Exhibition Calls: Review

MAEP:
http://maep.mnartists.org/

Information: deadline, guidelines, aspects of proposal, tips for the application, and contact information. 
Pros: clear and concise information, information about organization, tips for successful applications. 
Cons: deadline time, design elements



Box13: 
http://box13artspace.com/proposals/

Information: deadline, submission criteria, gallery dimensions, and contact information. 
Pros: the inclusion of links to gallery dimensions, unique statement about gallery space 
Cons: the contact information was in the form of a link instead of an upfront listing



Akimbo: 
http://www.akimbo.ca/18558

Information: deadline, aspects of exhibition call, proposal elements, submission email, and contact information. 
Pros: specificity of information, clear and helpful information for artists 
Cons: design of call isn't very reader friendly

MYTHE FATALE: FALL 2017 EXHIBITION CALL 

  

DEADLINE: JUNE 6TH, 2017 

    

The Northcutt Steele Gallery is now accepting proposals from artists that are able to speak to the deconstruction and critique of gender. We are interested in artists that can conceptualize the constructs, stigmas, and myths of gender.  Work should exhibit: 

  

• An intentional and attentive use of materials   
• Clear and cohesive content   
• An ability to communicate an authentic experience       

All submissions should include:

• Digital portfolio including 10-12 images (JPG format) 
• Exhibition proposal (500 word limit)
• General artist statement (500 word limit)
• Artistic resume (PDF format) 

These submissions will be reviewed by a committee and should be submitted digitally to leanne.gilbertson@msubillings.edu.

Contact Us:

Exhibition Director Dr. Leanne Gilbertson

Phone: (406)-657-2903

Email: Leanne.Gilbertson@msubillings.edu

Address: Liberal Arts Building, 1st Floor

1500 University Drive Billings, MT 59101

 

Exhibition Label (Revision)

 

     Brenna Lacy 

     Collective Unconscious

     2014

     Digital Print

     11" x 14"

Collective Unconscious is a digitally manipulated work intended to rally mental conflict. It emphasizes the physical human form while permitting no physical identity. The identity lies in the contexts of the image. 

This piece is intended to reinforce the idea that the past does live within a collective unconscious. In other words, the past may not physically exist, but it certainly shines in human memory. Iniquity does not care about the identity or epoch of any given being. It only needs a willing host and an indifferent audience.

Exhibition Label

Brenna Lacy

Collective Unconscious

2014

Digital Print

11" x 14"

 

Collective Unconscious is a digitally manipulated work intended to evoke cognitive dissonance in the viewer. It emphasizes the physical human form while giving the viewer no physical identity. The identity lies in the contexts of the image. 

This piece is intended to reinforce the idea that the past does live within a collective unconscious. Iniquity does not care about the identity or epoch of any given being. It only needs a willing host and an indifferent audience.

Bill Viola

Bill Viola, Acceptance 2008
How does the artwork interact with the physical space it occupies?

This particular installation piece interacts interestingly with the physical space because, in a sense, it becomes the physical space. Acceptance, like much of Viola's work, takes up a majority of the room. The room is empty and it is dark, and the only visual information the viewer gets is the fifteen-plus foot projection of tenebrism-filled video. The imagery evokes tension due to its sheer visceral nature. Basically, the artwork interacts with the physical space around it by consuming it.

Watch: Acceptance

Faculty Exhibition 2017

Functional Considerations

I don't really see any major issues with the space. I don't think that bottle necking is going to be a problem either, given that that outer area is so open and fairly large. Moreover, the exhibition materials are durable and placed so that the space is easily accessible.

However, I do think there is a slight possibility that people that have mobility issues might encounter difficulty navigating the center of the gallery due to the objects on the floor. Aside from this though, the heights of the works and labeling are comfortable. Additionally, everything is well labeled and easy to read.

Formal Considerations

Though the space has little to specific visual style, it invites the viewer to move completely through it. The typographic aesthetics are subtle and are a secondary component when viewing the space. This is effective because it helps to not distract from the artwork. It is also effective because the labels are place at a comfortable height and easy to read.

Conceptual Considerations

The immediate message I get (without reading the labels) is that the show is intended to display the diversity of instructing modes of creating art. This is highlighted by the varied artistic mediums displayed throughout the space. This is also reinforced because the sequence of the space is fluid.  The fluidity of the space is effective, too, because it encourages the viewer to explore the diverse mediums being featured.

Visitor Observations

I honestly wouldn't change anything in the gallery space in regards to works, labeling, etc. However, I would consider an alternative placement or solution to the objects on the floor. 

The way that the space is set up makes it so that the visitors can both experience the art themselves and with each other. I also think that visitors over the age of 25 would enjoy the conceptual elements and the fluidity of the space. Contrarily, I think that visitors under the age of 25 will enjoy the playful aspects of the space and work. Additionally, I think that both will be less concerned with the typography and archival elements.