Deadline to submit applications – 10 June 2013 00:00 GMT

MAM Rio – Museu de Arte Moderna do Rio de Janeiro © Leila Barreto

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Eligibility

Fellowships are restricted to modern and contemporary art curators and museum directors who work in emerging and developing economies (Emerging Market and Developing Economies according to the International Monetary Fund’s World Economic Outlook Report). They include those professionals whose nationality is not from a Country listed as an emerging economy but live and work in one of these countries. Researchers and independent curators whose field of research and specialization is contemporary art theory and museums will be also eligible.

While curators of all career levels are encouraged to apply, we are especially interested in receiving applications from junior curators who have less than 10 years experience in the field. Applicants who previously received CIMAM fellowships supported by the Getty Foundation will not be considered for a new grant before 3 years.

Purpose of the Fellowships

Fellowships will exclusively relate to support the purpose for which the fund was established. The funds will be administrated by CIMAM set on a case-by-case basis. Funds will not be sent to the beneficiary directly and will not cover registration and expenses related with the post-conference tour.

The travel fellowships cover conference registration*, travel expenses (round trip economy flights only) and accommodation in one of the hotels recommended by CIMAM.

*Conference registration includes access to conference sessions and workshops, lunches and refreshment breaks, access to organized visits, coach service to and from planned visits to the conference meeting points and welcome kit.

Applications will be considered and evaluated by the CIMAM Travel Grant Committee consisting of the President of CIMAM and five Board Members together with the staff of the Getty Foundation. Fellowships will be conferred based on the assessment of the professional’s genuine financial need, and the potential benefit to her or his development and/or research.

To apply and for further information regarding CIMAM’s 2013 Annual Conference program, post-conference tours, registration and membership, please visit our website or contact us.

→ cimam.org

→  Full conference program

→ travelgrants@cimam.org 

CIMAM Travel Grant Program

In 2013 CIMAM offers over 20 travel grants to modern and contemporary art museum and collection professionals residing in countries with Emerging Market and Developing Economies, professionals residing in Latin America, Turkey, Spain and the UK to attend CIMAM 2013 Annual Conference.

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The Getty Foundation, Los Angeles

The Getty Foundation fulfills the philanthropic mission of the Getty Trust by supporting individuals and institutions committed to advancing the greater understanding and preservation of the visual arts in Los Angeles and throughout the world. Through strategic grant initiatives, the Foundation strengthens art history as a global discipline, promotes the interdisciplinary practice of conservation, increases access to museum and archival collections, and develops current and future leaders in the visual arts. It carries out its work in collaboration with the other Getty programs to ensure that they individually and collectively achieve maximum effect.

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Art on its way: Bermuda National Trust maintenance worker Randy Denbrook puts the finishing touches on Bridge House in St George, which is going to be used by the Bermuda National Gallery. Photo by Mark Tatem.

The new gallery — BNG East — was in the planning stages for a number of years before organisers were able to locate a suitable venue. It will open on June 15 and will hold three or four exhibitions a year. Describing the development as part of a “resurgence of the old town”, BNG director Lisa Howie said: “The opportunity to open a satellite in St George’s is one that has been explored for a few years, and now the time and location is right. In line with the BNG’s core value of collaboration, it is most fittingly in a National Trust property. St George’s is so culturally and historically rich that being located there is most appropriate.

“This opportunity to scale up the BNG is very much in line with the core values of the organisation. We believe that art is fundamental to the welfare of our society, and that experiences with art enhance our lives. By extending the art experience to the BNG East site, we intend to reach more of our local and visiting population.” According to Ms Howie, the new space will very much be an extension of the main Hamilton gallery, which presents artwork from the historical through to the contemporary.

“We intend to showcase local artists — present and past — and international artists through meaningful exhibitions and we intend to provide a source of education and enrichment that adds to the culturally rich historic location of St George’s,” she said. Bridge House previously housed offices, and Ms Howie said that BNG was able to fund the expansion “thanks to a friend of the BNG who is most supportive of this pilot venture”.

BNG chairman, Gary Phillips added: “This move fulfills yet another one of our strategic objectives as we aim to make our programming accessible throughout the community. “We are grateful for the encouraging and sustained support we receive from the art community, our sponsors, members and volunteers who inspire us each day to be a strong and meaningful presence throughout the island.”

St George’s Mayor Garth Rothwell welcomed the news, saying the development was “one more step forward” in the regeneration of the town. “I’m delighted that the National Gallery is coming to St George’s and I’m sure it will be a success,” Mayor Rothwell said. “Bridge House is a perfect location for a gallery and it is just one more attraction that our visitors will be able to visit.” The Mayor added that officials were eager to push the World Heritage status town as a major centre for cultural tourism, and that the gallery was “a perfect fit”.

“We now have quite a few organisations holding events in the town — it seems to be increasing all the time,” Mayor Rothwell said. “This just adds to everything else that is going on in the town. We have been working with the St George’s Foundation and the World Heritage management committee to promote cultural tourism as a major plank and the gallery is the perfect fit.”

BNG East will open on June 15, to coincide with an Art Walk through the town on the same day. There will be a Members’ opening in the afternoon, followed by open doors to the public for the Art Walk that evening. The gallery’s opening exhibition will feature the work of local artist James Cooper, whose photographic and mixed media works “challenge the common perceptions of Bermuda’s environment”. Admission will be free.

For original post visit The Royal Gazette.

LOS ANGELES MAPPING PROJECT rus from  31 MAY – 12 JUNE 2013, with an opening reception on  31 MAY from 6 – 10 PM. We Are Void Gallery is located at Ferdinand Bolstraat 1, 1072 La Amsterdam. For more info call T +31204894869 or email info@wearevoid.com

Over the course of the residency, the artist works with Windward students to create a site-specific installation at the Held & Bordy Family Gallery. The artist also share his working processes and ideas with teachers, artists, and community members from the greater Los Angeles area. Guzman’s creation incorporates work from Windward students in different classes and grade levels. Through a variety of assignments, Guzman challenged students to create a mapping of their identities, encouraging them to explore and aesthetically reimagine what it means to be a global citizen by documenting the physical and mental geographies they traverse in their everyday lives. The completed installation deploys a variety of media to represent an analysis of psychogeographic social interaction and spatial mobility.

The workshops and lectures that Guzman give during the residency were thematically developed for the students of the Windward School, the project maps with photography and drawings the critical topographies of Los Angeles from the 70′s to now, by focusing on the cultural politics of space, time, and segregated neighborhoods. Inspired by Guy Debord “unitary urbanism” the research is a study of the population demographics, unified environment and transit of Los Angeles. The research is a data visualization that generates an idea of the way the city is forming itself towards the future, the maps demonstrate areas of transculturalism or homogeneous cultures, incomes and preference.

For more info on Guzman’s work visit his website.

The show is comprised of a diverse collection of objects which have literally been, begged, borrowed, and stolen. All of the objects are painted various shades of pink and some have been reconstructed or rearranged. Painting the objects pink changes the perceived content of an object’s identity. The viewer is offered an opportunity to look at the object in a new way, becoming hyper aware of its texture and shape. “Once an object is painted,” says Johnston, “the perception of its value changes.”

In addition to being painted, the value of each piece is associated with the story behind it or the way in which it was obtained. Bahama Woodstarr, along with iconic Bahamian Artist Kendall Hannah, will also debut a short performance during the show on the evening of 31st of May, titled, like the show: Beg Borrow, Steal.

Featured artists include Kishan Munroe, Allan Wallace, Brent Malone, John Beadle, Antonius Roberts, John Cox, DeDe Brown, June Collie, Toby Lunn, Sue Katz and Heino Schmid from The Bahamas, in addition to numerous international works.

Art history books are replete with images depicting the male and female nudes, principal subjects for artists dating to prehistoric times. In eras since, paintings and statues have celebrated the complexity and wonder of the nude body in myriad poses. From the classical athleticism of ancient Greek sportsmen captured in bronze around 450 BC, to the voluptuous portrayal of Venus by Botticelli during the Italian Renaissance, the nude has inspired artists worldwide to create compelling works of art that form a distinct and memorable part of our art consciousness. To appreciate the level of comfort and familiarity the public has for disrobed figures, consider the astounding recognisability of Michelangelo’s iconic David statue, which has been admired by art lovers for centuries.

Eric Ellis, “Blue Woman”

Art scholar Jean Sorabella summarizes, “Figures with no clothes are peculiarly common in the art of the Western world. This situation might seem perfectly natural when one considers how frequent the state of undress is in everyday human life, from birth to the bath to the boudoir.”

However, despite the ubiquity of the nude in art history, the subject is not without controversy. The call for censorship of art exhibitions featuring nudes still occurs frequently, even in parts of the world considered to be culturally progressive. Cultural historian John Semonche decries America’s “long history of discomfort with nudity and sex and its portrayal on both canvas and in three dimensional forms.” Further, nude depictions of women may be criticized as inherently voyeuristic, as pointed out by the feminist artist group Guerrilla Girls, who note the prevalence of nude women on the walls of museums but the scarcity of female artists.

Saskia D’Aguilar, “Disrobed”

In The Bahamas, we believe there is an appreciation for nudes that highlight the unique beauty of the human form, completely at ease in a state of undress, as depicted in the “Disrobed” exhibition.

We invite the general public to view this exhibition. Exhibition ends June 11, 2013.

David Morrison describes himself as an amateur film-maker and, coupled with that, shows a distinct taste for film fare that does not come with an intermission plug for nachos and cheese. “I have a love for independent films rather than commercial films,” Morrison said, clarifying that he was referring to material “not as commercial as mainstream films”. Combined, Morrison’s tastes and passion have resulted in Short Film Night at the annual Kingston on the Edge (KOTE) Arts Festival, slated for June 21-29 this year. He is encouraging persons to submit films for which high-end equipment and professional personnel are not requirements. A simple video camera, a cell phone and a few friends will do. Submissions should be made to davidmorrison424@gmail.com.

The organisers of KOTE, Beatriz Pozueta (second left), Omar Francis (third left), Enola Williams (third right), Joaquin Portocarero (second right), and Carolyn Lazarus at Redbones Blues Café in 2008. At left is Evon Williams. – Contributed

There is another reason for his belief in the short-film format: that it is achievable. ”The beauty of the short is that anybody who has the will can do it. You come across film-makers who have a dream of making a feature film and, years later, still have the dream. Why not do a short? A lot of film-makers I know are still waiting on the feature,” Morrison said. He points out that the documentary is especially suited to the short-film format. “I made a documentary last year about something a local human-rights activist is doing. It was, for me, important to get this type of word out there. It is an alternative point of view you don’t hear about. My latest version is eight or nine minutes and I think I have told a story about one man’s point of view on the world that needs to be told,” he said.

“It is important to hear stories about people you don’t normally come across.” There is always the matter of cost, and Morrison again turns to his experience. “I did a short film a couple years ago and, basically, I finished it in two days. I got some friends to help me and it ended up costing me $20,000. I have a short film that is ready, seven minutes or so,” Morrison said. A feature, on the other hand, would be “a huge multiplier of $20,000. It becomes beyond the average person’s budget”.

Of course, there is the matter of personnel and equipment. “If you are getting the professional people to help you it might cost you a couple thousand dollars. But you can get your friends. It may not be the professional high quality that everyone wants, but you have a film,” Morrison said.

David Morrison, who organised the Kingston on the Edge film night, also presented a short at Monday night’s screenings, held at Redbones Blues Café, 1 Argyle Road, New Kingston. – Photo by Mel Cooke

Submissions

Fifteen minutes is his upper limit – though not hard and fast – for the short film submissions to KOTE. “If someone gave me 17 minutes, I would not turn it down. Fifteen minutes is a target. You are going to get people making something that is five minutes,” he said, describing the 15-minute duration as “a nice target”. Having sent out the call for short films online, Morrison said he has not “got a massive response”. He is not perturbed. “I have got used to that,” he said. “For some reason, people often show up at the last minute. Some people have given me some positive intentions. I hold on to that and hope it spreads.”

“Sometimes, too, it requires my persuasion – to get in touch with people directly,” Morrison said. His personal touch is also required in selecting the material for KOTE Short Film night. Fortunately, Morrison said, “I have never really rejected anything. Nobody has pushed the envelope so far for me to say I cannot screen that. There have been one or two bits of violence I did not enjoy seeing and I did not censor it. I want it to be as open as possible.”

Still, he said, “If it becomes extreme, I will have to make that decision.” With enough time left for persons wishing to be included in the programme to make a short film, Morrison advises interested filmmakers to “get an idea you know you can express in a simple, clear-cut way in 15 minutes or less. I think that is entirely possible”.

For original post visit the Jamaica Gleaner.

Natural Histories exhibition now on view at the National Gallery of Jamaica

The Nexus Performing Arts Company was formed in 2001 by Hugh Douse, Artistic Director, a voice tutor at the Edna Manley College School of Music, singer, actor, conductor, songwriter, and a former Director of Culture in Education. The award-winning group has a broad musical repertoire that draws on Gospel, Negro Spirituals, Semi-classical, Popular music including Reggae and Showtunes, African and Classical music of the European and African traditions.

The Natural Histories exhibition looks at the ways Jamaican artists (contemporary and historical) have treated nature as concept and subject. This exhibition will be of particular interest to environmentalists, geographers and historians as well as art enthusiasts. It is the first in a new series, Explorations, in which various thematic issues relevant to Jamaican art and culture is being explored.

Natural Histories exhibition now on view at the National Gallery of Jamaica.

Visitors will also be able to see the current temporary exhibition, Natural Histories which looks at the ways Jamaican artists (contemporary and historical) have treated nature as concept and subject. This exhibition will be of particular interest to environmentalists, geographers and historians as well as art enthusiasts. The permanent exhibitions will also be open for viewing.

As is now customary, there is free admission, free tours and children’s activities on the Sunday of each month. Families, church and community groups are specially encouraged to visit. We look forward to hosting you and sharing Jamaica’s greatest artististic endeavours. For more information on our programmes and exhibitions, please visit our blog at nationalgalleryofjamaica.wordpress.com.

Ana Mendieta- Silueta de Cohetes, 1976

In the 1980s, Mendieta began to shift away from performative, documented work as exemplified in two of her last films, Ochún and Birth from 1981. These films depictsiluetas, potent traces of the artist’s body in the landscape, transformed by the ocean tide or ignited gunpowder. In 1982, she began creating numerous drawings directly onto fresh leaves she found in the landscape, using a variety of tools such as nails, needles, and pencils. Like her outdoor site-specific works, she embraced the natural effects of time on objects, such as the shifting color and texture of the leaves as they dried. Mendieta sought to fuse earth and form in her drawings, photographs, and sculptures. She created several sculptures that year including Fernwoman (1982), a unique sculpture standing close to five feet tall. Carved in an anthropomorphic shape from an Osmunda fern root, this work recalls primitive art. Mendieta often repeated imagery in different media, such as the “labyrinth” figure seen in La Concha de Venus (1981-82), a drawing on amate (bark) paper, and in outdoor sculptures molded in mud which she then photographed. Works like these not only show Mendieta’s continued interest in imagery of the female body, but also show her attempt to make her work more accessible to art audiences and collectors in the 1980s.

Ana Mendieta Late Works Installation View at Galerie Lelong

Ana Mendieta Late Works Installation View at Galerie Lelong

Mendieta’s late sculptures translate her familiar silueta-like forms into more tangible objects that became less specific to her own body and not tied to an exact location. This development can be seen in the floor sculptures Figure with Nganga (1984) and Untitled(1983-84), which show an affinity to works she made in the landscapes of places like Cuba, Iowa, and Mexico. A breakthrough in her practice at this time was combining imported sand and soil – from different locations significant to her including Cuba, the Nile in Egypt, and the Red Sea – with different binding materials to create indoor floor sculptures that carried the energy of these places. She also began making free-standing sculptures from hollowed tree trunks and wooden slabs that could rest against gallery walls. Ranging from five to seven feet tall, the wood pieces required physical rigor to transport from the forest to the studio, where she carved and burned organic patterns onto the surface. Mendieta’s archives from this period reveal that she had a strong interest in creating permanent works like these sculptures on a larger scale for public art projects. Unfortunately, some of these projects, such as her plan for an installation in Los Angeles’ MacArthur Park, were never realized due to her untimely death.

Ana Mendieta. Isla, 1981/1994. Black and white photograph
40 x 30 inches (101.6 x 76.2 cm). Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York

Ana Mendieta Late Works Installation View at Galerie Lelong

Ana Mendieta: Late Works 1981-1985 is the ninth solo exhibition of Mendieta’s work at Galerie Lelong, which has represented her Estate since 1991. Mendieta has had over 30 solo exhibitions worldwide, at museums including the Centro Galego de Arte Contemporanea, Santiago de Compostela; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Kunstmuseum Luzern; Whitney Museum of American Art, New York; and Museo Tamayo, Mexico City. This January, the Castello di Rivoli began the second wave of large-scale retrospectives with the exhibition Ana Mendieta: She Got Love, which closes on June 16, 2013. The Hayward Gallery in London will open a retrospective curated by Stephanie Rosenthal on September 24 this year. In 2015, the Katherine E. Nash Gallery of the University of Minnesota will present an exhibition devoted to Mendieta’s films curated by Howard Oransky.

The Director will play a critical role in fundraising, and will work closely with the Board of Trustees and staff to sustain and build upon the financial health of the organization. As El Museo’s chief advocate, the Director will embrace a leadership role in the arts and cultural community of New York City, including membership in the City’s Cultural Institutions Group. In addition, s/he will promote the Museum’s interests locally, nationally, and internationally, and will further an appreciation and understanding of Latino culture and its rich contribution to North America. As such, s/he will maintain and build upon the museum’s high standards of curatorial and programmatic excellence, ensuring that future exhibitions and programs complement El Museo’s mission, further a dialogue with visitors, and reflect the Museum’s commitment to education and community.

The Director of Marketing and Communications is responsible for activities related to communicating the museum’s programs and mission, and to enhance its reputation as a vital cultural resource to the public and to build its audiences. The Director of Marketing and Communications will work with the Marketing team to promote the museum’s public image and programs using different media outlets. The Director will also be responsible for developing and supervising marketing strategies to maintain and develop new audiences for the museum’s exhibitions, public programs and special events.

See link to download applications: http://www.elmuseo.org/en/content/about-us/jobs

It is simultaneously published by Xlibris (USA) and Mahanaim Publishers (St. Lucia). It represents a selection of the poet’s poems of faith written over 35 years and includes work from earlier collections with new work. The Xlibris edition, available from all major online booksellers, is a full-color publication, designed as a coffee-table book. The majority of the photographs that illustrate the texts are the work of Lee, who describes himself as “an amateur photographer.” The book is available in hardcover, softcover and Ebook formats.

Poet John Robert Lee. Photo from back over of more recent collection.

The Mahanaim edition, produced completely in St. Lucia, and designed by local artist and graphic designer Raphael ‘Rinvelle’ Philip, varies only slightly from the Xlibris edition, with the addition of one poem and some other photographs. It is printed by The Document Centre, Castries, and designed by St. Lucian painter and graphic artist, Raphael ‘Rinvelle’ Philip.

The Cover photo features St. Lucia’s highest mountain, Morne Gimie (3,145 ft) and was taken by Lee from Plateau, Babonneau. With the publication of Derek Walcott’s 25 Poems in 1948, St. Lucian writers have always published their work at home, even after international publishers released their books. Writers following have continued this tradition, thus contributing to the growth of a publishing tradition among local writers. The majority of Lee’s works have been produced and printed in St. Lucia, though now, like some of his contemporaries, his work is among those issued by international publishers.

In 2008, his elemental: selected poems was published by Peepal Tree Press in the UK. Other publications include Canticles (2007), Artefacts (2000), Saint Lucian (1988) and Vocation (1975). In 2003, he edited an anthology of St. Lucian poetry and art entitled Roseau valley and other poems for Brother George Odlum. In 2006, he co-edited with poet and playwright Kendel Hippolyte Saint Lucian Literature and Theatre: an Anthology of reviews, published by the Cultural Development Foundation.

He has recently completed a Bibliography of St. Lucian Creative Writing 1948-2012, to be released by the Cultural Development Foundation later this year. He writes an occasional blog at www.mahanaimnotes.blogspot.com. He created MAHANAIM Publishing. Increasingly, local writers are turning to print-on-demand companies like Xlibris for publication of their work, with the access these give to online booksellers and Ebook versions.

Sighting and Other Poems of Faith. Cover of Lee’s new collection.

John Robert Lee has been described as “the foremost Caribbean Christian writer of his generation” with a “truly incarnational view of faith, anchored in the reality of human experience and expressed in richly textured images of Caribbean landscapes, dress, street life, music, dance and his native Creole language.” The selected poems in Sighting and other poems of faith mark the pilgrim’s progress of this writer over three decades. In the poems he sees his life and experiences through the lens of the Christian faith, yet, in the words of Nobel laureate Derek Walcott, his Saint Lucian contemporary, “you don’t get in the poetry anything that is, in a sense, preachy or self-advertising in terms of its morality. He is a fine poet.”

His poetry is rooted in the flesh and blood reality of his times and experience, even as he looks beyond to the transcendent promises of his faith. St. Lucia, Boston, the Copiapo mine rescue, the Haitian earthquake of 2010 are the scenes to which he turns his perceptive gaze. The poems are accessible to anyone who loves a craftsman that transforms language into startling and provocative images. The MAHANAIM edition of Sighting and other poems of faith will soon be available at local bookstores. Part of the proceeds from sales of the book will go to the Jubilee Trust Fund.

For original post visit St. Lucia News Online.