Call: Canada

Neighborhood Spaces
Deadline: Sept. 10

Call for submissions: presentations, papers, proposals
Artists, practitioners, educators, curators, community members, administrators, and organizers are encouraged to submit presentations, papers or proposals for the upcoming Neighbourhood Spaces Symposium. The symposium will take place November 14–16 in Windsor, ON, Canada. In keeping with the spirit of the program, this symposium aims to include community and collaborative partners in the discussion of socially engaged and community arts practice.
List of potential topics
– The ethics of social and community practice
– The ethics of engagement (race, gender, economics)
– Navigating communities
– The co-creative relationship, (authorship, compromise, relationship building)
– Measuring the impact of social and community practice (expectations, goals)
– Residencies as curatorial practice (How does this model differ from other forms of public art?)
– Scaling projects to communities
– Drawing on other disciplines: How do socially engaged and community artists adopt or adapt? (Ethnography, Sociology, Research, Public Health, Social Work, Business)
Note: All submissions will be considered, this list is merely a guideline. All selected panelists/contributors will be paid CARFAC presentation fees (275 CAD). The committee will select up to six submission for inclusion in the Symposium.
Submission guidelines:
Submissions will only be accepted via online form. Full submission guidelines are available online.
Presentations:
– A short description of your proposed presentation must be submitted via the online form.
– Please note that presentations are not to exceed 60 minutes.
Papers:
– Abstracts will be considered by the selection committee. The committee may ask for the full text before reaching a decision.
– All selected papers will be published online through Neighbourhood Spaces
– Selected papers are due September 10
Proposals:
– If your proposed contribution falls outside of the guidelines for papers, and presentations please submit a brief (300-word max) description.
– Anyone interested in submitting a proposal is encouraged to contact Program Coordinator Nadja Pelkey in advance of submitting.

Residency: London

Flat Time House
Deadline: August 24th

In partnership with the Barry Flanagan Foundation, Flat Time House is accepting applications for an artist’s residency to begin in November 2014.
FTHo, the former home and studio of the artist John Latham, which he designated a ‘living sculpture’, will operate as a base for interrogating sculpture as a subject of research, rather than a static artform or medium. The residency will involve time spent in the John Latham and Barry Flanagan archives.
The selected artist will be provided with:
accommodation (self contained artist’s residence with en-suite bathroom. Adjoining kitchen facilities are shared with FTHo’s staff),
studio,
up to £350 towards travel expenses,
stipend (£3000),
production budget towards new work (£2000).
The artist will be selected from an open call, with the 4 month residency resulting in a public exhibition and publication in 2014.
FTHo and the Barry Flanagan Foundation are seeking applications from artists who have been working professionally for 5 years. They welcome international applications. Artists will be judged primarily on the quality of their work, but also on the potential of their practice to translate into a new body of work that re-examines the role of sculpture.
The residency selection panel consists of Lucy Gunning (Artist) Jo Melvin (Barry Flanagan Foundation), Claire Louise Staunton (Curator, FTHo) and Michelle Cotton (Senior Curator, Firstsite).
For more information and application details please visit FTHo’s website. Deadline: August 24th.
www.flattimeho.org.uk

Residency: Nebraska

The Kimmel Harding Nelson Center for the Arts
Deadline:September 1

The Kimmel Harding Nelson Center for the Arts offers from fifty to sixty juried residencies per year to visual artists, writers, composers, and interdisciplinary artists from across the country and around the world. The Center does not discriminate on the basis of disability, sex, age, race, religion, or national origin.

The KHN Center accommodates up to five artists at a time for stays that vary from two to eight weeks. Each resident is provided with comfortable accommodations, ample studio space, and a weekly $100 stipend for the duration of their stay.

All residents are selected by a discipline-specific panel of professionals with decisions based on the quality of the proposal and the support materials submitted. Nebraska artists and those transitioning from graduate school receive special consideration by the Kimmel Harding Nelson Center. Each year, some residencies are reserved for these artists. Applicants are required to apply online through our Slideroom portal. A non-refundable application fee of $35 applies.

Application deadlines are March 1 for July - December residencies and September 1 for January - June residencies annually.

Application details and guidelines are located on the Application Process page. Many frequently asked questions are answered here. If you can not find the information you are looking for, please email or call us at 402.874.9600.
http://www.khncenterforthearts.org/application_process.php

Call: San Diego

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 fieldjournal1@gmail.com. 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

Residency: Boston

Boston Center For the Arts
Submission Deadline: July 7

The Boston Center for the Arts (BCA) Artist Residency Program aims to provide an environment where artists can experiment with their craft, develop their focus or test new ideas and simultaneously engage in public dialogue in a way that is considerate to the artist’s time and process.

This fifteen-week, process-oriented residency is awarded to two individual artists per year (no groups or collaborative pairs). Through a series of community programs jointly developed by the artist and the BCA, the program allows artists to connect to the public and explore themes that inform their residency project.

This year’s jurors include: Anabel Vázquez-Rodríguez, Curator, La Galería at Villa Victoria; Anthony Greaney, Founder and Director, Anthony Greaney Gallery; and Vera Ingrid Grant, Director of the Ethelbert Cooper Gallery, W.E.B Du Bois Institute for African American Research.

TIMELINE
Artist Residency #1: Monday, September 9, 2013 – Friday, December 20, 2013
Artist Residency #2: Monday, February 3, 2014 – Friday, May 16, 2014

HOW TO APPLY: Please download application instructions and submission form at http://www.bcaonline.org/visualarts/artist-residency-program.html

For inquires please contact Eugene Finney at efinney@bcaonline.org or 617.426.1130 for more information.

ABOUT BCA
For more than 40 years, the Boston Center for the Arts (BCA) has served as a not-for-profit, multidisciplinary arts center that supports working artists to create, perform and exhibit new works; develops new audiences; and connects arts to community. We are the foundation and catalyst for creation and experimentation and an artistic home for emerging, mid-career and established visual and performing artists. Artists who have presented on our campus include Judy Chicago, Liliana Porter, Martin Creed, Kara Walker, Ann Hood, James Blackshaw and Derrick Adams.

http://www.bcaonline.org/visualarts/artist-residency-program.html
Contact Information

539 Tremont Street
Boston, Massachusetts 02116
United States
Tel: 617-456-1130
Email:
efinney@bcaonline.org
http://www.bcaonline.org/

Residency: Upstate New York

The Corporation of Yaddo
Deadline: August 1

Yaddo’s mission is to nurture the creative process by providing an opportunity for artists to work without interruption in a supportive environment. Yaddo offers residencies to professional creative artists from all nations and backgrounds working in one or more of the following media: choreography, film, literature, musical composition, painting, performance art, photography, printmaking, sculpture, and video. Artists are selected by panels of other professional artists without regard to financial means.

Yaddo is located on a 400-acre turn-of-the-century estate at the foot of the Adirondack Mountains in Saratoga Springs, New York. In addition to artist living and working facilities, there are winding roads and paths through the woods, a tennis court, a swimming pool, a pool table, a ping-pong table, and a supply of bicycles to be shared by guests. Yaddo maintains several small libraries, including one of books by Yaddo authors.

Statistics
Residency Length: 2 weeks - 2 months
Average number of artists in residence at a time: 35
Number of artists accepted in most recent year: 218
Total applicant pool in most current year: 984

Eligibility
Application type: Open application
Collaboration: Must apply and be accepted individually
Geography: Open to US artists, Open to non-US artists
Additional eligibility information:
Artists who qualify for Yaddo residencies are working at the professional level in their fields. An abiding principal at Yaddo is that applications for residency are judged on the quality of the artist’s work and professional promise. Yaddo accepts approximately 200 artists each year.
Small groups (2 to 3 individuals) of artists wishing to work collaboratively are encouraged to apply. Each member of the group will need to submit an individual application. Work samples may represent individual work or previous collaborations. Specific concerns should be directed to the Program Director before application. Support personnel or interpretive artists, such as computer programmers, instrumentalists, set and lighting designers and dancers, cannot be included in a residency as part of a collaborative team.

Applications are considered by five independent admissions committees in the artistic disciplines represented at Yaddo: Literature, Visual Art, Music Composition, Performance, and Film & Video.

Application deadline: January 01, August 01
Additional deadline info:
Deadline is August 1, for residencies starting late October of the same year through May of the following year. The application fee will be $40 (payable by credit card) for all disciplines. Contact Candace Wait, Program Director, at chwait@yaddo.org with questions and concerns.
Past Residents & Quotes

Past residents:
Artists in residence have included writers James Baldwin, Truman Capote, Aaron Copland, John Cheever, Langston Hughes, Flannery O’Connor, William Carlos Williams and, more recently, Lynn Freed, Philip Gourevitch, Amy Hempel, Oscar Hijuelos, A.M. Homes, Jonathan Lethem, Rick Moody, and Amy Tan. Composers who have contributed to our shared musical heritage and been supported by Yaddo include past greats Aaron Copland, Virgil Thomson, and Leonard Bernstein, along with current talents Derek Bermel, Sebastian Currier, Anne LeBaron, Paul Moravec, Ned Rorem and Stewart Wallace. Visual artists from Milton Avery, Henri Cartier-Bresson, Philip Guston, Jacob Lawrence, and George Rickey to Susan Crile, Jules Feiffer, Arturo Herrera, Melissa Meyer, James Siena and Susan Unterberg have found their inspiration at Yaddo. Yaddo also welcomes artists working in new art forms – filmmakers (feature and documentary) and media/performance artists have found community and studio space at Yaddo; they include Noah Baumbach, Jem Cohen, Lisa Cholodenko, Tamara Jenkins, John Kelly, Elizabeth Thompson and Jessica Yu. Critics such as Helen Vendler, Rob Storr and Irving Sandler have also been invited for residencies to deepen their craft and enhance their contribution to American arts.
Yaddo was the first time I felt I had come in from the cold. It’s not that I write so much more at Yaddo; it’s that I write so much better.
— Jonathan Lethem
We are and will continue to be — always — about sustaining the creative process through the often magical artists’ residency experience. That worthy mission is changeless and our dedication to it enduring.
— Peter Gould, Chair

Facilities & Services
Housing: Private housing (individual apartment/cabin/house), Private bedroom in a shared housing facility
Each guest has a private bedroom in one of the several buildings on the estate and is assigned a private studio. Linens are provided, and laundry facilities are available. Some of the larger bedrooms serve as both living and working space for writers.
Meals: All/most meals are provided by organization
Breakfast and dinner are taken communally; lunch is packed for each artist to enjoy at their leisure. Although the kitchen cannot offer meals for special diets, vegetarian alternatives are provided.
Computer/internet access: Computer and internet connection provided in common area (shared), Wireless Internet
Accessibility: housing/grounds/studios are accessible
Though the main buildings at Yaddo were built around the turn of the 20th century, improvements in accessibility are ongoing. There are wheelchair-accessible bedrooms, bathrooms, and studios (including the darkroom), and every effort is made to assist individuals with special needs.
Studios/special equipment: Dance / Choreography, Music studio (non-recording), Painting, Photography (non-digital), Printmaking, Sculpture
Additional studio information: For visual artists, there are studios for painting and drawing, printmaking, sculpture, and welding, as well as a black and white darkroom. Composers’ studios are equipped with pianos. Choreographers may request portable mirrors and barres, and the floors of their studios can be covered with marley. Appropriate table space is supplied for writers using computers.

Residency Fees
There is no fee for residency. Yaddo’s nonrefundable application fee is $30, to which is added a fee for media uploads ranging from $5 to $10, depending on the discipline. Application fees must be paid by credit card.

Stipends / other support
Funds exist to provide limited financial aid to artists, based on need. Only individuals who have already been invited for visits may apply for financial assistance. Specific instructions and an application form are included with each letter of invitation.
Additional expectations / opportunities
Yaddo has no programs other than the residency program. Unlike many organizations that provide residencies for artists, Yaddo does not arrange or encourage workshops, readings, recitals, performances, exhibitions, or other such activities.
Contact Information

P.O. Box 395
Saratoga Springs, New York 12866
United States
Tel: 518-584-0746
Email:
chwait@yaddo.org
www.yaddo.org

Residency: New Orleans

A Studio in the Woods
Deadline: August 1

Flint and Steel are five week residencies designed to allow artists to join forces with invested academic partners. Each artist will be paired with a Tulane University faculty member to inspire each other in the development of new work, to excite the public, and to ignite social change. Addressing the artists’ desire to be more effective and have longer lasting impact with their outreach, these collaborations will empower the artistic practice with scholarship, student manpower and academic resources from Tulane. We ask artists to describe in detail how the opportunity will affect their work, to propose a public component to their residency and to suggest ways in which they will engage with the local community.

Click here for more information and to download the application: http://astudiointhewoods.blogspot.com/2014/05/call-to-artists-flint-and-…

A Studio in the Woods began as the homestead and studios of Joe and Lucianne Carmichael. For 30 years they created ceramics, wood and metal sculptures and furniture in their tranquil unspoiled forest just across the Mississippi River from the city of New Orleans. Motivated by a desire to preserve this endangered forest and its creative inspiration for artists, the Carmichaels frequently offered students, artists, educators and environmentalists opportunities to learn about the natural environment and its source of inspiration. From this activity grew more formal artists residencies and the need to support these residencies financially and institute them as a formal artists retreat.

Statistics
Residency Length: 5 weeks
Average number of artists in residence at a time: 1-5
Number of artists accepted in most recent year: 5
Total applicant pool in most current year: 100

Eligibility
Application type: Open application
Geography: Open to US artists, Open to non-US artists
Application deadline: August 01
Additional deadline info:
The application should be available by May 2014, check back soon for details.

Housing: Private bedroom in a shared housing facility
Meals: Residents make own meals/groceries provided
Computer/internet access: Computer and internet connection provided in common area (shared), Computer and internet connection provided in living or studio area (private), Wireless Internet
Accessibility: no
Additional studio information: A Studio in the Woods does not currently provide dedicated facilities or equipment for any single discipline. Resident artists have access to a medium-sized studio space in which they can create the environment they need to develop their creative process. There is access to a kiln and some woodworking tools, however while the distinct needs of working with media such as glass, heavy metals, and developed photography are not viable with our site at the present, we believe that the deep woods can provide inspiration and the ground to nourish projects beyond our facility’s capacity.

Residency Fees
Application Fee $15
Stipends / other support
Recipients will be provided $2000 as a stipend and $1000 towards materials. Faculty partners will receive up to $2000. ASITW provides full room and board including food, utilities for living and studio space to selected residents. Residents are expected to cover personal living expenses, additional materials and supplies, and any other expenses relating to the cost of producing work incurred while in the program. Travel and shipping expenses to and from ASITW for the residency are also the responsibility of the artist.

Additional expectations / opportunities
We are looking for artists who show an ability to incorporate investigative methods and collaboration with community, educators, or activists in their creative vision. Artists will be asked to make a public presentation of their work and provide explanation of how their art actually makes an impact on collective action in realistic terms.
Contact Information
13401 Patterson Road
New Orleans, Louisiana 70131
United States
Tel: 504-392-4460
Email:
applications@astudiointhewoods.org
www.astudiointhewoods.org

Residency: Washington

Willapa Bay AiR
Deadline: July 31

Willapa Bay AiR offers month-long, self-directed residencies to emerging and established artists, writers, scholars, musical composers and songwriters. Situated on 16 acres in coastal southwest Washington State, the Residency provides lodging, meals, and work space, at no cost, to five residents each month, from March 1 through September 30 of the year.

Willapa Bay AiR is situated approximately 30 miles north of the mouth of the Columbia River, the border between Oregon and Washington, in the National Historic Register village of Oysterville, Washington. Oysterville is the most northern settlement on the Long Beach Peninsula, a finger of land that is twenty miles long and two miles wide. The Peninsula is embraced by three mighty bodies of water: to the west, the Pacific Ocean; to the south, the great Columbia River; and to the east Willapa Bay, considered one of the most pristine estuaries in North America.

Statistics
Residency Length: One month
Average number of artists in residence at a time: 5
Number of artists accepted in most recent year: 35
Total applicant pool in most current year: 250

Eligibility
Application type: Open application
Collaboration: Must apply and be accepted individually
Geography: Open to US artists, Open to non-US artists
Additional eligibility information:
Applicants must be over the age of 18 and not currently enrolled as a student in an academic program.

Application deadline: July 31
Application Ongoing: No

Facilities & Services
Housing: Private housing (individual apartment/cabin/house)
Each resident is housed in a newly-constructed private cottage with work and living space, toilet and shower, twin bed, bedding and towels. Each unit has Wi-Fi internet, and a small refrigerator, electric kettle, coffee carafe, mugs, glasses, utensils.
Meals: All/most meals are provided by organization
Willapa Bay AiR provides three meals daily. Meals are prepared in our kitchen by our private chef and feature fresh fish, fruits, vegetables and herbs, locally grown and in season. Breakfast is buffet-style. Lunch is delivered to residents’ cottage or studio. Dinner is served family style with fellow residents at the Lodge. Residents may use the kitchen to prepare snacks or special meals, in coordination with the residency chef.
Computer/internet access: Wireless Internet
Accessibility: no
There are steep steps and a wooden bridge between the cottages and the Lodge and studios. Persons with physical limitations and or those who require handicapped accessibility should discuss requirements with our staff prior to application.
Additional studio information: Residents must bring specific equipment and supplies necessary to do their work. Cottages are equipped with work tables, chairs, and lighting to support the work of writers, musicians, and scholars. Two separate studios for visual arts have basic tool kits. Musical composers are provided an electronic keyboard.
Other facilities and services: The Lodge is a communal space for reading, conversation, and sharing. The Lodge has a living room with TV and Wi-Fi, a kitchen, dining room, and laundry facilities. Willapa Bay AiR grounds include wooded paths, park-like meadows, and an outdoor fire pit.

Residency Fees
There are no fees. Willapa Bay AiR provides lodging, work space, and meals without charge. Residents are responsible for their transportation costs to and from the residency. Accepted applicants pay a $100 deposit when they confirm their residency. This deposit will be refunded upon arrival.

Stipends / other support
None at this time. Residents are encouraged to apply for funding support from state and community arts and culture agencies.
Additional expectations / opportunities

Contact Information
PO Box 209
32101 Douglas Drive
Oysterville, Washington 98641
United States
Tel: 1 (360) 665-6782
Email:
info@willapabayair.org
www.willapabayair.org

Residency: Kansas

Salina Art Center

The Salina Art Center is a nonprofit contemporary art and education center located in downtown Salina, Kansas. The Center seeks “to create exchanges among art, artists, and audiences that reveal life.” The Art Center campus comprises three distinct facilities: the main buildings, which house over 6,000 square feet of galleries, a 5,000 square feet education wing, and administrative offices; the Art Center Cinema, a ninety­-two­ seat film theater; and the Warehouse, a 4,500 square feet living and working space for artists ­in ­residence.

Salina Art Center offers two residency session each year in the Spring and Fall. Both sessions are open to artists working in and across all disciplines.

Artists are expected to engage and interact with the public through regularly scheduled open studio sessions, public discussions and presentations, workshops, programs for local and area schools, and collaborations with local organizations and agencies. Artists will have the opportunity for an exhibition in the Art Center’s galleries during their residency.

Each artist is provided an honorarium, travel stipend, materials stipend, and technical and administrative support.

The program is housed in the Warehouse, a renovated 1920s commercial building in downtown Salina, Kansas featuring a 4,000 square feet of studio space and a one ­bedroom apartment.
Contact Information

242 South Santa Fe
P.O. Box 743
Salina, Kansas 67401
United States
Tel: 785 827 1431
Email:
warehouse@salinaartcenter.org
http://www.salinaartcenter.org/

Residency: Marfa

Artist-in-Residence Marfa Contemporary
Deadline: June 30th

The Marfa Contemporary Artist in Residence program was instituted in 2012 with the aim of supporting the development of artists of diverse ages, backgrounds, and disciplines. Artists involved in painting, drawing, sculpture, photography, installation, performance related media and other fine art media are eligible to apply for a residency. The competition is open to US residents currently residing in the US. Non US residents residing in the US may be eligible to apply if they are currently in receipt of the necessary visas and documentation to continue residence. The residency is for a two or three month period in agreement with the chosen artist and Dr. Roncone.

The Artist in Residence program provides an opportunity for artists from the USA to work in a unique natural environment. Marfa is a small town in a sparsely populated area of far West Texas and artists should be prepared to spend a great portion of their time alone. A residency at Marfa Contemporary is perfect for those artists who seek a quiet environment that remains largely unfettered by industrialism. Due to the isolation of Marfa it is a condition of acceptance that the artist have a valid drivers license that permits them to drive in the USA.

Marfa Contemporary provides a furnished apartment and artist studio. A stipend of $1’100 per month is provided to assist with living expenses and art materials, subject to a 30% federal withholding for non-residents, during the term of the residency. Flights and travel costs to and from Marfa will be borne by Marfa Contemporary. Any car hire/rental cost or travel costs the artist incurs during the residency will be self-funded. It is expected that the artist, during his/her residency, will participate in school workshops, actively engage with the local community and present a week long exhibit of their work at the close of the residency period.

The 2014 Fall residency is now open. A $20 application fee is payable online using the link below. Applications that are not supported by the online fee will not be considered. The deadline for applying is June 30th 2014. The 2014 residency dates will be either September 1st-December 1st 2014 or September 1st to November 1st 2014 in agreement with the artist. The winner will be notified in late July 2014.

http://www.marfacontemporary.org/about/artist-residence

Resume/CV

Artist Statement

20 slide images OR a CD with 20 PDF or JPEG digital files (2 MB maximum file size per image) OR a DVD of up to 30 minutes of video work.

Applications must be postmarked no later than June 30, 2014. Please do not send any original artwork. Emailed submissions will not be accepted.

Applications can be mailed to:
Dr. Natalie Maria Roncone
Artist in Residence Application
Marfa Contemporary
100 E. San Antonio Street,
Po Box 1233,
Marfa, Texas 79843

For questions about the Artist in Residence program or the submission process, contact Natalie@marfacontemporary.org

The program is committed to the policy of nondiscrimination and equal opportunity for all persons regardless of race, sex, color, religion, creed, national origin or ancestry, age, marital status, sexual orientation, gender identity, gender expression, and disability. No-one with the AIDS virus, ARC, or HIV shall be denied admission as long as he/she is otherwise qualified.

Christine Wong Yap

Call: New Orleans/Grinnell, Iowa

Tiny Circus Core Member - Job Description
Job Title: Tiny Circus Core Member
Tiny Circus facilitators collaborate amongst ourselves and with groups to create stopmotion
animations.
Following the successful completion of a 2month
apprenticeship period, our new member will
become a Core Member of Tiny Circus and have the opportunity to gain an equal share of
income and decisionmaking
responsibilities.
What Is Tiny Circus?
Tiny Circus facilitates collaborative experiences for our members and workshop participants
while creating short stopmotion
films that are meaningful and engaging for our audiences.
For the Circus, successful collaboration means that each maker and each viewer will engage
with and expand their perspective on the familiar yet complex topics we examine.
More information about our processes and goals can be found on our website.
Check out these recent animations:
Creativity
The History of Adaptation
Love
Pornucopia
Main Duties:
What is most important? Hard skills like animation, editing, photography, music, etc., can all be
learned. Skills like communication, collaboration, and conceptualization are probably more
important, though these skills can also be learned and refined. The best fit will be someone who
is adaptable. willing to listen and learn, take on responsibility without constant supervision, and
believes in the goals of the group.
● Collaboration Facilitation:
○ Our most important function is to create a workshop environment with the
potential for deep and meaningful collaboration. Before and after each
engagement, we discuss how we can best share our process with all of our
workshop participants.
○ Facilitating in a workshop environment is similar to teaching and requires an
ability to be “on” in front of people for lengthy periods of time. We spend hours
engaging with participants, giving presentations to large groups of people, and
going to social events with workshop hosts.
● Tour Planning and Circus Administration:
○ The Circus is its own booking agent and future planner. We spend a good part of
our time setting up workshops and corresponding with our host contacts, thinking
about how to go forward, writing text, outlining budgets, and creating websites.
● Technology and skills:
○ A stopmotion
film uses many skills: animation, music making, cameras, sound
recorders, video and sound editing programs.
○ Please note that while experience in any of these fields is a plus, we are most
interested in people who are excited about the social functions of the circus, who
are quick and enthusiastic learners, and who accept the fact that there might be a
bit of a learning curve at the front end of participation.
● Moving things from one place to another:
○ Tiny Circus does a hefty share of physical labor: building our spaces, cleaning,
and loading and unloading our equipment multiple times per workshop. You’ll be
the administrator, facilitator, and animator, but also the roady, the lacky, the hired
hand.
Why would you want this job?:
● Our work is about community.
○ Inhouse,
we’re interested in asking how we might counteract structures that have
advantaged one set of people at the expense of others. We want to find ways to
create a level space for discussion that values and considers each voice.
○ When we do Tiny Circus work out in the world, we continue to ask these
questions while putting new techniques for communitybuilding
into practice,
refining our ways of creating space for collaboration. In the process, we make
some kickass
animations and then share them with the world.
● We do not sit still.
○ Our job dynamic we
are constantly evaluating and reimagining
what we do. It’s
a work in progress, and you, as a facilitator, will have an equal part of everything
that the circus does.
○ This is an opportunity to be part of something with a successful history and a
powerful inertia that can be redirected wherever we see the need. Tiny Circus is
asking for and offering a shared ownership of our future. If the fit is right, we want
you to be part of our family.
● We make things.
○ Paint, clay, paper, light, people… anything and everything can be animated.
○ Each project is a chance for invention of ways to present information in visual and
audio form.
● We are superfun
people.
○ We like dancing, eating, the beach, working hard, playing hard, travel, music, new
communities and return to familiar spaces. We have a network of great people
and always look forward to meeting more.
Period: 1 year (following initial trial period of 2 months)
The term will begin with a twomonth
trial period at reduced pay. During this time the new
facilitator will learn Tiny Circus methods and techniques. This initial period will also serve as an
opportunity to make sure we can all function together successfully.
Following the successful completion of the trial period, Tiny Circus asks for a one year
commitment from our collaborators in order to have time to build and then apply the diverse
range of skills necessary for our workshops.
Near the midpoint of the year, the new facilitator will be invited to discuss further involvement
past the initial yearlong
period.
Location:
Tiny Circus has bases in New Orleans, Louisiana and Grinnell, Iowa. The Circus travels
frequently, with upwards of 4 months per year on the road at various workshop locations.
Applicants should understand that life with the Circus involves packing up and moving often,
leaving friends and making new communities. This kind of lifestyle can be stressful, exciting,
refreshing and filled with adventure.
Compensation:
During the 2month
trial period, new facilitators will be paid $500 plus housing per month with
food occasionally covered by hosting institutions during tours.
After the initial period, the new coremember
will be raised to a full share of our income. The
money that goes in our pockets comes directly from the institutions we work with (schools, boys
and girls clubs, colleges). Once expenses are paid, we share this money equally. The rewards,
as they say, are not in the dollar amount we
have averaged about $1000 per month plus most
food and housing. We live frugally and share things like meals and bottles of tequila. We don’t
want for much, but we don’t have a lot extra either.
To Apply:
Send a cover letter including a paragraph or two about why you want to be part of the Circus to
tinycircus@gmail.com.
We will contact you to let you know we have received your application!
Applications accepted on a rolling basis up to July 1. Apply early!

Josh Greene

Call: California

Investing in Artists Grant Guidelines Announced! Visual Arts, Craft and Literary Arts
Application Deadline: Tuesday, July 1, 2014 at 6 pm

Artistic creation requires more than just talent - it requires an initial investment of time and money as well. For this reason, the need for grant support has become a critical part of the creative process for many working artists today. The Investing in Artists grants program is designed to address this need by providing working artists in California with the financial resources and creative support systems they need to thrive.

This round of Investing in Artists will provide grants to individual artists working in the Visual Arts, Crafts or Literary Arts in two funding categories:

Grants for Artistic Equipment and Tools (up to $6,000)
Grants for Artistic Innovation (up to $10,000)

Applications may only be completed through our online system. Please follow the links below to learn more about the Investing in Artists Guidelines and to begin your application!

http://cci.culturegrants.org/

Residency: Germany

Künstlerhaus Schloss Balmoral

Deadline: June 28 2014

The Künstlerhaus Schloß Balmoral is an institution of the Foundation for Culture in Rhineland-Palatinate. It is a place of artistic production, theoretical reflection and social and artistic contact. It has also the objective of reaching the public through events such as lectures, workshops, concerts and exhibitions. Since its foundation in 1995, the work of artists has covered the disciplines of painting, sculpture, installation, drawing, graphic art, design, photography, new media, land art as well as curatorship.

The theme for the residential fellowships for 2015 is »Dada«. Since 2013, fellowships are offered in one artistic genre or one theme each year. This offering, which is unique in Germany, is intended to enable deeper mutual creative cross-fertilisation among the resident artists. It will also lead to a more intensive specialist exchange of ideas with external artists, speakers, teachers, curators, etc. For 2015, the Künstlerhaus Schloss Balmoral is awarding two 3-month residential fellowships and four 9-month residential fellowships.

Disciplines: Drawing & Painting, Curating/Research, Media Art, Multi Media, Photography, Sculpture, Visual Arts

Founded: 1995

Language: German, English or French

Location:

The artists’ house is located in Bad Ems, a historical spa town with a population of

10,000. It lies close to the river Lahn and is about 18 km from Koblenz. The A3 motorway can be used to reach Cologne and Frankfurt quickly.

Outcome:

Scholarship holders are required to write a report about their stay afterwards.

Duration: 3 or 9 months

Paid by host:

International scholarships and one project grant for an artist living in Germany for six months, starting in April each year. All scholarships are endowed with 1.400 Euro per month and include free accommodation (except project grant) at the Künstlerhaus Schloß Balmoral.

Application Guidelines and Criteria:

The preconditions for applicants for the residential fellowships for visual artists are a completed course of study in art (M.F.A. or comparable) and three years of continuous artistic work after the conclusion of studies until the beginning of the fellowship. Applications are also possible for autodidacts distinguished by special artistic achievements, as documented by exhibitions and prizes.

Knowledge of German or English is expected. For more information see

Application

An application form is available for download during the application period for each fellowship and must be completed and submitted with the application. Applications without a filled application form will not be accepted. More details you find here.

Application form

3-month residential fellowship

9-month residential fellowship

Technical information:

The scholarship holders can make use of the in-house facilities for free, especially of the

• wood workshop

• video laboratory Windows XP Pro, Adobe Premiere Pro (in German and English) + Avid Express (in English), DVD writer, video-edit recorder

• library and reading room with approx. 5,500 books, particularly on modern and contemporary art and the most important art magazines.

Studio information:

Studio of 17-27 m².

Accommodation information:

Individual apartments of 16-20 m². Furnished living/bedroom with shower/WC and a studio including electricity, water and heating. Each apartment is equipped with an individual telephone and internet access. If required, the room is also wired up for radio and television. Due to the historical condition of the building, the apartments and studios in terms of their size and equipment are normally only suitable for one single person.

Villenpromenade 11

Bad Ems 56130

Germany

Contact info

Telephone: +49 (0) 2603 9419-0

Fax: +49 2603 9419-16

Email: info@balmoral.de

Website:

http://www.balmoral.de