AMIGO

ALL SET FOR A BIGGER AND BETTER MANILART 10

After the astounding success of last year’s MANILART 09, the Bonafide Art Galleries Organization (BAGO), teams up once more with the National Commission on Culture and Arts (NCCA) and the Department of Tourism (DOT) to showcase the finest in Philippine visual arts via the bigger and better MANILART 10, the 2nd Philippine International Art Fair.

Slated for a four-day public run at the SMX Convention Center Hall 4 at the Mall of Asia Complex, Pasay City from July 29 until August 1, 2010 from 11am to 8pm. MANILART 10 promises to dazzle art lovers and enthusiasts with the best and broadest examples of Philippine contemporary art. Over 1,000 paintings and sculptures by 400 of the country’s brightest talents will be on display and over 60 of the finest art galleries participating, thus making the fair the biggest ever in Philippine history.

“In the first year of MANILART, it took us three long months to fill up the 40 exhibition booths planned,” says BAGO president Jonathan Sy. “This year 70 of the booths snapped up within two days by some of the most prestigious galleries nationwide. We post a 40% increase in the participation with half of that number getting double-sized booths.”

The BAGO also expresses its gratitude to the management of the SMX Convention Center as the space more than doubled and more importantly for agreeing to lease Hall 4 at a subsidized rate owing to their support to Filipino art and artists.

Exciting activities such as painting demonstrations, on-the-spot competitions, “how-to” lectures and many more are lined-up. That is why the BAGO is very pleased that the NCCA Committee on Art Galleries headed by Lyn Yusi initiated the approval of a larger grant for MANILART 10. (30)

CUEVAS │MONTERA │ VILLACIN

COREL DIGITAL ART COMPETITION 2010

Corel Digital Art Competition 2010
Duration
Start: 2010-08-31 12:28
Timezone: Etc/GMT+1
Submission Deadline: August 31st, 2010


Description

With more than 3000 entries from over 11 countries in the 2009 Competition, the Corel Asia Pacific Digital Art Competition is one of the largest in Asia. With over 150 prizes totaling over $40,000 USD it is also one of the richest.

Creating art is a powerful form of expression. Corel’s graphics and digital media software provide a rich set of tools to express your creativity. Whether you are a seasoned designer or an aspiring artist, we hope you will take advantage of this opportunity to share your ideas and vision.

There are two entry Categories: Open and Student. Entries must be produced with Corel software and may be static works of art or videos that promote a concept.

The competition runs from April 22, 2010 to August 31, 2010 and is open to entrants from the Asia Pacific region. Winners will be announced October 15, 2010.

Winning entries will be featured on the Corel Website!


Ideas for different Types of Entries

Graphics and Print Design
• Advertising, Marketing Materials, Packaging
• Promotional Items, Awards, Personalization
• Vehicle Wraps, Product Designs, Textile & Fashion Designs
• General Illustrations, Manga, Fine Art, Concept Art

Video
• Advertisements, Public Service Announcements, Documentaries
• Personal Movies, Travelogues, Dramas , Funny Videos
• Stop-motion Video, Animated Light Painting

Key Dates
• The submission period for the competition is from April 22 to August 31, 2010.
• Public voting closes September 5, 2010.
• Winners will be announced October 15, 2010!

See a list of prizes here. Winning entries will be featured on the Corel Website.

Eligibility
The competition is open to residents of the Asia Pacific region including Australia, China, Hong Kong, India, Indonesia, Japan, Korea, Malaysia, New Zealand, Philippines, Singapore, Taiwan, Thailand and Vietnam. See the complete Terms and Conditions.

Entry Categories
There are two entry categories: Open and Student. Entries in either category may be still images or video.
Student entries are limited to students currently enrolled in an accredited academic institution.
If you are a student, you may make entries into the Open category but you may not also make submissions in the Student category.
Non-students must submit in the Open category.

Entry Formats
Entries must be produced using Corel software as the principal design and production tools. Eligible Software includes CorelDRAW® , Painter™ , Painter™ Essentials , PhotoImpact® , PaintShop Photo™ and VideoStudio®. Download FREE trial version software here.
As part of your entry, you will need to provide a range of files:
• For all entries, a 220(w) x 170(h) JPG Thumbnail image
• For all entries, the Corel software project file for your entry (.vsp, .cdr, .ufo, .pspimage, .rif, .riff, etc.) Max. 6MB file size
• For graphics, a 1024X768, 96 dpi, JPG Gallery image
• For videos, the YouTube or Vimeo embed code
Double-byte filenames for entries are not permitted.

Theme
The theme of the competition is “freedom to create you way.” Entries should promote a concept, whether it is a product, service or just an idea.

Judging
• Opinions from the competition judges count for 80% of your score. Work will be judged based on these criteria. The decisions of the judges are final.
• 20% of your score comes from on-line voting so be sure to encourage your friends to vote for you!
• Opinions from the competition judges count for 80% of your score. 20% of your score comes from on-line voting so be sure to encourage your friends to vote for you!
• Your work will be judged based on the following criteria. Each is equally weighted.
• Each entry must meet the requirements as specified in Official Rules. Any nonconforming entries will be disqualified.

Creativity
How the work breaks new ground in communicating its message. How your design makes us laugh, cry or understand better.
Quality
The effective use of the chosen media combined with the skill involved in production of the work.
Originality
The degree to which the work is fresh and something we’ve never seen before!
Composition and Layout
The visual balance, static or dynamic, of the various elements of your work. For video, how effectively you tell your story.
Visual Impact
The effect of the project as a whole, often based on the first glimpse of the finished piece. Without regard to the other criterion, does it stand on its own as a good and complete work of art?

Submissions
Entries must be made to either the Open or Student categories. You may make multiple entries, but you are eligible for only one prize per category.
Student entries are limited to students currently enrolled in an accredited academic institution. If you are a student, you may make entries into the Open category but you may not also make submissions in the Student category. Non-students must submit entries into the Open category.

To complete your submission, you will need to provide the following files:
For all entries, a 220 pixel (w) x 170 pixel (h) JPG Thumbnail image
For all entries, the Corel software project file for your entry (.vsp, .cdr, .ufo, .pspimage, .rif, .riff, etc.) Max. 6MB file size.
For graphics, a 1024 x 768, 96 dpi, JPG Gallery image
For videos, the YouTube or Vimeo embed code
Double-byte filenames for entries are not permitted.

>> Submit in the open category
>> Submit in the Student category

Contact
Email : Apac.contest@corel.com


http://apps.corel.com/ap/2010_apac_contest/index.htm

VISUAL ARTIST’S CHALLENGE II – BALANCING SELF PROMOTION AND GALLERY REPRESENTATION

READ ARTICLE

VISUAL ARTIST’S CHALLENGE: SHOULD I WORK WITH GALLERIES, GO DIRECT TO COLLECTORS OR BOTH?

READ ARTICLE

PESTLES + KIDLAT

Pestles + Kidlat
Gaston Damag and Götz Arndt

Launch on 29 June 2010, (Tuesday) 4pm
Vargas Museum Grounds

Artists Talk on 9 July 2010 (Friday) 9am
College of Fine Arts
University of the Philippines-Diliman

Pestles and Kidlat is a tandem exhibit of Paris-based artist Gaston Damag and German artist Götz Arndt of installations at the Vargas Museum grounds. Drawing from his roots as an Ifugao born to a family of craftsmen, Damag will unveil Pestles, an installation of grinders made from local hardwood in Banaue. The work alludes to the material’s ephemeral quality, and the artist’s affinity with its origin.

Arndt’s installation is a pillar made from reinforced concrete with steel rods jutting out from the top. Kidlat is a testament to the modern spirit in architecture and resonates with the Vargas Museum’s structure. The sense of unfinished growth comments on the sprawling urbanism in city landscapes.

Pestles and Kidlat summons the viewers to re-examine the materials and processes involved in installation art. Set in the university as ‘public’ sculptures, it brings to the fore issues of audience, space, and context.

Gaston Damag (b.1964) is a Filipino artist who has been working in France for the past twenty years. Damag is distinguished for ethnographic sculptures that incorporate industrial materials. His sculptures respond to cultural and physical dichotomies.

Götz Arndt (b.1962) is currently a professor teaching sculpture in stone and wood at the École Nationale Superieure des beaux-Arts in Paris. His artistic research focuses on sculptural interventions taken in context, especially in public spaces, evoking history, the implantation and the attribution of sites. Arndt utilizes methods that bring to light gaps or intervals in our relation to architecture, to sharpen the perception of space.

Pestles and Kidlat will be on view at the Vargas Museum grounds beginning 29 June 2010.

On 9 July 2010, 9am, an Artists Talk will be held at the College of Fine Arts, UP Diliman. The talk will focus on Traditional and Industrial Materials in Current Sculpture Practice and Urban Settings. Speakers include Gaston Damag, Götz Arndt, Jeremy Guiab, and Reggie Yuson. It will be moderated by Sandra Palomar.

The project is made possible with the support of The Embassy of France in the Philippines, Luxembourg Ministry of Culture, UP Office of the President, Chancellor’s Office, Office for Initiatives in Cuture and the Arts, UP College of Fine Arts, and Silverlens Gallery.

For more information, please contact the Vargas Museum at numbers (+632) 928-19-27, (+632) 981-85-00 loc. 4024, (+632) 928-19-25 (telefax), or send an e-mail to vargasmuseum@gmail.com or vargasmuseum@yahoo.com. The museum’s website may be viewed at www.vargasmuseum.org.

NORTH EAST WATERCOLOR SOCIETY 34TH INTERNATIONAL OPEN EXHIBITION

INTERNATIONAL CALL FOR ENTRIES
Kent, Connecticut
Deadline: July 27, 2010
Exhibit Dates: October 24 - November 7, 2010
Title: 34th International Open Exhibition
Sponsor: North East Watercolor Society
Venue: Gallery at the Kent Art Association
Awards: Approx. $8000 Cash & Merchandise
Juror: Robert J. O'Brien, AWS, NWS Awards juror
Eligibility: Watercolors executed in last 3 years, not previously shown in NEWS International. 42" Max framed size, no collage, pastel.
Fees: 1 entry, $25; 2 entries, $40
Commission: 30%
Send SASE to: R. Price, NEWS, 866 Cadosia Rd, Hancock, NY 13783
E-mail: Richard L. Price
Phone: 607-637-3412
Website: http://www.northeastws.com/
Prospectus: http://www.northeastws.com/events.htm

THE 2010 GLASS ART FESTIVAL

INTERNATIONAL CALL FOR ENTRIES
Sequim, Washington
Deadline: July 9, 2010

Exhibit Dates: September 1-25, 2010
Title: Transcendence - the Magic of Glass an exhibition of contemporary glass art
Sponsor: Museum & Arts Center in the Sequim-Dungeness Valley
Venue: MAC Exhibit Center, 175 W Cedar St, Sequim, WA
Awards: Varied cash and merchandise awards totalling over $1500
Juror: Committee of artists
Eligibility: Open to all glass artists working in any area of contemporary glass art, including, but not limited to, blown, cast, fused, kiln-formed, pate de verre, torchworked, stained and sand-carved glass.
Fees: $20 first entry, $5 each additional up to a total of 5 entries
Commission: 25%
Send SASE to: MAC Glass Art Festival, 175 W Cedar St, Sequim, WA 98382
E-mail: Connie Alexander
Phone: 360-461-1107
Website: http://www.glassartfestival.org/
Prospectus: http://www.glassartfestival.org/wp-content/uploads/2010/02/Glass-show-prospectus_05022010.pdf

The Magic of Glass

As an artistic medium, glass creates magic! From inspiration to creation process to finished piece, glass evokes emotions. Nearly everyone feels drawn to glass and is fascinated by its illusiveness.

Glass Artists are adventurers; revampers of centuries-old techniques, creators of new ones; tamers of the wild chameleon that is glass; sorcerors who transform and liberate the magic of glass!

This event will provide the public with a variety of opportunities to view a diverse selection of glass art and to experience and discover all that goes into its creation.

The 2010 Glass Art Festival is a community-wide event sponsored by the MAC, the Museum & Arts Center in the Sequim-Dungeness Valley, the local hub of heritage, history, culture, and art. For more about the MAC, visit macsequim.org.

Except for the workshops in artists’ studios, the events of the Glass Art Festival are free to the public.
September is a beautiful month in Sequim, on the North Olympic Peninsula of Washington State, and this year it will be shimmering with an array of glass art throughout the town and beyond. Come experience the Magic of Glass!

Questions: email info@GlassArtFestival.org

COLLECTIVE FUSION

PARALLEL FRAMES

Artists Roberto Acosta and Konn Salao presents their new works in “Parallel Frames” at Britania Art Projects, 12 NY Ave Cor. Sgt. Catolos, Brgy. Immaculate Concepcion, Cubao, Quezon City. This exhibition is on view from June 26 untill July 15, 2010.

Parallel Frames deals with the contrasting and unifying ideals and personal stand of Acosta and Salao on motherhood to nature and the universal harmony of it. Even in their final creative output are totally different from each other , the two artists managed to intertwine each other’s statements on the nurturing care intrinsic to women and men as well and that the good earth has produced so much love for mankind while the cosmos have deliver infinite possibilities of our hopes and aspirations to go beyond the usual limits of humanity.

Roberto Acosta is a respected professor in the University of the Philippines – Baguio and an International Terra Cotta Sculptor. He is currently in Baltimore USA for an education grant.

Konn Salao, an artist resident of SUBAC Subic Bay Art Center and a community and cultural worker in Olongapo, Zambales. She has exhibited in Germany, Italy and the United Kingdom.

For more information on Parallel Frames please contact us at (02)502-0868, mobile number (63)917-5612007, or email britaniaartproject@gmail.com.

INTERNATIONAL CHILDREN’S PAINTING COMPETITION ON THE ENVIRONMENT

International Children's Painting Competition on the Environment

Children’s pictures challenge climate change

The painting competition invites children from around the world between the ages of 6 and 14 to illustrate their own personal view of the environment – their wishes, hopes and fears. It was organizied by UNEP, Bayer, the Japanese Foundation for Global Peace and Environment and Nikon. The theme of the competition is always identical to the annual motto of the World Environment Day.

Since 1991, over 2.5 million boys and girls from more than 100 countries have submitted pictures. The paintings show just how aware children are of the dangers that climate change presents for the Earth and humanity. Due to its paramount importance, climate change was the focus of attention of the painting competition in 2007, 2008 and 2009.

The global and regional winners from the six world regions Europ, Africa, North America, Latin America & the Caribbean, West Asia and Asia Pacific are chosen by an independent jury and are invited to the official celebrations of the World Environment Day and presented with the awards at a formal ceremony. Afterwards, an exhibition of the best paintings are organized in several countries.

On the occassion of the International Year of Biodiversity the theme for the 2010 competition is "Biodiversity". The awarding ceremony of the winners 2010 takes place on the occassion of the international TUNZA Children's Conference in Nagoya, Japan in October 2010. More information are available at UNEP.

http://www.unep.bayer.com/en/international-children_s-painting-competition.aspx

INTERIEUR DESIGN BIENNALE

Interieur Design Biennale

design competition 2010

The largest amount for prize money ever, twenty-three international media partners, as well as jury members who offer strong support for the theme - The New World - of the 22nd Design Biennale INTERIEUR 2010: these are the ingredients for a fascinating selection of brand new ideas.

In the run-up to the Design Biennale INTERIEUR 2010, the Interieur Foundation organises the 21st biennial competition for design ideas and prototypes. The focus of the INTERIEUR 2010 Design Competition - formerly known as the 'Design for Europe' competition - is about designing this year. The jury will look for fresh and new creative ideas but also for functionality, technology and manufacturing potential.

'THE NEW WORLD' is a broad theme which allows professionals, designers and innovating minds to answer our call and to surprise the jury with materials, products and services which show the new reality of design.

The prototype competition is open to professional designers, young designers, design studios, design students and creative individuals who can take part alone, as members of a team, or in the context of a school. The deadline for entries is July 15th, 2010.

Total prize money- 40,000 Euro

IDC Entry Form
http://www.interieur.be/en/design-competition/ r.be/en/design- competition/

COMMUNING WITH NATURE

HUDYAT

Artes Orientes is featuring Adrian Jay Manuel with his 5th One-man exhibit titled HUDYAT. Manuel, a Fine Arts graduate of PWU, returns to his favorite genre, social realism as he lampoons socials ills that continue to saturate our local social landscape.

The exhibit will open on June 25, 2010 Wednesday at Artes Orientes, 2ndlLevel, The Retail Shops at Serendra, Bonifacio Global City Taguig. Our contact numbers are 8569047 or 09175230877. Exhibit will run until July 04, 2010.

INTO THE WILD

Artist’s Statement:
We are walking into a new wilderness. A jungle created by the age of profit. We are confronted with a barrage of information full of deceit and underlying meanings. The works are products of survival in this wild era. They are attempts to provoke in a playful way insight as to how we adapt to the new jungle we live in, based on day-to-day episodes of drowning in the flood of minutiae created by this age of capitalism.

We present images with altered meaning, made popular in the arts by Rene Magritte’s thought-provoking image La trahison des images. But under prevailing conditions, the paradox of images is becoming part of the norm of everyday spectacles sans the corresponding meaning. Or ironically it now contributes to the vocabulary of meanings, images and expressions. Or a much-simplified character provided to a word or words. Or a simplified image added to Orwellian newspeak. Or an ornately-formed visualization of the alphabet. Or challenges to viewers’ perceptions. There is no real formula in constructing every single idea to realize every work to a conglomerated surface of lines and colours, but there goes a flux that comes unconditionally from the conscious and unconscious knowledge acquired from day-to-day living.

To sum up, the function of the artist in this spectacle of visual amusement is to create an assembly of patterns - an allegory of control and stereotypes that turn into the dynamics of life inflicting pleasure, combined with texts to provide more itch and subtle undertones to the viewer. Tease that happens to be part of our daily doze of urban survival.

About the artist:
“Cruz is a facile generator of anxiety and debate and is skilled in the production of excitingly intellectual images and forms within the unorthodox as seen in his art practice teeming with imitable social and political commentary.” Philip Paraan

Mideo M Cruz’s art production has been built upon overtly and subversively expanding and evolving communicative language and contexts, aiming to stimulate interaction and critical consumption of art. Taking his multi-sensory advocacy from the streets to the internet and galleries, Mideo has crafted political yet humorous work, and social discourse realized both collectively and individually. As an artist-organizer, he has consistently addressed issues of haphazard globalization vis a vis identity and skewed access to productive assets. -Eileen Legaspi-Ramirez for 2003 thirteen artist awards citation

Mideo M. Cruz is an active cross-disciplinary artist-organizer based in Manila and Southeast Asia. His works manifest strong allegorical images of the social order. Presently, he is preoccupied with the international artists’ network New World Disorder and is frequently invited for his ingenious actions around the globe. He is a recipient of three most prestigious awards for young artists in the Philippines: the 2003 Cultural Center of the Philippines Thirteen Artists Award, the 2003 Sungduan Grant and the 2006 Ateneo Art Award.

While in Singapore, Mideo will also be doing a performance TERRA INCOGINITA

TERRA INCOGNITA is a live interactive piece and a simulation of the early expansionism exploring cultural connection and losing identities in the age of late capital.

At

Rooted In The Ephemeral Speak (R.I.T.E.S)
presenting1. Andree Weschler [SG]2. Justin Lee [SG]3. Mideo M Cruz [PH]4. Natasha Wei [SG]
Date: 26th June 2010Time: 7:30 pm to lateVenue: Post-Museum, Showroom107+109 Rowell Road S209033.http://www.post-museum.org/

For more information: Lee Wen {email:wen.lila@gmail.com}
supported by:National Arts CouncilThe Artists VillagePost-Museum

THE SQUALOR OF THE MIND

Andres Barrioquinto
"The Squalor of the Mind"

About the Exhibition
Andres Barrioquinto probes deep into the darker confines of human emotion and defines the grim little secrets that lie buried beneath a simple, naïve smile. It’s definitely the first time in his history as a painter that Barrioquinto depicts portraitures in gentle smirks and grins. And ironically, being once dubbed by art critics as the new darkman of Philippine art, this is also an initial instance that the artist drowns his portrayed figures with an overflow of flowers and mixed patterns. “Squalor of the Mind” is a visual commentary on people thriving beneath an overflowing torrent of beautiful things. Flowers can be seen anywhere, as it almost devours the whole of a painting. Beside the figures lies either a massive flock of butterflies or origami paper cranes—everything else is in a multihued state of beauty, except the facial portraits itself. The faces express a certain dark mystery, as if keeping something unknown from the perspective of its viewers. From this semi- black hole state of the “unknown”, the artist painfully drives the horror inside the spectator’s unconscious.

THINGS THAT FALL FROM THE SKY

Dave Lock
"Things That Fall From The Sky"

About the Exhibition
Guest Artist Dave Lock explores the anonymity of self-destruction with his pen and ink experimentations in Things that fall from the Sky, a grim collection of portraitures that result from a recurring mass of emotionally masticated images. These tiny creations eventually form a disordered mirage that resembles the familiar anatomy of a human face. Such outcomes, according to the artist are the visual embodiments of his painful, personal struggle against life itself.

THEATRE OF REVERIES

Jon Jaylo
"Theatre of Reveries"

About the Exhibition
Jon Jaylo welcomes his audience to the chimerical world of dreams in Theatre of Reveries. According to the artist, his keen interest in dreams and visions had always been the core subject of his consistent surreal masterpieces. With his new anthology of works, the artist delves traverses deep into an unknown place of the unconscious, where places of love, death, and choices take illusory forms. He steals his audience from the taut clutches of reality, just like in a real theatre play, and gives them a glimpse of the dream world, a place that’s so far in terms of visual judgment, but somehow feels so near to the spectator’s heart. His latest batch of paintings still contain an enigma of sorts, and is ever reminiscent with the artist’s use of varying shades of blue and green. The artist stretches beyond the possibilities of things and plunges his strange characters into impossible situations and dreamscapes far from human conception.

LAAFA CONTEMPORARY REPRESENTATIONAL ART SCHOLARSHIPS 2010

INTERNATIONAL CALL FOR ENTRIES
Van Nuys, California
Deadline: July 15, 2010

Title: Contemporary Representational Art Scholarships
Sponsor: Los Angeles Academy of Figurative Art
Awards: Three $6000.00 Scholarships for the Full-Time Program
Eligibility: Artists who are applying to our Full Time Program, are invited to apply for this Scholarship. Submissions are limited to original artwork only, completed within one year of the entry date. No copies or digital work allowed, however we will accept class work as long as an instructor has not modified it. We are looking for work that displays a clear understanding of form, design, construction, and composition. We don't require any specific theme. Additional documents are required upon submission - see website.
Fees: Free
E-mail: Kirstie Rothauge, Director of Admissions
Phone: 818 708-9232
Website: http://www.laafa.org/
Prospectus: http://laafa.org/atelier/info/index.php?cmd=scholarships


LAAFA is offering Contemporary Representational Art Scholarships for the Fall 2010 Quarter starting October 4th. Contemporary Representational Art includes figures, still life and landscapes.

Guidelines:
• Scholarship Application Form: Download links below.
• Biography: List all previous art training, and include any honors and awards received, and/or exhibitions in which you have participated. Let us know your desired career path, and how you heard about LAAFA. (For new applicants only.)
• Letters of Recommendation: Provide 2 letters of recommendation from current or previous art instructors. (For new applicants only.)
• Portfolio Submission: 5 two-dimensional images in a *.jpg or *.tif format should be sent on CD or as an email attachment, along with your scholarship application. (Full details on application.)
• List of Portfolio Works: Include numbers corresponding to the images submitted, as well as title of work, description of piece, concept and/or subject matter, size, medium, and completion date.
• Essay: Include a 500-word minimum essay explaining your ultimate career goals as an artist and how you would use your LAAFA education to further your goals. Please describe yourself as an artist and your work.
• Terms and Conditions: Terms and conditions are listed on the application.
• Deadlines: Fall 2010: Applications must be submitted by August 9, 2010. Scholarship recipients will be announced on August 16, 2010. (*Deadlines have been extended.)
• Downloads:

Fall 2010 Scholarship Application for New Students
Fall 2010 Scholarship Application for Current Students

ART WITH A HEART INTERACTION

The power to affect positive changes through your art is in your hands.

Be part of the Art with a Heart interaction!
[The 43rd Shell National Students Art Competition]

June 22, 2010 - University of the Philippines Cebu, Cebu City, 8am to 12nn
June 25, 2010 - Philippine Women's College, School of Arts and Culture, Davao City, 8am to 12nn
July 2010 - Manila leg (to be announced separately)

Discover how art can be a noble medium to instill values or encourage people to take positive action for various causes. Learn from the master artist himself who, as a faculty of AB Photography and AB MMA at De La Salle College of Saint Benilde and TUP Fine Arts, has been giving back his knowledge to budding artists for years. Let highly respected artist Rosscapili take you through Art with a Heart.

Shell Calendar 2011 image search: Express how you can show your love for your country by joining the digital fine art calendar competition, and if you win we will show your works to the whole Philippines! This year's theme is: 143 Pilipinas, The New Philippines. Pledges of hope, love and peace through Philippine Art.

For more details kindly email soniaptejada@ yahoo.com. ph or ronald.suarez@ shell.com

HANG-AW

CALL FOR ENTRIES: THE ART OF APPLIED DESIGN

INTERNATIONAL CALL FOR ENTRIES
Online Exhibition
Deadline: July 15, 2010
Exhibit Dates: September 15 - December 1, 2010

Title: The Art of Applied Design
Sponsor: DHM Digital Gallery
Venue: Internet
Awards: Best of Show Recognition Awards in 5 Media Categories
Juror: June Gilliam Worthington
Eligibility: The DHM Digital Gallery invites designers (18 years and above) working in fiber, clay, wood, metal or glass and plastic to participate in The Art of Applied Design, an international juried competition. All submitted works must be functional objects commonly used within interior spaces, such as furnishings (hard or soft), utensils, fixtures, or containers. Objects must have been created between 2007 and 2010, and anything that is purely decorative is not eligible. Evaluation will be based upon uniqueness and creativity, craftsmanship, and quality of the submitted digital image. The online exhibit will include e-mail addresses of accepted artists to facilitate independent sales of work.
Fees: $25 first 2 objects; $10 each additional object; no maximum number of entries
Commission: 0
E-mail: dhm.digital.gallery@okstate.edu
Website: http://ches.okstate.edu/dhm/gallery
Prospectus: http://ches.okstate.edu/dhm/gallery/index.php/call-for-entries


Call for entries
The Art of Applied Design is open to all applied artists age 18 or above, working in the U.S. and abroad. There is no limit on the number of objects that may be entered. Entries must be original one-of-a-kind works of the submitter, completed within the preceding three years (2007 to 2010), and be represented by high quality digital images. Evaluation will be based upon the creative uniqueness and originality of the work, evidence of excellence in craftsmanship, and quality of the photographic images. Exhibition of accepted work will include notation of the artist’s name, country of residence, and e-mail address to facilitate the independent sales of exhibited work. One entry in each material category will be selected for recognition as Best of Show for that category.

Eligibility:
All submitted works must be functional objects typically used within interior spaces that also exhibit unique, innovative, inspirational, creative artistry. Submitters must identify the primary material from which a work is constructed. Entries will be evaluated against others made from that same material. Acceptable material categories are fiber (including paper), wood, metal, clay, and glass/plastic. Examples of appropriate objects include furnishings (hard and soft), utensils, containers, fixtures, and other objects that enhance function and physical comfort within interior spaces. Works selected for display within the DHM Digital Gallery will exhibit nontraditional, innovative design.
Not eligible for submission are the fine arts (painting, drawing, sculpture, etc.); objects that are purely decorative; works that are representative of functional objects but are not, themselves, functional; photography; video; architecture or architectural drawings; graphic designs; lighting designs (i.e., the projection of illumination in space); or functional objects not typically used within interior spaces.

Images:
Only high quality digital jpg images will be accepted. We recommend at least 300 dpi, with no more than 2048 pixels (and no less than 900 pixels). Only one image per submission, illustrating the total object, should be submitted. Additional images of any one submitted object will not be viewed. The DHM Digital Gallery will retain and modify the submitted images of accepted artwork for the purpose of using those images in publications and gallery publicity. Submission of images to this exhibit constitutes permission for future use (and modification, when necessary) of those images by the DHM Digital Gallery for the above stated purposes. CD submissions will not be returned. Each digital image should be identified in the following manner: lastname.firstname.abbreviatedtitle.numberonentryform
Example: Smith.Jane.HeartfeltSong.6.jpg

Entry Rules:
All entered works must be one-of-a-kind original creations by the artist, produced in the year 2007 or later. Entry may be made via the mailing of digital images on a CD, or submission of digital images to the provided e-mail address. The entry form accompanying this prospectus may be submitted as an e-mail attachment, or printed and mailed. All submissions must be accompanied by an entry fee of $25 (U.S. dollars) for the first two objects submitted for consideration, and $10 for each additional object. The entry fee must be paid by check or money order made payable to DHM Digital Gallery, or by credit card via the link at the end of the online entry form. If submitting an entry by e-mail attachment, the entry form and all digital images must be attached to the same e-mail transmission.

Juror:
June Gilliam Worthington, with degrees focused on Business and Interior Design, has worked with architects, builders, interior designers, landscape architects, technical consultants and artists for more than 35 years to carry out her belief that through creative effort all things are possible. For nearly 20 of those years, she also owned and operated the es Posible Galleries in Scottsdale, Arizona, specializing in one of a kind art, accessories and functional art furnishings. The Galleries featured the works of numerous artists and craftspeople in addition to creations by her design associates. June Gilliam Worthington has taught at universities, jurored art shows, and mentored many in search of expressing their creativity. Her clients and customers are from across the United States and many countries abroad. In recognition of this outstanding career in the arts, June Gilliam Worthington is a recipient of the Hall of Fame Award from Oklahoma State University.

Calendar:
July 15, 2010: Entries must be received by the DHM Digital Gallery
August 15, 2010: Notification of the juror’s decisions sent to artists by e-mail messaging
September 15, 2010: The Art of Applied Design exhibit opening
December 1, 2010: Closing of the exhibit

MOVING PICTURES

WARHOL’S WORK STILL RELEVANT

READ ARTICLE

BLACKENED WHITE

Marius Black and Tad Pagaduan commands the act of staining the stainless and polluting the pure; deliberately pouring morbidity onto heaven. Or maybe that is what some people will see. Because. this idea could also be viewed the other way around; “Blackened white” could be a translation for “whitened black”, an image of cleansing. By mere word-play or subjective vision, the original idea is killed-and gave birth to its opposite; polishing the stained, purifying the polluted and so on and so forth.

The truth ‘is’ that the show, like life, is caught in the center of virtue and sin wherein neither one stands eternally and absolutely dominant.

“Angel of Death, Demon of Life. Stand by the Harmony of Heaven and Hell, and say hello”.

“Blackened White” opens June 19, 2010 and runs until June 29, 2010 at
Sigwada Gallery (1921 Oroquieta St., Sta. Cruz, Manila)

CLOUDS AND WINGS

An optic-aural landing in Manila Contemporary

The collaborative partnership previously know as Reamillo + Juliet takes another shot at reviving itself in Clouds & Wings. Departing from a relationship that continues to art making, Alwin Reamillo, who was based in Perth for over a decade, and British-Australian Juliet show the lines crossed culturally in their respective series that take into consideration the socio-political climates of both the Philippines and Australia.

In “Colorblind disasters”, Lea reflects social concern regarding the particular issue of non-poliferation of nuclear arms – Australia being a major producer of uranium and consequently holding the responsibility in the way it will be traded and disposed of. On the other hand, Reamillo utilizes a play of images and ideas of the country's past, present and future, on an object bound to his family's heritage – the piano. This specific interest and activity of restoring and deconstructing a particular root in turn transforms into looking at a bigger historical picture, with the piano and its wings (constructed in a similar process as with the production of a piano) serving as Reamillo's “landing point” after a long flight.

Clouds & Wings likewise draw a mutual compatibility to Reamillo and Lea's use and appropriation and engagement of the biological functions – optical and aural – as means to aesthetic encounter. As an effect of a color blind test is present in a majority of Lea's works, she likewise makes use of books – a universal subject that is referent of sight. A referent of sound, Reamillo's pianos will be functioning more than a display of skillful and beautiful piano construction – they are to be played. In this light, Clouds & Wings will open on Saturday, 19 June 2010 at 6pm with a classical and jazz program on Reamillo's three art case pianos. Performers are Popo San Pascual (Arabesque by Claude Debussy), Joudann Petalver (Intermezzo in A Major Opus 118 No.2 by Brahms), Chance Elan Israel (Grandes Etudes de Paganini in A minor No.6 by Franz Lizst), Marvin Tamayo (La Cathedral Engloutie by Claude Debussy) and Khavn dela Cruz.

Clouds and Wings opens on Saturday, 19 June 2010 at 6pm in Manila Contemporary. The exhibition will run until 11 July 2010. Manila Contemporary is located at Whitespace, 2314 Pasong Tamo Extension, Brgy. Magallanes, Makati City. For inquiries about the exhibition, please contact Sidd at 844 7328 or email to s.perez@manilacontemporary.com

THE 2010 ATENEO ART AWARDS SHORTLIST

The Ateneo Art Gallery, which is celebrating its 50th anniversary as the country's first modern art museum this year, is pleased to announce the 12 artists short-listed for the Ateneo Art Awards 2010: Shattering States. They are:

Frankie Callaghan for Dwelling
Silverlens Gallery
9 September to October 3 2009

Joey Cobcobo for 7 Heads and 10 Horns
Avellana Gallery
6 May to 30 May 2009

Kiri Dalena for The Present Disorder is the Order of the Future
Mo_
30 January to 7 March 2010

Leslie de Chavez for Buntong Hininga
Silverlens Gallery, Slab and 20 Square
22 April to 22 May 2010

Kawayan de Guia for Katas ng Pilipinas: God Knows Hudas Not Play
The Drawing Room
21 November to 12 December 2009

Patricia Eustaquio for Dear Sweet Filthy World
Silverlens Gallery
17 March to 17 April 2010

Riel Hilario for Aniwaas
Art Informal
3 to 20 September 2009

Pow Martinez for 1 Billion Years
West Gallery
4 June to 6 July 2009

Jan Leeroy New for Corpo Royale
The Drawing Room
27 February to 17 March 2010

Mark Salvatus for Sungduan 5: Daloy ng Dunong
Museum of the Filipino People, National Museum
30 September to 15 November 2009

Michelline Syjuco for Draped in Silk
Yuchengco Museum
1 July to 29 December 2009

Rodel Tapaya for Thrice Upon a Time: A Century of Story in the Art of the Philippines
Singapore Art Museum
14 November 2009 to 31 January 2010

The Ateneo Art Awards are given to Filipino visual artists below the age of 36 who in the past year have shown outstanding work which, in the opinion of the jury, has contributed to the development of contemporary art. The three winners of the Awards will have the opportunity to be selected for artist-in-residence programs at Art Omi, New York, USA; La Trobe Visual Arts Center, Victoria, Australia; Artesan Gallery, Singapore; and Common Room Networks Foundation in Bandung, Indonesia. The Ateneo Art Awards are presented by the Ateneo Art Gallery, Shangri-la Plaza, Metro Society, Y-style of the Philippine Star and Unionbank, and sponsored by Picasso Serviced Residences.

The works of the short-listed artists will be exhibited at the Grand Atrium of the Shangri-la Plaza, Edsa corner Shaw Boulevard from August 6-16, 2010 and at the Ateneo Art Gallery, Rizal Library Special Collections Building, Ateneo de Manila, Loyola Heights, Quezon City from 25 August – 2 October 2010. For more information, please contact Ian Jaucian, Ateneo Art Awards Project Coordinator, at 426-6488 or email ijaucian@ateneo.edu.

MODIGLIANI SCUPTURE SETS RECORDS IN PARIS

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THE GLASS ART FESTIVAL 2010

The Glass Art Festival features an array of events during the month of September 2010. These include:

Transcendence – the Magic of Glass: an exhibition of contemporary glass art, a combination of juried art show and educational exhibits
Glass Alley: a venue for a select few glass artists and suppliers to display and sell their art and/or products
Demonstrations: aspects of glass art creation, demystified
Artist Talks: accomplished contemporary glass artists sharing their passions and their journeys
Workshops: learn glass art techniques in more depth and/or get started in the world of glass art
Glass Around: see more glass in various locations around the City of Sequim

BOUND │ YARI │ BOMBA

The University of the Philippines Jorge B. Vargas Museum (UPVM) simultaneously opens three exhibitions on June 18, Friday at 4PM. The exhibition Bound presents the works of Roberto Feleo, Jose Tence Ruiz, and Gaston Damag that explore the feeling of being suspended, or the state of transition between the past and the future, or the thin line that divides the normal and the berserk. Their projects take us to different moments of transcendence and defiance of gravity, free fall and whirling in space, on the one hand, and the inevitability of ground, the attachment to structure, on the other.

Kawayan De Guia’s Mirror Bomb will be at the third floor with rotating disco balls suspended from the museum’s ceiling. Together with reworked jukeboxes at the North wing and a video projection on the third floor landing, the suite of works crafts for us the mirages prompted by the mosaic of light, violence and play.

Yari opens at the West wing gallery and features works by the ANINO Shadow play Collective, a group of multimedia artists committed to popularizing the art of shadow play in the Philippines. Yari, a Filipino term for “made”, alludes to artists’ creations using found materials recycled for ANINO’s various productions. Yari in the vernacular loosely means “screwed up” too, a strain found in ANINO’s interpretations of the political landscape and the paradoxes of Philippine society. Through critique, humor and the stealthy presence of shadows, the exhibit unmasks ‘puppetry’ and deception that keep society on a string. The silhouettes of Yari’s projection on the museum’s exterior glass wall magnify themes of transcendence, structure and transition evoked by works in Bound and Mirror Bomb.

Yari runs until 03 August 2010, while Mirror Bomb and Bound will be on show until December 2010. For more information, contact the UP Vargas Museum at (02) 928-1927 (direct line), (02) 981-8500 loc. 4024 (UP trunkline), or write vargasmuseum@ gmail.com.

EMERGING WAVE

Wawi Navarroza at Emerging Wave
The ASEAN-Korea Contemporary Photo Exhibition 2010
GoEun Museum of Photography, Busan, June 18 - August 8, 2010

In Emerging Wave, ‘a comprehensive exhibition showcasing contemporary photography from Southeast Asia that reflects trends in the international art world’, Navarroza ‘recreates Frida Kahlo’s work of passion and pain’. Navarroza re-imagines herself as the iconic Kahlo with self-portraits ‘that convey a powerful message, surreal as the original paintings, about the will to live.’

Joining Navarroza at Emerging Wave to represent the Philippines is Bea Camacho. In her performance piece Enclose, which lasted eleven hours, ‘she created a “red cocoon” that envelops her entire body to portray an artist struggling for change.’

For more information, visit www.aseankorea.org

Notes from the Catalogue of Emerging Wave: ASEAN-Korea Contemporary Photo Exhibition 2010 by the ASEAN Korean Center.

DESPERATELY SEEKING HERITAGE AT THE TAM-AWAN ARTS FESTIVAL

http://lifestyle.inquirer.net/sundaylifestyle/sundaylifestyle/view/20100530-272782/Desperately-seeking-heritage--at-the-Tam-awan-arts-festival

INFINITY ART PRINTMAKING COMPETITION 2010

Prospectus: Rules & Guidelines
EARLY ENTRIES: Accepted Now
PRE EXHIBIT SHOW: opens July 5, 2010
FINAL DEADLINE TO SUBMIT: 11:59 pm PDT, July 15, 2010
GRAND OPENING: August 15, 2010


Qualified Artwork:
Infinity Art Gallery looks forward to showcasing artwork created by printmakers through an exhibit that is open to monotypes, engravings, etchings, lithographs, woodcuts, linocuts, silk-screens, stamps, etc. Prints can be produced on any material or surface. There are no restrictions on edition sizes. Infinity Art Gallery welcomes the exploration of the printing process, however work produced through photographic printing, any type of xerography or photocopying do not qualify. Photographs, giclees, ink jet prints and laser prints do not qualify.

Intention:
Finalists will be selected for artistic excellence, which includes concept and mastery of technique. Artwork will be selected solely on its own merit without regard to the artists’ name, geographic location, national home or any other factor outside of the quality of their artwork.

It is our intention to choose the best art in terms of composition, concept, content and overall excellence regardless of style or medium. Submissions are encouraged to include a wide range of style and content and selected work will likely include a broad range of art.

We intend for the show to be well rounded and to include a wide range of artistic expression. The number of pieces selected for exhibit is determined by jury and gallery discretion. The final number may vary according to juror selection.

Exhibitions:
All exhibits take place online at www.InfinityArtGallery.com and showcase artwork by international contemporary artists. Jury selected artwork will be exhibited for three months online at Infinity Art Gallery.com.

All eligible entries submitted by artists may be displayed online during the call-to-artists. Artists may choose not to participate in the pre-exhibit show and will have that option when they submit their work.

Eligibility:
All juried exhibits are open for artists everywhere to submit.

Artists must be 18 years of age or older. Publishers, galleries, agents, and collectors may not submit artwork on behalf of artists. Media (video/film/audio) not accepted. All works submitted must be created within 36 months prior to the deadline. The original design and concept must have been created by the submitting artist, have been created without the use of a kit, and may not have been created under supervision or instruction. Artists may submit work that was submitted for previous exhibits, but may not submit artwork previously selected by the jury as a finalist in any exhibit at Infinity Art Gallery.

Grand Opening:
August 15, 2010; no later than 12:00 noon PST
Award winners will be announced in internationally distributed newsletters, and the artwork, and jurors comments of the award winners will be exhibited in the winners’ gallery. At this time the artwork of non-finalists are removed from the gallery and only the juried selected exhibit finalists will be on display in the gallery.

Jurors:
Finalists will be selected by a jury committee of art professionals (including Infinity Art Gallery’s Art Director). Best of Show, first, second and third place winners will be selected by the jury committee. The Founders’ Choice, Art Director’s Choice, and Gallery Director’s Choice awards will be selected by the founders and directors of the gallery.

Awards:
Creative works of art will be selected for artistic excellence, which includes concept and mastery of technique. Award winners will be announced the day of the Grand Opening.

$2,200 Total Value of Awards*
Best of Show - $700 value: $300 cash, plus the gold package valued at $400
1st Place - $450 value: $150 cash, plus the silver package valued at $300
2nd Place - $250 value: $ 50 cash, plus artist portfolio page valued at $200
3rd Place - $200 value: Artist portfolio page valued at $200
Founders’ Choice - $200 value: Artist portfolio page valued at $200
Art Director’s Choice - $200 value: Artist portfolio page valued at $200
Gallery Director’s Choice - $200 value: Artist portfolio page valued at $200

*Gold Package - Artist’s portfolio page located on InfinityArtGallery.com; coaching session (1 hour), and custom designed marketing brochure.
*Silver Package - Artist’s portfolio page located on InfintiyArtGallery.com and a choice between the coaching session (1 hour), or the custom designed marketing brochure.
*Artist Portfolio page – located in the portfolio gallery on InfinityArtGallery.com. One year free.

Submitting Entries:
Artists pay an entry fee of $25 USD to submit 1 or 2 works of art. (payable through PayPal) Artists may submit twice for a maximum of 4 pieces per exhibit. After payment is processed, you will be redirected to an online form to submit your information and upload your artwork. There will be an email form available, in the event that you have difficulties with the online form. (Note: Internet Explorer 6 is an obsolete browser and may not work on our website, please update.)

Deadline:
July 15, 2010 11:59 pm PDT
A digital clock showing Pacific Daylight Time is on display in the “How to Submit” page of the gallery.


Download the PDF version of the Prospectus.
Proceed to Submit Artwork
Contact Julie for clarification, problems or information. She helps artists during every exhibit; no one is ever rejected due to improper file naming, image quality, view options, form errors, or file size.

UNWRAP YOUR MIND INTERNATIONAL ART EXHIBITION

INTERNATIONAL CALL FOR ENTRIES
Hong Kong
Deadline: July 10, 2010

Exhibit Dates: August 22, 2010
Title: Unwrap Your Mind International Art Exhibition
Venue: That Gallery
Eligibility: All artists are guaranteed to be featured in this exhibition upon completion of registration. We welcome artists worldwide to participate. The idea of this exhibition is to bring together artworks from all around the world and to exhibit the imagination we can do with a small space, in this case with 8" x 10" artworks.
Fees: $50 for 3 pieces
Commission: 20%
E-mail: John Harris
Website: http://artrendnow.com/thatgallery
Prospectus: http://artrendnow2.com/thatgalleryunwrapsignup.html

- No Frame Needed
- Work must be 8 inches x 10 inches or less.
- You will have to mail us the actual work to display in exhibition.
- Work must be on paper
- Weight light enough to secure artwork by artist tape to the wall.
Reminder: Your submission is not complete until you complete your entry fee. Note: Entry Fee is non-refundable.

NVArt5 COMPETITION

NVArt5 Competition – ACCELERATE
Images of future transport : In the style of Syd Mead

In this, the fifth NVArt competition, artists from all over the world are challenged to create vehicle designs for a future on the move ... transport in the style of Syd Mead.

The Master Futurist, famous for his concept designs in Blade Runner, TRON and 2010, will lead a panel of star judges: Adam Savage and Jamie Hyneman (cohosts of Mythbusters), Mark Frauenfelder (founder of boingboing.net) Kevin Kelly (the founder of Wired Magazine), Brian Gernand (Creative Director of Kerner), Lorne Lanning (of Oddworld fame), David Wright (Creative Director of NVIDIA) and Mark Snoswell (President of CGSociety).

Together these luminaries will choose the top five entries, who will share in over $35,000 in prizes.

Syd Mead is a living legend. His visions of modes for transport, in all their wonderful and varied incarnations, can be found in films, games, cars, planes, boats and even in the architecture that surrounds us.

Now it's your turn to pay homage to the Master


1st prize: Total value of US$17,000.
$10,000 cash
2 x NVIDIA Quadro FX 5800 4GB - 240 CUDA Processors (or latest model) valued at $7,000.00 (USD)
2nd Prize: Total value of US$9,000.
$2000 cash
2 x NVIDIA Quadro FX 5800 4GB - 240 CUDA Processors (or latest model) valued at $7,000.00 (USD)
3rd Prize: Total value of US$4,500.
$1000 cash
1 x NVIDIA Quadro FX 5800 4GB - 240 CUDA Processors (or latest model) valued at $3500.00 (USD)
4th prize: Total value of US3,500.
1 x NVIDIA Quadro FX 5800 4GB - 240 CUDA Processors (or latest model) valued at $3500.00 (USD)
5th Prize: Total value of US3,500.
1 x NVIDIA Quadro FX 5800 4GB - 240 CUDA Processors (or latest model) valued at $3500.00 (USD)

Submitting your entry

Entries (one image) must be uploaded prior to 30 June, 2010.
Images must be 2560 x 1600 JPEG images – at least 90% JPEG quality.
Entrants must be members of CGTalk or CGSociety. The entry process will walk you through a free signup if you are not already registered.
We strongly encourage entrants to participate in the competition forum as they will benefit from feedback from the community.

SUBMIT NOW»

KASILAYAN SA SINING

2010 ART KUDOS ONLINE COMPETITION

call for entries

We are currently accepting entries for the 2010 Art Kudos online competition.

Art Kudos is an annual international juried competition that serves to recognize and honor excellence in the visual arts. Artists who are selected as finalists benefit from world-wide exposure in a year-long online exhibition (http://www.artkudos.com/) and have the opportunity to win cash awards for their exemplary work.

A total of $4,500 will be awarded: Best of Show - $1,400; Second Place - $1100; Third Place - $750; Founder's Award of Distinction - $500; (3) Merit Awards - $250 each.

Each year a distinguished art professional is chosen to serve as juror of awards and to ensure a diverse range of perspectives and expertise. We are very pleased to have Mitchell Albala serving as juror of awards for the 2010 exhibition. Mitchell Albala teaches landscape painting at the Gage Academy of Art in Seattle. A respected and dedicated teaching artist for more than 20 years, he is best known for his atmospheric and semi abstract landscapes of the Pacific Northwest and Alaska. He has lectured on Impressionism at the Seattle Art Museum and written about landscape painting for American Artist Magazine. He is also the author of Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice, published by Watson-Guptill in 2009. As a professional artist he exhibits his paintings nationally and is represented by Lisa Harris Gallery in Seattle.

The Art Kudos competition is sponsored by Artshow.com, a company that offers web-based services and resources for artists and arts organizations.

Prospectus (Rules & Guidelines) »
Entry Form »



Deadline: All entries must be received by June 30, 2010.

Eligibility: The competition is open to artists anywhere in the world, 18 years of age or older. Publishers, galleries, agents, and collectors may not submit artwork on behalf of artists. Drawings, paintings, printmaking, photography, digital art, sculpture, installations, ceramics, fiber art and mixed media are eligible. Media not accepted: video/film, wearable art (clothing or jewelry). All works submitted must be original in design and concept. Artwork must not be copied, in part or wholly, from any published or copyrighted work. Work previously shown in an Art Kudos exhibition is ineligible. Please do not submit images which would be inappropriate for general audiences.

Awards Judge: Mitchell Albala teaches landscape painting at the Gage Academy of Art in Seattle. A respected and dedicated teaching artist for more than 20 years, he is best known for his atmospheric and semi abstract landscapes of the Pacific Northwest and Alaska. He has lectured on Impressionism at the Seattle Art Museum and written about landscape painting for American Artist Magazine. He is also the author of Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice, published by Watson-Guptill in 2009. As a professional artist he exhibits his paintings nationally and is represented by Lisa Harris Gallery in Seattle. About looking at others' work, he says, "A successful work is not just about technical mastery or; it is also about aesthetic ideas. Both are necessary for the piece to be fully realized. Whether abstract or representational, three-dimensional or two dimensional, I am drawn to work that reveals the artist's process and makes me see the world in a new way.”

Awards: Exemplary works will be displayed in a year-long online exhibition at www.artkudos.com beginning August 15th. Cash awards totaling $4,500 will be distributed as follows: Best of Show - $1,400; Second Place - $1100; Third Place - $750; Founder's Award of Distinction - $500; (3) Merit Awards - $250 each.

Sales/Commissions: No commissions are taken for sales generated via the exhibition, and works submitted do not have to be available for sale. Sales will be encouraged, however, and artists will have the option to display their contact information beside their images.

Submission Guidelines: Artists must submit a completed entry form and pay a non-refundable entry fee of $30 US dollars (check, money order, or PayPal) to submit 3 images. For sculptural or three-dimensional pieces, artists may submit 2 views of each work (for a total of 6 images).


Image size, format and resolution: Horizontal images should have a width of 800 pixels or more, and vertical images should have a height of 625 pixels or more. Images must be in a .tif or .jpg format and in RGB color mode (not CMYK). Save your images with as little compression as possible (i.e. choose the best quality when saving your images) while maintaining a file size less than 1 MB (or less than 1000KB) for each image. Do not submit slide shows, Flash files, PowerPoint, etc. Do not add borders, watermarks, or text of any kind. The resolution should not be greater than 300 dpi.

File size limitation: The file size for each image is limited to 1 MB (or 1000KB).

File name: File names are limited to 15 characters and cannot have spaces, punctuation marks, or non-English characters. (Do not include characters such as !@.'#$%^&*()_+ as part of the file name.) Acceptable file name: MarysBlueCoat.jpg Not acceptable: Mary's Blue.Rain Coat.jpg

Acceptance/Notification: Artists will be notified by August 1, 2010 as to whether or not they have been selected as a finalist for the online exhibition. Award winners will be announced with the opening on August 15, 2010.

We reserve the right to use accepted images for inclusion in the online exhibition and for the purpose of publicity.

Checklist for Artists:
1. Submit a completed entry form »
2. Submit images of your work »
3. Send $30 entry fee »

CALL FOR NEW NCCA COMMITTEE MEMBERS

Call for New NCCA Committee Members
PMD 06.03.2010

In preparation for the election of Executive Council Members of the 19 National Committees of the Subcommissions on the Arts, Cultural Dissemination, Cultural Communities and Traditional Arts, and Cultural Heritage, for the Term 2011 – 2013, the National Commission for Culture and the Arts announces its invitation for all qualified and interested artists, cultural workers, and arts organizations to submit their application to become a general member of any of the 19 national committees as a pre-requisite for participation in the election of the Executive Council Members of an NCCA national committee.

Download application form (PDF)
Download application form (doc file)

The deadline for submission of application is on June 15, 2010. Please address your application to the Head of the National Committee that you are applying for.

National Commission for Culture and the Arts
633 Gen. Luna Street, Intramuros, Manila
Fax No: (02) 5272198
Tel No: (02) 5272214
Email Add: pmd@ncca,gov.ph, mgtellano@yahoo.com.ph


Basic Qualification Requirements for National Committee Members (Rule X, Sec. 58 of the IRR of RA No. 7356) To qualify for membership, an applicant must have the following qualifications:
1. Filipino citizen of legal age and good standing in the community.
2. Has substantial interest, experience and or service in the sector.
3. Has achieved a high level of expertise relative to the concerned Committee.
4. Head or member (duly certified and endorsed by the organization) of an organization which is recognized by the NCCA or by any other government agency.
5. Has a broad grasp of the Philippine arts and culture in general, and of his/her specific sector in particular.
6. Has capacity to represent the NCCA or the sector in various types of gatherings or meetings relative to the position.
7. Has potential in establishing networks for the NCCA.
8. Willing to devote sufficient time and effort to the work of the Committee.

Committee Membership Guidelines:
Refer to the guidelines of the specific National Committee you are applying to.
(Click on the specific National Committee to which you are qualified: )

Subcommission on the Arts
Architecture and Allied Arts
Cinema
Dance
Dramatic Arts
Literary Arts
Music
Visual Arts

Subcommission on Cultural Heritage
Archives
Museums

Art Galleries (guidelines to be posted)
Historical Research (guidelines to be posted)
Libraries and Information Services (guidelines to be posted)
Monuments and Sites (guidelines to be posted)

Subcommission on Cultural Dissemination
Language and Translation
Communication
Education

Subcommission on Cultural Communities and Traditional Arts
Central Cultural Communities
Northern Cultural Communities
Southern Cultural Communities


Requirements for application:
Accomplished application form
Curriculum Vitae with recent 2 x 2 photograph
Two (2) letters of endorsement from cultural agencies, local government units or local arts organizations

Venue and Date Election:
The date and venue of the election will be announced by the National Committee concerned as soon as the qualified participants of the election are determined.

Election Procedure

ARE THERE ONE MILLION FILIPINOS WHO BELIEVE IN THE IMPORTANCE OF ARTS AND CULTURE IN THE DEVELOPMENT OF OUR COUNTRY?

Dear Fellow Artists, Cultural Workers and Concerned Citizens,

Please find the Online version of the Arts and Cultural Sector Manifesto to be handed to the Administration of Benigno "Noynoy" Aquino III.

The Manifesto outlines the Arts and Culture Sectors concerns with regards
- Governance,
- Creative Industry,
- Cultural Promotions,
- Funding, and
- Arts in Education, among others.

If you deem this important, please sign and forward to your own network of artists and friends.

Please click on the link below and be a champion of arts and culture in our country:

http://www.petitiononline.com/filartcu/petition.html

BALIGTARAN

MGA LANGGAM SA BAGUIO

Distorting Some More on a Cooler Place

As it is now, as it was evident then, the 1906 plan of American architect and urban planner Daniel Burnham (who also did the plan for Manila after designing Washington DC in 1902 before San Francisco in 1907 and Chicago in 1909) for Baguio did not fully materialize because there was just too many people increasingly occupying the city. For whatever their reasons may be, personal or economic, historical figures would show that from having 489 residents in 1903, it ballooned to 30,000 in 1948. To date, Baguio’s population is easy 300,000.

More than just the statistics, unmindful of the city’s centennial year, Ambagan’s creative task was to spend an early summer there and capture the images of the city for his second solo exhibition, Mga Langgam Sa Baguio. A collective body of 26 works of various sizes with the biggest at 3 x 8 ft and mostly 3 x 4 ft resulted from this endeavor.

Continuing his signature style of distorting realism as a imaginative manner of justifying a particular approach to life for a multitude of assemblies, for Ambagan, it is the place and not the throng that dictates such phenomena like Quiapo, Monumento, Kapasigan, and this time Baguio. (named after the indigenous plant bagiw)

“More than the numbers” as he would put it, “by physically rubbing elbows and sweating it out with them, I could feel their pulse which is very significant if you are serious with the context of your craft.” Quite close to his heart, Ambagan has always been fascinated with Baguio and its Cordillera culture: “I have always gone back and painted Baguio and its nearby communities like Sagada and Mayuyao on my mind. It is the nearest place you could go and be in touch with our pre-colonial soul. It keeps me grounded.”


Baguio’s Oil

Typical of an artist bred by his milieu, the influence is obvious. All his life Ambagan has been living in crowded places -- he grew up in a compound with an extended family of relatives; he has lived in Pasig -- one of the most densely populated cities in the metropolis; he has studied at the largest high school in the world. Even this show is exhibited at the heart of one of the most crowded public places you could find.

Like an obsessed chronicler of his time, Ambagan frequents to wherever multitude of people gathers. He has gone to Quiapo, Pasig, and various places sometimes aboard the Metro Railway Transit (MRT) for a different perspective. Meticulously documenting the amassing of assemblies, he follows where they are and why or how they are there. He wanted to grasp the “interplay” of the real and symbolic in their desperate yet dignified lives.

For Ambagan, there is more tension in Baguio than most of the places down here. Giving more texture in the pieces paving them with a more rustic finish, Ambagan does not want you to be a passive viewer. In Higante 2, from where you are standing in the gallery, the painting unsettles you, as the strong current of paints perturbs the jeep just by the mere viewing of it.

“Distortion really depends on how I see the image I chose. Minsan sa pagpinta na doon ko na dinedesisyunan. Kaya may degrees ang distortion, Nakabatay sa eksena.” This premise is evident in the works Humahangos 2, Kalaro, and Hikayat.

However in the biggest masterpiece Angkas, notice that there is not as much distortion but you could still deem as the surface of the canvas as it grabs you for its sheer immensity and muddy surface.

Conscious of how he paints, Ambagan wants his pieces thick, dirty and rough as seen in Wen Manang, May Pag-asa, and Suke 2 where his sense of perspective pervades. At close range one can observe only extreme layers of paints on top of each other however as the viewer steps back, one sees “the forest from the trees,” a better and grander view greets you. Ambagan feels that his canvas is not finished unless he fills it up with texture, so a simple bicycle scene on a Sunday morning could be embedded with hostility as well.

All is not dark and grim with Ambagan who may have been affected by the cool climate of Baguio this time. In fact in this show he introduces one light source in most of the pieces as a way of paying homage to Philippine old masters like Fernando Amorsolo and Fabian dela Rosa. In Suke, Pagbabalik, Pila, and Dagsa ever the sentimentalist that he is, he rediscovers the Philippine sun. Our painting must be created outside the as western mold for us to claim it as our own and it was Amorsolo who set the rules in his/our own terms.

“I have been to other countries, iba talaga yung araw natin lalo na tuwing umaga. Dito lang yan. My use of the sun is like honoring these giants of Philippine art. The brilliance of the colors of nature is more intense most especially in the morning,” he adds.

Except for one afternoon scene, you have to note that all the works have the same time of day, as Ambagan captured them somewhere in between 8 to 10 in the morning. With the lay of black and blue, notice how the shadows in Humahangos, Silong, and Tanaw had become violet when reflected as shades from their varied tints. For this he had the impressionists in mind particularly Claude Monet who made a dent in his artistry.

True to his purpose, Ambagan’s work uplifts and documents the secret lives of our common folk: the vegetable vendors in the sidewalks, whom you can’t even get a discount if you do not speak the international language of Ilocano; the guys who rent out bicycles for P100 per hour so you could roam around Burnham park. They all come vividly alive in Ambagan’s canvases.

As in his first show, an obvious favorite and consistent representation in Ambagan’s pieces are jeepneys. In Baguio, they are bigger and more functional – the wheels, the passenger seats and even the special ladder that makes you climb and enjoy the double-decker seat, dust-free. Although in Baguio they are even more stoic in color and very accommodating with the minimum sitting capacity of 20 passengers. In Hango, Humahangos, and Pila, these Manila-bound sturdy vehicles can’t become complacent. They have to make the goods on time in their respective destinations for distribution. The jeeps must deliver the produce, as if their lives are dependent on them. As fast as they are packing their vegetables Ambagan has to swiftly paint them to capture the moment, or else the produce will be stale or rot, either the vegetables or Ambagan’s artwork will. There are also four checkpoints (of course there is a fee for every pass) to contend with that they have to hurdle on their way to that destined bagsakan in Manila. If they get delayed further, they miss the weekend rush of the people to the market. There goes everything – puhunan and tubo. In this lovely city of pines known for its ukay-ukay or cheap bargain finds, are their dreams included in that as well?

To complete his iconography, Ambagan is also an advocate of those Philippine icons slowly vanishing by the rummages of time like that ice cream vendor with his folk art cart. Again in Silong, Suke, and Angkas, we see mamang sorbetero patiently waiting in the scorching heat, amidst the backdrop of a carefree public who are continuously walking and passing him by, unmindful of his presence.

Ambagan may have depicted simple themes, very familiar subject matters in the local genre but not in a typical, commercial kind of way. An in-your-face realist, Ambagan’s sense of proportion is clockwork training marked by years of mural making and painting walls that adorn resorts and interior walls of restaurants. He has an eye for what makes a well-balanced significant feature.

Special note is Tanaw 2, a afternoon scene unconsciously showing Ambagan’s romantic side. We have known his works to be intense, harsh and determined but the softness of his lights in this work reflects an uncanny mushy side of his being.

Back to his patriotism, Ambagan likes to paint his inspirational idols on t-shirt making it a canvas within a bigger canvas. A statement within a statement we see Jesus Christ and Jose Rizal in Buena Mano, May-Pagasa, and Harinawa.

Session Road to Distortion

Ambagan’s loosely and broadly-handled color palette creates a sense of immediacy which reflects the contemporariness and active stance of his subjects. Looking at the pieces, Ambagan seems like a badly-behaved poet, one who knows all the right corners and when to make that left turn. Knowing all the thugs, the goons and the whores of the city, he is well-versed with the saints and sinners in the streets.

There is more to just focusing on light, people, and action that go with his painting pretty pictures than meets the eye. As he scouts the place of choice, armed with a digital camera, he is like an expedition explorer surveying the land while selecting a scene for that framed shot. Composition is one of Ambagan’s forceful points. You would think that his spontaneity is mere spur of the moment but he is very scrutinizing with his subjects, close to scientific in his approach to his medium. There is the long and arduous process in composing some more in the computer to suit his preferred distortion.

The actual painting proper is a three layered procedure -- base strokes, lightness, pattern or the distortion part. Different layers require different brushstrokes. I have seen him use at least ten different brushes in one of his sessions. Showing his meticulous self, only Ambagan knows when the artwork is appropriately done or if it he still needs ample time to add more details or finishing touches to them.

Starting from a white primed canvas fabric with grounds like gesso and chalk. The absorption of the colors is dependent on how much the canvas is primed on its materiality. Second layer uses the grays and other subsequent colors for the eventual wet-on-wet or wet-on-dry technique (alla prima technique). Marked by Ambagan’s unconventional process, by this time, coats of the colors become indistinguishable. Opting for a natural mat finish, Ambagan has to unlearn academic rules saying he should varnish but Ambagan constantly rebels.

His art is fleeting in this lively fluid sketchy technique. You might find him conservative in this aspect as Ambagan’s method somewhat like the style of the impressionists, but it is slow and laborious. Each layer had to be dried before he touches them again. Even more confident this time around, the signature distortion is there but his brushstrokes are thicker. This will give you an idea how long it took him to prepare for this show.

“Distortion is about change in approach in art in my desire to something positive. However distortion is more than technique, the more gravity, the deeper the meaning there will be. Also I don’t like repeating a painting I have already done. Distortion gives me the freedom to say something again in another manner,” explains Ambagan.

Baguio’s Boulevard of Broken Dreams

Ambagan has celebrated Baguio in a way that he knows -- with traffic, wires, filth and all. It may not be ideal to some but it the Baguio nonetheless that he saw at a particular point in time. An aesthetically assertive painter, for Ambagan art is about dialogue. Being one of and with them, the proximity of his imagery on canvas is as if you are next to the crowd he paints. There is a merging of the spectator as we (viewers in the gallery) are part of the spill of people from the artworks. Distinct lines have been blurred, as the characters are all one with the audience as Ambagan is part of the stories he wants to tell.

This show is a visual witness without the intervention of the intellect or part of an ongoing Department of Tourism campaign. There is a semblance of hope, as seen in the blueness of his skies on the canvases. “You just have to keep your eyes open and let their daily struggle inspire you. So in my being inspired you are inspired. Kahit matao, maganda pa rin ang Pilipinas. If I can make you imagine it, then it was worthwhile painting them,” Ambagan ends with a sigh of relief.