the work of French philosopher and scienc e historian Michel Serres, participants are not limited to examining his ideas in their papers.

Practice-based projects should explore the same themes as papers while keeping in mind the physical and temporal conference setting. Hybrid Practices will be held at The Commons (, a space dedicated to fostering closer relationships among the sciences, humanities, and arts. It is a fully mediated event space rather than an exhibition space, so practice-based projects should not require sustained display. Applicants are encouraged to submit proposals for projects that could reasonably be produced in this setting. Logistical arrangements for selected projects will be developed in consultation with SMA staff.


Please submit abstracts of 150–200 words in English, along with a bio of approximately 100 words, to by November 1. Up to five images may be included to support your proposal.

Deadline: Sat Nov 1st, 2014

Call for Papers

Call For Papers
Call for Papers: Deadline Oct 15, 2014

FIELD, a new on-line, peer-reviewed journal devoted to socially engaged art practice, is pleased to solicit critical essays for its inaugural issue.

Socially engaged practices have expanded dramatically over the past decade and represent one of the most important new tendencies in contemporary art. At the same time the mainstream art press has largely ignored this work, focusing primarily on a handful of highly visible artists who supplement their gallery-based practice with the creation of various collaborative or participatory projects. FIELD was created in order to foster the development of new critical paradigms capable of addressing a broad range of contemporary collaborative and socially engaged art practices. Just as these new practices often cross boundaries between art, activism, urbanism, and critical pedagogy (among many other fields), the criticism and analysis of this work requires a new, trans-disciplinary approach that moves beyond the conventions of existing art theory and criticism. We invite contributions from artists, art historians, critics, curators, theorists, and activists, as well as scholars working across the humanities and social sciences (sociology, ethnography, philosophy, urban studies, geography, political science, etc.).

We’re especially interested in the following:

• Case studies and analyses of existing or recent projects, based on direct observation and the detailed description of actual working processes.

• Writing that develops new analytic criteria for the analysis of this work and new forms of notation suitable to performative and process based practice.

• Writing that offers new interpretations of canonical or widely cited socially engaged art projects from the past.

• Writing that employs new research methodologies and new forms of critique, and that draws on methodological and theoretical sources outside those typically found in contemporary art criticism.

• Writing that presents the voices and insights of non-artist practitioners and participants.

• Writing that draws original theoretical insight out of practice, or that uses practice to challenge the assumptions of existing art theory.

• Writing that critically examines projects situated on the border between art practice and adjacent fields and disciplines (activism, urbanism, design, education, ethnography, etc.)

We’re also interested in interviews, dialogues and debates, and book or exhibition reviews, and welcome submissions or proposals that employ any of these formats, from collective as well as singular authors. We’re open to varying word counts, but our primary focus will be on longer essays (4000-7000 words) and shorter essays, dialogues and reviews (1000-3000 words). We encourage authors to submit images or other visual materials that help to document or otherwise contextualize their writing, but we rely on authors to secure permissions if necessary. Please submit your unpublished essays and essay proposals or queries to The journal plans to publish its first issue in the spring of 2015. Our first submission deadline is October 15, 2014.

-  Grant Kester and the FIELD Editorial Collective @ UCSD

Call: New York

apexart Unsolicited Proposal Program
Deadline: November 1, 2014

On October 1, NYC’s apexart will accept submissions for their Unsolicited Proposal Program, a call for exhibition proposals from anyone, anywhere. No prior curatorial experience necessary.
Now in its 18th year, apexart’s Unsolicited Proposal Program uses a democratic process to determine the upcoming exhibition season:
Submit a proposal for an idea-driven, group exhibition.
Submissions consist of up to 500 words of text, no images or links accepted.
Exhibition proposals will be accepted from October 1 – November 1, 2014.
apexart will assemble an international jury of over 100 creative professionals who will vote on each submission online.
apexart’s custom-made computer script analyzes the votes and determines which three proposals received the highest scores.
Those three winners will receive financial and administrative support to mount their exhibition in apexart’s Manhattan space.
To submit an exhibition proposal, visit starting on October 1.

Residency: Brugge

Het Entrepot – Cut The Crap – Faint Hero
Deadline: 1 Nov, 2014

Disciplines: Collaboration, Community, Digital, Experimental, Film & Video, Media Arts, Music & Sound, Other, Performance, Photography, Sculpture, Visual Arts.

Location:Brugge, West Flanders,

Deadline: 1 Nov, 2014

Duration: 2 months

Eligibility: young professional and emerging artists, under the age of 35.

Costs: Accommodation for foreign artists for two months, a production budget and daily allowance.


Program Description:

Wanted: artists in residence PART 2


FAINT HERO focuses on human behavior during times of conflict and war.

The subjects of duty, patriotism, honor and trauma are being investigated.

How do humans behave during war are questions which have been intriguing during the whole history of civilization. Wars and conflicts have always been present in human history and cause civil causalities, loss and destruction of homes, economies and infrastructures.

During a war situation people live their lives in a different manner, they act and react differently than they would during peace time. Wars are extreme cases in which hundreds or thousands of people are exposed to trauma in a short period of time.

This residency period addresses the themes of the psychosocial consequences of wars, on soldiers, families, children, as well as the themes of patriotism, nationalism and feelings of honor.

There is a strong emphasis on instinctive, biological and environmental factors in understanding the phenomenon of human aggression which escalates during wars.

We challenge artists to research and explore this theme. Artists working within this framework, whether they deal with contemporary global conflicts or research the historical dynamics of the First Great War, are welcome to take part in this program.

The residency program will start at the beginning of March 2015 and will last 8 weeks. A first public exhibition/performance of the project is planned at the end of April or beginning of May 2015 (tbd).

The deadline for applications of this second year of the CTC residency is November 1st 2014.

See below for more specifics about the application. Selected artists will be notified by November 17th 2014.


Het Entrepot in the sea harbor of Bruges (Belgium) is a creative art lab for young artists who need time and space to create and to experiment. Everyone working with photography, video, music, theatre, dance, performance, graphic design and other creative media, is welcome. Het Entrepot facilitates and supports young, upcoming artists and stimulates cross-cultural and interdisciplinary collaborations.

Het Entrepot is a non-profit organization, located in an old customs warehouse at the sea harbor near the historical city of Bruges, Belgium. The large building houses several different work spaces that are used by artists and musicians to rehearse and create.


‘Gone West’ is a project organized by the province of West-Flanders (Belgium) dedicated to the commemoration of The Great War (1914-1918). Het Entrepot in Bruges is launching the residential program ‘C.T.C.’ for artists from around the world working in the field of visual arts. This program will last five years. Every year two artists will be invited to come and work in Het Entrepot. During two months artists will have the chance to research, develop and create an art project. This project will be presented at Het Entrepot and might include an intervention in the public/ urban space which will relate to the subject of the residency in response to the environment and to the history of the region.

War and conflict is still a reality for many people in today’s world, just as it was for those people who lived hundred years ago. ‘C.T.C.’ is Het Entrepot’s artistic component of the commemoration and presents a contemporary reading of the impact of conflict and its causes and consequences which will be revealed through visual arts, multidisciplinary in its nature. Over a period of five years Het Entrepot would like to focus on different themes in relation to the notion of ‘conflict’.

We kindly invite young artists to research their position towards the greater theme of conflict in the arts and in our globalized world. Het Entrepot is looking for projects that are clearly developed based on a social engagement or which are conceived from the necessity to respond to a particular problem or conflict (in relation to ‘History’). The residential program invites the following contemporary disciplines: painting, drawing, sculptures, photography, video, multimedia, mixed media, performance and audio art.


Year 1: Oct - Dec 2014: OUT LOUD
> focuses on how the conflict of war gets started, with special attention on censorship and communication.

Year 2: Apr - May 2015: FAINT HERO
> focuses on human behavior. The subjects of duty, honor and patriotism are being investigated.

Year 3: Aug- Sept 2016: SILENT SPEECH
> focuses on stories from different people, soldiers and civilians, involved in conflict.

Year 4: Aug- Nov 2017: MINED MIND
> focuses on trauma and the psychological effects of war on people.

Year 5: Jul- Aug 2018: FAST FORWARD
> focuses on the future, rebuilding a nation, positive developments.


This program focuses on young professional and emerging artists, under the age of 35. The application should include a well-defined project proposal (max. 2 pages), a thoroughly calculated budget, a preferred time frame, a CV and a portfolio. Please send images and/or video links. Send all information to Dave Van Robays —>


There are 5 application dates: > March 1st, 2014 (year 1: Oct/Dec 2014) > November 1st, 2014 (year 2: April/May 2015) > January 1st, 2015 (year 3: Aug/Sep 2016) > January1st, 2016 (year 4: Sep/Nov 2017) > December 1st, 2017 (year 5: July/Aug 2018)


Het Entrepot will provide free accommodation for foreign artists for two months (a maximum of two artists per project). Het Entrepot will also provide a production budget and will be assisting with travel funds. Het Entrepot will be unable to assist with artists fees/costs, but can issue an official letter of invitation. A daily allowance during the residence period is included.


Het Entrepot
Binnenweg 4, 8000 Brugge, Belgium, 0032 (0)50 47 07 80


Jen Delos Reyes: Ten Lessons Graphic Designers Learn That Every Artist Should Understand

Ten Lessons Graphic Designers Learn That Every Artist Should Understand

By Jen Delos Reyes

I have spent the past five years co-directing an MFA program at Portland State University focused on art and social practice. The program is based on a foundation of access, community, collaboration and engagement. It values and acknowledges multiple forms of knowledge, and embraces an interdisciplinary approach to contemporary art. The mantra of the program could easily be that art and social practice starts and ends not in rarefied spaces, but out in the world. The program educates and activates students to develop and utilize their artistic skills to engage in society. It is the kind of learning that creates engaged citizens.

I believe that the fairly recent interest in and proliferation of art programs that focus on what is being referred to as either art and social practice, public practice, or community arts is in part because these programs propose not only alternate forms of sustainability for an art practice outside of market constraints, but promote the multitude of ways artists can function in the world. However the majority of these programs are at the graduate MFA level only, which is highly problematic.

I believe that an artist’s relationship to and placement in society should not be an area of specialization, or afterthought, but instead a core component of the education of all artists. Because I believe that all artists need to contemplate and consider context, publics, and relationships, I have recently been making the argument that art and social practice needs to be taught at a foundations level. As much as artists are pushed to develop craft and hone in on concepts, they should be thinking about context, publics, and social function. This should be the basis of all art education today.

Foundation classes in socially engaged art are not a requirement, or even an offering at most universities and art schools, however there is a place where these important creative lessons are being taught. Socially engaged artists (or any artists for that matter) can look to designers for an education that fully considers publics, context, use, and outcome. Designers are encouraged to think about collaboration, communication, and relationships in fundamental ways. The following are ten key things designers learn that I believe all artists should also understand.

1. Know your public

There is no such thing as the public or a general audience.

Get specific.

Get to know who you are trying to be in conversation with so you can best engage them.

2. Collaboration

Every aspect of what you do is a collaboration.

You are never alone in the process.

Remember that and work with it, not against it.

3. Communication

Communication is needed to make anything happen.

It is not only a tool, but the final product.

There will be a lot of communication in the process stages.

4. Context

Know your stuff.

Know the stuff around you.

Get to know the people around you.

Know the history around you.

Know everything you can about what you are working on.

5. Relationships

You need good relationships to make good work.

There are many relationships to consider.

Your relationship to the work.

Your relationship to your collaborators.

Your relationship to the world.

The relationship of the work to the lives of others.

6. Implications

All the work you do has an outcome.

It has a role.

It has a value.

It can be impacted by the actions of its users.

7. Your work belongs in the world


“I find the art world itself a ghetto and its distribution within the gallery system not very compelling.” —Stefan Sagmeister

8. Share often

Circulating ideas makes them better.

Sharing in the process is necessary.

Have a constant dialogue about the work you are doing.

9. Work hard

This all takes work.

Try many directions and possibilities.

Once you think the work is done, don’t be surprised if it is not.

Don’t be afraid to the work again.

And again.

10. Keep learning, keep making

This is a process.

This is iterative.

Put the things you learn into action.

Keep doing it.

Jen Delos Reyes is a creative laborer, educator, writer, and radical community arts organizer. Her practice is as much about working with institutions as it is about creating and supporting sustainable artist-led culture. Delos Reyes worked within Portland State University from 2008–2014 to create the first flexible residency Art and Social Practice MFA program in the United States and devised the curriculum that focused on place, engagement, and dialogue. The flexible residency program allows for artists embedded in their communities to remain on site throughout their course of study.

She has worked with the Portland Art Museum since 2009 to create a series of programs and integrated systems that allow for artists to rethink what can happen in a museum, and reinvigorate the idea of the museum as a public space. She is the director and founder of Open Engagement, an international annual conference on socially engaged art that has been active since 2007 and hosted six conferences in two countries at locations including the Queens Museum in New York. She is currently working on I’m Going to Live the Life I Sing About in My Song: How Artists Make and Live Lives of Meaning, a book exploring the artist impetus toward art and everyday life.

Call: Open Engagement 2015

Open Engagement 2015
Deadline: November 17

From April 17–19, 2015 Open Engagement will coalesce in Pittsburgh. Established in 2007 by artist Jen Delos Reyes, Open Engagement explores various perspectives on art and social practice and expands the dialogue around socially engaged art making. In 2014 OE established a partnership with A Blade of Grass (based upon our aligned missions to nurture the practice). The 2015 conference is presented in collaboration with Carnegie Mellon University, Carnegie Museum of Art, The Sprout Fund, and the Office of Public Art. The conference will highlight the work being done around socially engaged art in the greater Pittsburgh area and further materialize this already developing network, and create a site that will connect these efforts.

Open Engagement is an international conference and platform to support socially engaged art. The conference highlights the work of transdisciplinary artists, activists, students, scholars, community members, and organizations. The conference mission is to expand the dialogue around socially engaged art, as well as the structures and networks of support for artists working within the complex social issues and struggles of our time. This conference is an essential educational resource that delivers workshops to provide attendees with skills and tools to support their work in communities and embedded contexts. Open Engagement is committed to creating a space that is accessible, including free childcare to conference attendees, ADA accessible venues, and remaining a no-cost/low-cost platform.

Please visit for more information.

Call: A Blade of Grass Fellowship for Socially Engaged Art

a blade of grass nurtures socially engaged art
Initial Letters of Interest due NOVEMBER 24, 2014

We provide resources to artists who demonstrate artistic excellence and serve as innovative conduits for social change. We evaluate the quality of work in this evolving field by fostering an inclusive, practical discourse about the aesthetics, function, ethics and meaning of socially engaged art that resonates within and outside the contemporary art dialogue.

what we fund
Socially engaged projects in which art is a catalyst for social change.
Projects that feature artists in leadership roles.
Dialogue-based projects that emphasize sustainable partnerships with communities.
Projects in which artists engage community members as equal partners.
Projects in which co-creation with non-artists is part of the process.
We value process over product: relationship building and problem solving are key goals.
We provide funding with minimal restriction, and budget line items may include things like living expenses that are not direct project expenses.
We fund artists both locally and nationally. Four of the eight fellowships are earmarked for artists working in New York City, and four are open to all applicants, regardless of geographic location.

what we don’t fund
Projects in which the focus is on producing an exhibition, theater production, or objects for display.
Residencies or studio practice, except as they directly relate to achieving outcomes of a community-based project.
Projects that lack co-created outcomes and/or community engagement.
Artists or artist collectives registered as 501c3 nonprofit organizations.

Call: Northeast

National Parks Now is a competition inviting multidisciplinary teams of young professionals to develop strategies for reshaping the national parks visitor experience.

The deadline for electronic submission of the RFQ is 11:59 p.m. EDT on October 30, 2014.

As the National Park Service prepares to celebrate its centennial in 2016, the competition highlights four parks in the Northeast Region as case studies for attracting diverse audiences, telling new stories, and engaging the next generation of visitors at a time of fast-evolving technologies, regional contexts, and audience expectations. The National Parks Now sites tell complex stories about one of the country’s densest and most diverse urban regions, containing countless layers of the nation’s economic, ecological, and cultural history.

National Parks Now calls on teams to propose a broad range of interventions—new learning tools, hands-on workshops, customizable self-led tours, site-specific leisure and exploration opportunities, digital narratives, short or long-term interactive installations, performance events, outreach and engagement campaigns, for example—to create new experiences that connect these parks to larger, more diverse audiences throughout the region, and develop a model for similar parks nationwide.

Drawing together professionals from the fields of architecture and landscape architecture, graphic and interactive design, exhibition and film production, history, preservation, communications, and the social and environmental sciences, teams will explore how these parks can provide opportunities for reflection, recreation, and learning; identify partnerships and ventures that could transform visitors into stewards and ambassadors; and re-imagine how historic sites can respond to changing demographics and technologies. At a time of limited park resources and budgets, new ideas and strategies are needed to ensure these sites’ relevance and long-term sustainability, and to attract larger, increasingly diverse audiences that have countless opportunities for how they are entertained, educated, and engaged in the world around them.

By focusing not on capital projects that require huge investments of time and resources but rather calling for a nimbler range of engagement, outreach, and experiential strategies, National Parks Now provides an opportunity for teams to truly push the boundaries of what national parks can be in the 21st century.

The four National Parks Now sites are:


Multidisciplinary teams are invited submit materials demonstrating their qualifications to participate in the six-month Research and Design Phase. Team leads must be early career professionals with professional degrees obtained within the last ten years. Additional team members are encouraged to be early career professionals in their respective areas of expertise. Teams are encouraged to apply with an academic partner that could incorporate the challenges of the competition into studios, independent studies, or other education programs.

As examples of the broadly multidisciplinary partnerships teams are encouraged to form, we imagine the following creative combinations:

Filmmaker, landscape architect, historian, ecologist, and artist working with a film class

Web developer, art historian, architect, public relations, and arts management professional working with a new media interactive design development class and local preservation organization

Sociologist, marketing/advertising professional, civil engineer, graphic designer, urban planner, and artist working with marketing students and a local community development group

The deadline for electronic submission of the RFQ is 11:59 p.m. EDT on October 30, 2014.

Submit your proposal electronically as a single PDF document via the competition website. The PDF should be formatted 8.5-by-11 inches in landscape orientation, and no more than 10MB. See the RFQ for more information on submittal requirements, rules, and evaluation criteria.

Please submit any questions about the competition via email by October 10, 2014 to: Stephen Klimek, Competitions Coordinator, Van Alen Institute,

Key questions and answers will be posted to the FAQ section of the competition website and emailed to registered team leads once per week during the RFQ Phase.


Four teams—one for each of four park sites—will be selected to receive a $15,000 stipend to participate in a six-month, collaborative research and design process that explores the themes of region, engagement, narrative, and place. At the conclusion of this phase, one of the teams will be selected to receive an additional $10,000 to create a prototype for one of their strategies, which will be implemented at their site in summer 2015.

RFQ Phase

September 4, 2014
RFQ released
October 10, 2014
Questions & Preregistration Deadline
October 17, 2014
FAQ’s posted online
October 30, 2014
RFQ submission deadline

Research and Design Phase

November, 2014
Winning teams selected and convened at kickoff event
November, 2014
Teams make initial site visits
January, 2015
Pin-Up Review 1
February, 2015
Pin-Up Review 2
April, 2015
Final presentations


Paterson Great Falls
National Historical Park

Leslie Agard-Jones
Hamilton Partnership for Paterson

Gianfranco Archimede
Historic Preservation Commission

Robin Gold
Hamilton Partnership for Paterson

Eddie Gonzalez
New Jersey Community Development Corp

Sarai Perez
Paterson Great Falls National Historical Park

David Soo
Paterson Friends of the Great Falls, Inc.

Leonard Zax
Hamilton Partnership for Paterson

Sagamore Hill
National Historic Site

Phillip Blocklyn
Oyster Bay Historical Society

Jacqueline Blocklyn
School of Domestic Arts, Oyster Bay Historical Society

Meredith Maus
Oyster Bay Main Street Association

National Historic Site

Susan Estler
Lackawanna County Convention and Visitors Bureau

Wayne Hiller
Lackawanna County Electric City Trolley Museum

Mary-Ann Savakinus
Lackawanna Historical Society

Weir Farm
National Historic Site

Anne Dawson
Eastern Connecticut State University

Hildi Grob
Keller Tavern Museum

Pamela Hovland
Yale University School of Art

Joel Third
Keller Tavern Museum

Rich Vail
Faesy-Smith Architects

Weir Farm Visiting Artist


Glen Cummings
Partner, MTWTF

Fred Dust
Partner, IDEO

Mark Hansen
Director, Brown Institute for Media Innovation, Columbia University School of Journalism

David van der Leer
Executive Director, Van Alen Institute

Setha Low
Professor, Ph.D. programs in Anthropology, Geography, and Environmental Psychology, The Graduate Center, City University of New York

William Morrish
Professor of Urban Ecologies, Parsons the New School for Design, School of Design Strategies

Kate Orff
Partner, SCAPE / Landscape Architecture

Hunter Tura
President and CEO, Bruce Mau Design

Linda Cook
Superintendent, Weir Farm National Historic Site

Shaun Eyring
Chief, Resource Planning and Compliance, Northeast Region, National Park Service

Barbara Pollarine
Chief, Interpretation, Education, and Partnership Development, Northeast Region, NPS


Jane Ahern
Chief of Communications and Legislative Affairs, NPS-Northeast Region

Darren Boch
Superintendent, Paterson Great Falls National Historical Park

Jerome Chou
Director of Competitions, Van Alen Institute

Martin Christiansen
Chief of Interpretation and Natural Resources, Sagamore Hill National Historic Site

Deborah Conway
Superintendent, Steamtown National Historic Site

Cris Constantine
Education Program Manager, Interpretation, Education, & Partnerships, NPS-Northeast Region

Linda Cook
Superintendent, Weir Farm National Historic Site

Shaun Eyring
Chief, Resource Planning and Compliance, National Park Service, Northeast Region

Kelly Fuhrmann
Superintendent, Sagamore Hill National Historic Site

Ilyse Goldman
Supervisory Park Ranger, Division of Interpretation, Education and Volunteers, Paterson Great Falls National Historical Park

Stephen Klimek
Competitions Coordinator, Van Alen Institute

Mary Kline
Chief Visitor Services and Resources, Steamtown National Historic Site

Michael Liang
Visual Information Specialist, Santa Monica Mountains National Recreation Area (formerly NPS-Northeast Region)

Dawn Mach
Financial Assistance Manager, NPS-Northeast Region

Barbara Pollarine
Chief, Interpretation, Education and Partnerships, NPS-Northeast Region

Gay Vietzke
Deputy Regional Director, NPS-Northeast Region

Cassie Werne
Management Assistant, Chief of Interpretation & Education, Weir Farm National Historic Site

National Parks Now is a collaborative initiative of Van Alen Institute and the U.S. National Park Service, with support from the Golden Gate National Park Conservancy.

This competition is a project of Designing the Parks, an examination of the past, present, and future of park planning and design. Through a two-part conference in 2008, Designing the Parks brought together professionals in history, landscape architecture, architecture, historic preservation, and related fields to explore a unified design vision and produce a preliminary set of design principles to shape national parks in the twenty-first century. In 2011, Van Alen Institute and its partners launched Parks for the People, the first design competition for the Designing the Parks initiative, challenging student design teams to examine seven national park sites around the country and consider how they could be reimagined as models for sustainable and enduring public spaces.

Design: Kees Bakker


Residency Upstate New York

Millay Colony
Next Application Deadline: October 1, 2014
We now offer two chances to apply annually:
March 1 and October 1

Each year Millay Colony invites 52 visual artists, writers and composers for a colony residency. Residents are chosen anonymously by a panel of jurors in each discipline. The application process is competitive and based solely on on the merit of the artist statement and work sample. Past jurors and their bios can be viewed on our Juries page. An article on the jury process can also be found in our Spring 2008 newsletter.

We look to make our programs accessible to as many artists as possible. Toward that end, we offer Month-long Residencies, Two-week Residencies in September & April, Virtual Residencies, and Group Residencies.

The Millay Colony accepts residents on the basis of artistic merit. Our admissions policy does not discriminate with regard to race, sex, sexual preference, religion, marital status, disability or nation of origin.

Call: Rome Sustainable Food Project

The RSFP is at once a production and teaching kitchen whose daily success relies strongly upon a team of interns and visiting cooks. Living and training here in Rome for a period of three to six months, they learn alongside an American and Italian kitchen staff to cook for the Academy community.

Our teaching philosophy takes root in a practical, hands-on approach to learning. By “diving in” to the busy work day of a professional kitchen, interns learn to prepare seasonal produce with a multitude of techniques. In so doing, they gain extensive knowledge in Roman and Italian culinary practices, as well as practical experience cooking for large groups in the style of a banquet. Twice daily menu meetings are an essential part of the internship education: in them, interns receive their assignments from the chef and learn the history of a dish and its preparation from start to finish.

Our interns have varied experience and come from diverse backgrounds. From cooks with substantial professional experience to culinary school students and food-interested individuals with other forms of education, they are committed to practices of sustainability and the experience of life in a professional kitchen. Most interns are also extremely interested in Italian food and culture. It is essential that interns contribute to the teamwork that makes the kitchen run, especially at times when the work is fast-paced and intense.

What We Do
The RSFP kitchen, open Monday through Saturday, serves approximately 50-75 members of the Academy community and their guests at each meal. During Trustees Week in May and the summer months, meal numbers may approach 100. Lunch is served buffet style while dinner is served plated or on platters passed at the table. Each morning, we bake muffins and scones to be sold in the Academy bar, and in the afternoon, Italian and American cookies for the Library Tea. We also prepare picnic lunches for fellows who are out during lunch. Homemade cookies, granola, dry-roasted almonds, and jam are all sold in the bar as part of our grocery program. The RSFP caters cocktail receptions, special events, and coffee breaks during meetings and lectures for the Academy as well.

How the Internship Works
Interns train fifty hours per week with two full days off (there are no meals served on Sunday). Schedules may vary week to week so that interns have the opportunity to train both morning (7 am – 4 pm) and evening (1 pm – 10 pm) shifts. Shift times, however, do vary with a given day’s work load and interns are expected to contribute as needed. Intern responsibilities include cooking, cleaning, compost and recycling disposal, organizing inventory (to name a few) – they become involved in practically every aspect of the working kitchen. As interns are increasingly experienced, they take full responsibility for dishes from prep to plate.

The first few weeks of the internship is a period of transition and immersion into a new environment. Interns get to know the staff and a new kitchen, as well as learn the basics of the schedule, local ingredients, kitchen systems, and the rhythm of the work day. The hope is that interns will become familiar with the ins and outs of the RFSP after finishing their first two weeks with the program. Thereafter, they will meet with Chef Christopher Boswell for a review of their work on a regular basis. These meetings are intended as shared dialogues and provide the chefs as well as the interns with an opportunity to chart progress and define goals for the internship period. At any time, an intern can
schedule a meeting with the Chef to discuss their progress or any matters of concern.

The RSFP internship/visiting cook position is unpaid. Room and board are provided.

Culture shock is understandable and to be expected, so allowing oneself time to settle in to the Academy prior to beginning your internship is generally a good idea. We encourage all interns to begin learning Italian before their arrival in Rome – an open-minded attitude toward the acquisition of a new language is a must. Working in a professional kitchen is fast paced and can feel hectic and often physically and mentally challenging, making a serious work ethic and positive attitude essential. Interns are trained to work efficiently and, most importantly, to be present and conscious in all aspects of the life of a professional chef. The work schedule is rigorous and while we encourage interns to explore Rome as much as possible in their time off, extensive travel throughout Italy and Europe is generally discouraged during the internship period itself. Many interns opt to travel before they arrive or after they depart. Allowing oneself to be fully immersed in the RSFP, in life at the Academy and in the culture of Rome at large is hugely beneficial to a positive internship experience.

Interns and visiting cooks interested in bringing spouses or partners are required to live off-site, as the Academy has limited accommodations. Please be aware that the RSFP cannot provide living stipends to cover off-site housing costs. In the past, we have found that the internship experience is significantly altered by the presence of one’s spouse or partner. Some have encountered challenges in balancing the demands of work and their relationship in this particular context.

Living in Rome
The RSFP internship provides interns and visiting cooks with a unique opportunity to become well-acquainted with the city of Rome and the rhythm of Roman life. The Academy is situated on the Janiculum Hill in the Monteverde neighborhood and directly adjacent to the historic neighborhood of Trastevere. From a culinary perspective, Rome and the nearby regions of Lazio, Tuscany, Umbria, and Campania offer an
endless wealth of producers, farms, and restaurants for culinary adventures. In the past, the RSFP has made arrangements for interns to visit with local producers during the internship period, as the schedule allows.We have four internship periods available every academic year. All internships are usually three months. However, you may apply for an internship of up to six months.

Internship Dates for 2015

Winter-Spring: February 9, 2015 - June 13, 2015
Application Deadline: November 23, 2014

Summer-Fall: June 8, 2015 - October 10, 2015 (AAR closes in August and the kitchen re-opens in September)
Application Deadline: March 31, 2015

In order to accommodate a smooth transition, interns may be asked to arrive and/or depart on alternative dates and will be advised in advance.

How to Apply for an Internship

Please apply online using the link below. The following documentation will be required.

• Letter of Introduction (your written statement describing why you would be suited for the internship)
• Resume or CV

• Photocopy of Passport or Carta d’Identità
• A medical note from your primary physician that shows you are physically and psychologically able to undertake an internship in a professional kitchen abroad.

In addition, applications must include two letters of reference* from either current or past employers or teachers which may be submitted via e-mail to with the subject line “REFERENCE: [INTERN APPLICANT NAME]”

*Letters of reference that are received in advance of a completed application will be accepted. Letters of reference that are received after the deadline will not be accepted.

The Selection Process
The RSFP receives far more applications for internships than we are able to accommodate, as there are only four intern positions in each internship session. Unfortunately, we are simply unable to accept all qualified and enthusiastic applicants. In selecting interns, we pay close attention to the group being assembled, as interns live and work together. It is our priority to create a dynamic environment in the kitchen that reflects the interdisciplinary nature of the academy itself, and therefore, each group of interns, visiting cooks, and volunteers is comprised of individuals with professional culinary experience as well as those with backgrounds in, but not limited to, food journalism, organic farming, sustainable food politics, Italian food culture and history, etc. It is essential to build a strong and balanced intern team of professionally trained and amateur cooks, therefore preference may be given to applicants with significant prior cooking experience.


Applicants will receive confirmation once their application is complete and has been processed. As the RSFP is a working kitchen with all of its daily demands, we will process your application as quickly as possible and respond within a month of its submission. Please be assured that you are under consideration if you have submitted a completed application with the requisite letters of reference.


Residency: Wyoming

Jentel Artist Residency Program

Deadline: January 15 for the May 15 - December 13 residencies (notification by March 15) or September 15 for the January 15 - May 13 residencies (notification by November 15)

The Jentel Artist Residency Program offers a peaceful place to work and achieve personal artistic goals in an unfettered environment. The program provides a resource of time and space for artists to create their best work. Jentel supports artists and writers who are hardworking and serious about their intent, who have proven themselves by publication or solo exhibition or who may not necessarily be well known and who show the ability to articulate a personal vision. The program welcomes artists in all media and writers in all genres.

Disciplines: Drawing & Painting, Media Art, Literature, Multi Media, Photography, Printmaking, Sculpture

Founded: 2003

Language: English


Jentel is on a working cattle ranch 20 miles southeast of Sheridan, Wyoming.  The closest airport is in Sheridan (population 15,800) with connections to Denver International Airport.  Billings International Airport is 144 miles northwest in Montana and offers multiple carrier service.  Residents may arrange for their travel between Billings and Sheridan via Powder River Bus Lines.

Once a week, a staff member will drive residents into Sheridan to buy fresh groceries and other food staples.


Jentel offers an experience to artists in an environment to concentrate on personal creative development.

Duration: 1 month

Paid by artist:

Application includes a fee of $20. Once awarded a residency, residents forward a deposit of $100 to reserve their month. Residents are responsible for their travel, working materials and personal items during the residency.

Paid by host:

The residency award includes a $400 stipend to help defray the costs of food and personal items during the residency.

Application Guidelines and Criteria:

Jentel has two sessions and two deadlines.  All application materials, including contact information, resume, work sample, and reference contacts must be completed online by January 15 for the May 15 - December 13 residencies (notification by March 15) or September 15 for the January 15 - May 13 residencies (notification by November 15).

Jentel welcomes visual artists working in all media and writers working in all genre. Applicants are US citizens or members of the international arts community currently living in the United States. The minimum age is 25 years. Student applications are not accepted.

The quality of the creative work and promise are the basis for selections.  Mature, mid-career and emerging artists are encouraged to apply.

Questions about the residency?  Call Lynn Reeves, Residency Program Manager at 307-737-2311 Monday - Friday during business hours (MST) 8:00am - 3:00pm.

For technical assistance during the application process, contact or visit  with Laurie at 855-467-8264 ext 2. Include your full name and discipline in all correspondence.


January 15 2014

September 15 2014

Deadline: January 15 for the May 15 - December 13 residencies (notification by March 15) or September 15 for the January 15 - May 13 residencies (notification by November 15)

Technical information:

Jentel is a low tech residency.  One studio has a Takach Garfield litho press with a 32 x 48 inch bed suitable for monotypes only. This studio also has a drying rack with fifty 32 x 48 inch racks and roll of 28 inch wide newsprint and is reserved for exclusive use by one resident per session. Assignment of this studio and press is made as part of the initial invitation to Jentel.

Writers using electronic media to create their work need to bring their own hardware and software for use in the studio while at the residency. This includes a printer.  Each writer’s studio has satellite Internet access. Streaming movies, Netflix, Hulu, broadcasts and Skype further reduce access and speed, so residents are expected to save these activities for in town at the public library or local coffee house. The computer and printer located in the Loft Library in the Residence are for the general use of residents for email and Internet access.

Studio information:

The artist studios are located in a pole barn, a typical metal ranch outbuilding that is outfitted with ventilation and lighting to accommodate four artists with large, individual 400+ square foot studio spaces. Studios are equipped with two worktables (one on wheels and glass topped at 76 x 34 inches and the other metal topped at 34 x 60 inches), a standard wooden straight back chair, an adjustable stool on wheels, a full length mirror, a day bed, a utility sink with hot and cold water, a small metal trash can, a closed metal cabinet, a paper towel dispenser, broom and dust pan, and good overhead light with both track and fluorescent lights on separate controls.  Flat fourteen foot ceilings enhance the spaciousness of the studio.  A small single window allows visibility to the outdoors and increases the amount of running, usable wall space (11, 13 and 24 continuous running feet) for two dimensional work.

Accommodation information:

The main house that provides a comfortable living space with communal areas designed for research, recreation, food preparation and dining and relaxation, as well as a private living area for each resident. Each residence has a private room with generous space for sleeping, relaxing and journaling. All rooms have immediate access to the outdoors and to spaces leading to the common areas. Clusters of common washroom facilities are well spaced for easy access and privacy. The library offers a selection of art books, contemporary fiction and reference books along with Internet access. Times Square, the adjacent recreation room, offers a TV, VCR and video library, a CD player, a few board games and a place to relax.

130 Lower Piney Creek Road

Banner, WY 82832

United States

Telephone: +1 307 737 2311

Fax: +1 307 737 2305

Residency: Georgia

Hambidge Center for Creative Arts & Sciences

Deadline: January 15th, April 15th, September 15th (annually)

The Hambidge Residency Program provides setting, solitude and time for creative individuals working in a wide variety of creative disciplines. Fellowships are offered for two to eight week residencies, year round, except for the month of January.

Disciplines: Architecture, Dance, Ceramics, Drawing & Painting, Graphic Design, Film, Curating/Research, Media Art, Literature, Multi Media, Music & sound art, Photography, Printmaking, Sculpture, Textile, Woodcraft

Founded: 1934

Language: English


The Hambidge Center is located in Rabun Gap just outside the town of Dillard Georgia, approximately 1.5 to 2 hours from Atlanta, Georgia (100 miles away). Hambidge is 80 miles from Asheville, North Carolina. It is made up of 600 pristine acres of forest land and is listed on the National Register of Historic Places.


Variable: Artists-in-residence have opportunities to give back to Hambidge in a variety of ways including teaching at local schools, giving slide lectures/presentations, hosting a Hambidge event in their own communities, recruiting artists of like-caliber to Hambidge, donating artwork to Hambidge’s major fundraising event, hosting open studios, and serving as workshop instructors. Participation in these is optional, though artists are strongly encouraged to support Hambidge’s major fundraising event with the donation of artwork.

Duration: two up to eight weeks

Paid by artist:

Application Fee - $30; Residency Fee - $200/week. Some fellowships are available, see their website for further information.

Application Guidelines and Criteria:

Hambidge accepts only online application. Please visit their website for further information.


September 15 2014

January 15 2015

Technical information:

 Specific equipment includes: ceramics/pottery (large, electric kiln, raku, wood, cone ten reduction; soda kiln under construction; electric and kick wheels, slab roller and extruder); music studio with Steinway grand piano; spacious painting studios with wall space and great lighting; sculpture studio (no special equipment); and writing studios (spacious, scenic, and secluded with private screened-in porches). Artists in sculpture, blacksmithing, jewelry making, woodworking, and other disciplines must bring machinery and tools

Studio information:

One of the aspects of Hambidge that Fellows repeatedly praise is the fact that each resident is housed in his/her own, stand-alone, studio which contains a work area as well as sleeping area, kitchen and bath. The structures themselves are diverse and unique. Among them are three studios which are our primary visual arts studios, one of which contains a rebuilt, 1925 Steinway Grand Piano and is used for music Fellows as well. The other studios are primarily for disciplines which require less space. Each has its own charm and character and some contain fireplaces. We also have a state of the art Pottery Studio and an Anagama Wood Fired Kiln which are available for the Fellows use. The accommodations are intentionally simple and the kitchens outfitted for basic cooking. Linens, quilts, comforters and other necessary items are provided. All studios are heated. At this time, computer access is limited to the common building, Lucinda’s Rock House, where we have wireless access as well as a computer station.

Accommodation information:

Individual dwelling/studio for each resident with bath and fully-equipped kitchen, 24-hour computer and telephone access for residents in common building; furnishings and linens provided.  Common room for residents’ use with fireplace, magazines, TV and CD-DVD-VHS; screened porch; laundry facilities on-site; computer with internet and printer and wifi in common area.

P.O. Box 339

Rabun Gap, GA 30568

United States

See map: Google Maps

105 Hambidge Court

Rabun Gap, GA 30568

Telephone: +1 706 746 5718

Fax: +1 706 746 9933