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Tag Archives: TWU
NOT PHOTOGRAPHY | Erin Cluley Gallery
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Time In: Refocusing the Lens of Motherhood | Elizabeth M. Claffey
Congratulations to Texas Woman’s University Alumna Elizabeth M. Claffey for having her work featured in Time In: Refocusing the Lens of Motherhood, an exhibition curated by Larry Gawel. The exhibition runs through February 21, 2016 at the Elder Gallery at Nebraska Wesleyan.
Nebraska Wesleyan’s Elder Gallery features a photography exhibit that explores children’s lives through their mothers’ camera lenses.
“Time In: Refocusing the Lens of Motherhood” runs through February 21. The exhibition — curated by Larry Gawel of WorkSpace Gallery in Lincoln — features 11 contemporary female photographers and mothers who have chosen their children as the subject matter in their photographic work while transcending the notion of the snapshot or the school portrait.
Featured artists include: Rocio De Alba, Middle Village, New York; Elizabeth Claffey, Bloomington, Ind.; Joy Christiansen Erb, Youngstown, Ohio; Tytia Habing, Watson, Ill.; Alaina Hickman, Omaha; Toni Pepe, Malden, Mass.; Suzanne Révy, Carlisle, Mass.; Heather Evans Smith, Winston Salem, N.C.; Sheila Talbitzer, Omaha; Jessica Tampas, Chicago, Ill.; and Jamie Tuttle, Evanston, Ill.
Elder Gallery hours are Tuesday-Friday, 10 a.m. to 4 p.m., Saturday-Sunday, 1 to 4 p.m.
A panel discussion with the curator and artists Alba, Habing, Révy, Tuttle and Talbitzer will be held Friday, February 5 at 4 p.m. Together they will share their thoughts on what transcends a snapshot, how one makes an image of a child have universal appeal, career vs. family for women in the arts, and technological advances for photographing children, among other topics. A reception will follow from 5 to 7 p.m.
Elder Gallery is located inside the Rogers Center for Fine Arts, 50th Street and Huntington Ave. Admission and parking are free.
Elizabeth is an Assistant Professor of Photography at Indiana University in Bloomington. She is an honors graduate of Earlham College and has an MFA in photography from Texas Woman’s University, where she also earned a Graduate Certificate in Women’s Studies. She received a 2012-13 William J. Fulbright Fellowship, which she used to support her documentary and creative research in Eastern Europe.
Half Year Vol. 2 | Deedra Baker
Congratulations to Deedra Baker for having her work featured in the Streit House Space Half Year Vol. 2 zine. Check out the zine here and add it to your photo book and zine collection.
Half Year Vol. 2 features work by:
Deedra Baker, Rachel Jump, Jen Ervin, William Douglas, Will Harris, Coralie Fournier-Moris, Andrew Janjigian, Andrew Frost, Aleksei Kazantsev, Gabriella Sturchio, Jesse Taylor Koechling, Charlotte Thoemmes, Trevor Powers, Celeste Ortiz, Brian Henry, Selina Roman, dent de lion, Misty Woodford, Grant Gill, Scott Norris, Julia Dunham, Viviana Levrino, Samantha Ylva Beasley, Deb Schwedhelm, Charalampos Kydonakis, Drew Nikonowicz, Jillian Freyer, Jordanna Kalman, Rebecca Drolen, Ekaterina Musatkina
Edited by Jordanna Kalman
Deedra received her Bachelor of Fine Arts in 2011, from Washburn University in Topeka, KS. She is currently working toward a Master of Fine Arts in Visual Arts with a Photography Concentration and Intermedia Secondary Concentration at Texas Woman’s University.
Ticka Arts | Deedra Baker
Congratulations to Deedra Baker for having her series A Slight Hysterical Tendency featured as a February artist on Ticka Arts. Click here to view the feature.
Deedra received her Bachelor of Fine Arts in 2011, from Washburn University in Topeka, KS. She is currently working toward a Master of Fine Arts in Art with a Photography Concentration and Intermedia Secondary Concentration at Texas Woman’s University.
Process and Innovation: Carlotta Corpron and Janet Truner
Process and Innovation: Carlotta Corpron and Janet Turner
Exhibition Dates: February 14 – June 5, 2016
Process and Innovation: Carlotta Corpron and Janet Turner focuses on two pioneering women artists who worked in Texas during the last century. Highly experimental, Carlotta Corpron (1901-1988) and Janet Turner (1914-1988) became masters of unorthodox methods in their corresponding media of photography and printmaking. As educators, both Corpron and Turner effected change in the concept of art education at their respective institutions, thus challenging their students to push beyond their own established boundaries.
In 1935 Corpron moved to Denton to teach advertising design and art history at Texas State College for Women (now Texas Woman’s University). Subsequently requested to teach a course on photography, Corpron enrolled at the Art Center of Los Angeles in the summer of 1936 to polish her technique. Her dissatisfaction with routine subject matter led to Corpron’s realization that photographs did not have to be images of anything in particular; instead, light itself, and its dialogue with forms it encounters, could be the object of her photographic investigation. Guided by Corpron’s deliberate manipulations, seashells, eggs, scraps of paper and otherwise mundane props became transformative studies of patterns of light and dark. Described in 1983 by Michael Ennis in Texas Monthly as “the finest avant-garde photographer Texas has ever seen,” Corpron has been a lasting and immeasurable influence on students since her experimentation with light began forty years earlier.
Working throughout her career primarily as a printmaker, Janet Turner likewise took her cue from the natural world. Just as Corpron subjugated nature to the primacy of light in varying degrees of abstraction, Turner displayed an absolute deference for nature – its power, its vulnerability, its often fragile relationship with humankind – manifested in her intricate prints distinctive for their rhythmic and technical complexity. After relocating in 1947 to Nacogdoches, Texas, to begin her newly appointed role of assistant professor of art at Stephen F. Austin State College (now Stephen F. Austin State University), Turner began to focus her attention on printmaking. A Guggenheim Fellowship she received in 1952 is generally considered to be the turning point in Turner’s career; it provided her the opportunity to carefully study her subjects in their natural habitats, and it also initiated her foray into combining printmaking techniques, which would become a lifelong hallmark of the artist. Fundamental in elevating the art of printmaking for future practitioners, Turner left a rich forty-year legacy of her own printed work and made printmaking’s creative potential seem almost limitless.
Pushing boundaries in separate modes, both Corpron and Turner cast a wide net of influence over students and artistic contemporaries. Curated by Nicole Atzbach, Process and Innovation: Carlotta Corpron and Janet Turnerexplores the work of both artists from their early experiments in their respective media from midcentury. This exhibition draws entirely from holdings within the Dallas area including Bywaters Special Collections of SMU, which holds an impressive collection of art by both Turner and Corpron. Other loans come from private lenders, including Jack and Beverly Wilgus, who have generously promised their vast photographic collection to SMU’s DeGolyer Library. Images by Beverly Wilgus, a former student of Corpron, will also be on view.
This exhibition has been organized by the Meadows Museum, and is funded by a generous gift from The Meadows Foundation.
Click here to find out more information.
Time In: Refocusing the Lens of Motherhood | Joy Christiansen Erb
Congratulations to Texas Woman’s University Alumna Joy Christiansen Erb for having her work featured in Time In: Refocusing the Lens of Motherhood, an exhibition curated by Larry Gawel. The exhibition runs through February 21, 2016 at the Elder Gallery at Nebraska Wesleyan.
Nebraska Wesleyan’s Elder Gallery features a photography exhibit that explores children’s lives through their mothers’ camera lenses.
“Time In: Refocusing the Lens of Motherhood” runs through February 21. The exhibition — curated by Larry Gawel of WorkSpace Gallery in Lincoln — features 11 contemporary female photographers and mothers who have chosen their children as the subject matter in their photographic work while transcending the notion of the snapshot or the school portrait.
Featured artists include: Rocio De Alba, Middle Village, New York; Elizabeth Claffey, Bloomington, Ind.; Joy Christiansen Erb, Youngstown, Ohio; Tytia Habing, Watson, Ill.; Alaina Hickman, Omaha; Toni Pepe, Malden, Mass.; Suzanne Révy, Carlisle, Mass.; Heather Evans Smith, Winston Salem, N.C.; Sheila Talbitzer, Omaha; Jessica Tampas, Chicago, Ill.; and Jamie Tuttle, Evanston, Ill.
Elder Gallery hours are Tuesday-Friday, 10 a.m. to 4 p.m., Saturday-Sunday, 1 to 4 p.m.
A panel discussion with the curator and artists Alba, Habing, Révy, Tuttle and Talbitzer will be held Friday, February 5 at 4 p.m. Together they will share their thoughts on what transcends a snapshot, how one makes an image of a child have universal appeal, career vs. family for women in the arts, and technological advances for photographing children, among other topics. A reception will follow from 5 to 7 p.m.
Elder Gallery is located inside the Rogers Center for Fine Arts, 50th Street and Huntington Ave. Admission and parking are free.
Joy currently resides in Youngstown, Ohio, where she is an Associate Professor of Photography at Youngstown State University. She received her B.F.A. from Miami University, Oxford, OH and her M.F.A. from Texas Woman’s University.
Call for Entry | TPS 25
Due: March 21, 2016
TPS 25: The International Competition | Texas Photographic Society
Juror: Rixon Reed
Texas Photographic Society is delighted to celebrate the 25th Anniversary of this annual call for entry. To commemorate the long-standing history of the international competition, this year’s juror, Rixon Reed, will select the work of 25 photographers for the exhibition. This call is open-themed, and submissions from artists of all levels are encouraged.
Calendar of Events
02-02-16 Call for entry announced
03-21-16 Entries due
04-15-16 Emails sent to entrants
05-23-16 Matted and framed prints due in Alpine, Texas
06-03-16 Show opens at Museum of the Big Bend in Alpine, Texas
08-31-16 Show closes; travels to Martin Museum of Art in Waco, Texas, among other venues
Awards
First Place = $500
Second Place = $300
Third Place = $200
Director’s Award = $200
Up to 5 Honorable Mentions may be awarded
Entry Fees
Entry fee is $30 for 5 images, plus $6 for each additional image. Photographers may enter up to 10 images. Please don’t forget to include your membership fee, if also joining TPS at the time of entry.
Eligibility
TPS 25: The International Competition is open to artists of all levels internationally. You do not need to be a member of the Texas Photographic Society to enter this competition. However, you may join TPS and enter this show at the same time (read more about TPS member benefits). Works exhibited previously in a TPS show are not eligible, and all entries must be submitted digitally. Current members of the TPS Board are permitted to enter but are not eligible for awards.
Instructions for entry are outlined below, following the juror’s bio and statement.
About the Juror
Rixon Reed, Founder and Director of photo-eye and Art Photo Index in Santa Fe, New Mexico
After graduating from the University of Arkansas, Rixon Reed attended NYU film school and later worked for Lee Witkin managing the Witkin Gallery photobook department in New York in the mid-1970s.
Reed started photo-eye in Austin, Texas, in 1979 as a mailorder book business and issued the first photo-eye Booklist—at the time, one of the very few ways you could buy a curated selection of photobooks via mail. The photo-eye Booklist became a widely read catalogue of the best photobooks published. In 1991, Reed moved to Santa Fe, New Mexico, and opened photo-eye as a combined gallery and retail bookstore space. In 1996, photo-eye opened on the web as one of the first online galleries and specialty bookstores.
Today, photo-eye Gallery is located in Santa Fe’s Railyard Arts District showing acclaimed contemporary photographers along with emerging artists. In a separate location, photo-eye Bookstore + Project Space showcases the best in photobooks while exhibiting book-related projects.
In 2013, Reed created Art Photo Index to help curators, gallerists, publishers and other photo professionals discover new work by emerging talent. Art Photo Index is a resource and search engine of nearly 37,000 works by over 3,700 photographers from 90 countries.
Juror’s Statement
In today’s image-laden world, it’s not hard to find interesting photographs to view. There are an incredible number of websites with constant streams of images, but usually with very little context. Scroll through them long enough and you’ll almost always find something to linger on. But for me, it’s rare that these images give me the desire to delve deeper and learn more about the work scrolling past me.
So, what do I respond to?
As a bookseller who sees hundreds of new titles each year, I get most excited about work that uses the medium in aesthetically interesting ways. I’m drawn to all kinds of imagery from documentary, street photography, portraiture, nudes, to constructed photographs and studio work. In judging whether or not a book is successful, I ask myself, does this present an unusual viewpoint? How creative is the design? Does the form it takes make sense aesthetically with the work it contains?
As a gallerist, I’m drawn to artists who are exploring their world in exciting new ways and producing images with fresh ideas and/or aesthetic beauty. I’m particularly interested in the use of alternative processes in the age of the digital image or unusual uses of digital photography.
But ultimately, when looking at individual images, I want to be struck by their originality. I want to feel the image emotionally and I want it to be smartly done. I want to find images that make me think, “Here is a creative mind working on something different.”
WE HAVE A NEW ONLINE ENTRY FORM FOR SUBMITTING WORK TO COMPETITIONS
Prepare Your Files
1. Files should be 1200 pixels in the longest dimension and saved in JPEG format on the highest quality setting. Images should also be saved in Adobe RGB color space.
2. Label each file as FirstName_Lastname_ followed by consecutive numbers. For example: Sam_Jones_1.jpg, Sam_Jones_2.jpg, etc. Please don’t forget to include the “jpg” extension.
3. Do NOT use spaces in the file name, and do NOT use special characters such as :;’”/?}{()[ ]+=*&^%$#@! (use only alpha-numeric characters).
4. Please prepare the following information for each image: (1) print title; (2) print process/medium; and (3) price or NFS.
Submit Your Entries and Make Payment via Online Entry Form
Please select the “Enter Now” button above and follow the prompts to make your payment online (or by check) and then upload your files. If you experience difficulties with this online entry form, please notify TPS Executive Director Amy Holmes George atamy@texasphoto.org.
Sales
TPS encourages the sales of exhibited work and will not seek commission from print sales. The opening venue for this exhibition, Museum of the Big Bend, will collect a 30% commission on all works sold in their space. Print your name, address, telephone number(s), and price on the back of each accepted print. If your print is Not-For-Sale, simply note NFS but provide a dollar amount for record-keeping purposes. If you do not indicate a dollar value, the artwork will be listed as NFS.
Liability
TPS will exercise all due care when handling your work, but will not be held responsible for loss, damage, or replacement.
Reproduction
TPS retains the right to display, project, and reproduce work accepted for this exhibition for publicity and promotional purposes only. Individual photographers still retain copyright to his/her own individual images. Also, an exhibition catalog will be created to showcase the selected works.
If Your Work is Accepted
* Prints must be matted AND framed for submission.
1. Send one exhibition print for each photograph that is accepted.
2. Prints must be mounted and overmatted using 16″ x 20″ white mat board with at least 2″ of matte visible on all sides of the print. Maximum print size is 12″ x 16″. Smaller prints, 3″ x 5″ for example, are acceptable if they are mounted and overmatted to the 16″ x 20″ size. To ensure consistency in presentation, please frame your work using simple black metal frames with plexiglass ONLY. Also, please use hanging wire on the backside of your print. TPS reserves the right to exclude works from the exhibition that are not matted and framed according to specifications.
3. Include return postage for prints to be shipped back to you when the exhibition concludes. Prints WITHOUT postage will NOT be returned. Prints will be returned in the container in which they were received.
4. No packing “peanuts,” and please be considerate of our limited storage space when choosing your packaging.
5. Prints must arrive at Museum of the Big Bend in Alpine, TX, no later than May 23, 2016.
If you have questions after reading all the guidelines, please contact us atshows@texasphoto.org.
Call for Entry | Open Call – Streit House Space
Due: March 1, 2016
Open Call | Streit House Space
Streit House Space is an online gallery that aims to merge the presentation of the physical and virtual photographic image. Photographers submit their work via email which is then printed, displayed on a wall, documented and finally posted online. Images are printed only once which makes them a singular and unique object.
Streit House Space is run by Jordanna Kalman who has taken a lot of photographs, run a few galleries, and spends a lot of time taping things to the wall.
Submissions to the gallery:
If you would like to participate in the project please send us an email with a link to your website.
streithousespace@gmail.com
Please put “submission” in the subject line of your email.
If you are selected you will receive an email with instructions for preparing your work for the gallery.
Deadlines for each quarter are March 1st, May 1st, July 1st and September 1st.
Call for Entry | The HAND Magazine
Due: February 29, 2016
Issue #12, April 2016 | The HAND Magazine
TheHandCFE– Please print and post at your school art department, supply shop, or cool hangout! Thanks!
There is NO THEME
The HAND Magazine is printed IN COLOR!! Black and white and monochrome images are also accepted and will be printed accordingly.
Any subject matter is acceptable, but all images must be done in a photographic or printed media only. No more than 5 images per submission, please.
We are also accepting articles that describe a contemporary body of photographic or printmaking work or a recent or current exhibition featuring primarily works in those media. Art criticism is also welcome. You must include 4 images with your article with contact information/ releases from artists whose work you include.
New! If two or more individuals living at the same address all wish to submit but do not want multiple copies of the magazine, they may do so by simply paying the single submission fee and each submitting images UP TO A TOTAL OF 5 IMAGES PER FEE. Please indicate this in the “notes to seller” prompt during the PayPal process and/or make a note of this in the email in which you send the images.
Send all submission materials listed below to: thehandmagazine@icloud.com
Submission specifications:
1) All images must be saved as jpg files, 300 dpi, 10 inches (3000 ppi) on the longest side.
2) Articles and submission forms can be attached as doc, docx, rtf, or pdf files:
Please copy the text from the appropriate form and paste it into a Word Document (doc). Complete the entire form and include it as an attachment with your images:
ImageSubmissionForm (Word Doc)
Video and Film SubmissionForm (Word Doc)
Article With Images Submission Form
Important note: If total message size exceeds 20 MB, please send two separate messages. Thank you. We apologize for this inconvenience.
Your submission WILL NOT be accepted until you complete the submission fee. The cost difference is due to the fact that your submission also includes a copy of the issue you submit to and shipping costs are greater outside of the US.
Please note: Submissions include 1 copy. For articles including work by multiple artists, the copy will go to the person who actually submits the article/ images. Thank you for understanding!
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