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Category Archives: Call for Artists

What We’re Reading: Shuttering Access to History Will Impoverish Us All

October 17, 2023 by Call for Artists
Submitted by Jaime Sharp on October 17, 2023

“Across the country, students and teachers are heading back to school. Eager to reconnect, they are also ready to learn new concepts, discover unexpected insights, and be challenged by complex ideas,” said Elizabeth Alexander for TIME Magazine.

But not everyone in American lecture halls or library stacks this fall will be allowed to learn and read freely. Due to recent bills and legislative efforts throughout the U.S., half our states censor the teaching of race and gender in public colleges and K-12 schools – especially any teaching that examines them in the context of our collective history. At the same time, books are being banned at the highest rate in our country since the American Library Association first began documenting those numbers. For students entering college, five times as many books are being challenged as when they started high school.

What will we sacrifice as a country by letting these bans stand? We cannot navigate our multicultural American society if we are operating from myth and stereotype instead of fact and shared experience – and its democratic workings slow when the education our students are taught is inaccurate and incomplete.

The truth is worth fighting for – and we can all fight for it. Those in philanthropy or the private sector can fund programs in colleges, public lending spaces, and prisons that ensure expansive and unencumbered access to books, literacy, library and information resources, digital infrastructure, and original source materials. Those in government and education can strengthen academic freedom for teachers, scholars, and professors at public schools and institutions, nourishing the very fields of research and analysis that impart endangered information about our racial heritages, our gender identities, and our shared experience as many different people in one democratic society. Each of us can seek out and support the enduringly potent and wondrously manifold stories of this country by buying and reading banned books, including those by some of the most luminous authors in American literature, who reveal so much human insight through the written word. We can lean into the good, hard questions raised by disciplines like ethnic and gender studies, exploring the unique power and perspective of the multivocal American experience. We can push back against those working to bar our access to this rich and ever-expanding knowledge. Together, we can and we must challenge book bans and educational censorship.

Read the full piece here. 

What We’re Watching: In Conversation: Stephanie Dinkins And Mimi Ọnụọha

October 11, 2023 by Call for Artists
Submitted by Jaime Sharp on October 11, 2023

From Ford Foundation: Join us on Tuesday, October 31 from 6-8pm for an artists’ talk with Stephanie Dinkins and Mimi Ọnụọha. The artists will speak about their work featured in What Models Make Worlds: Critical Imaginaries of AI in conversation with moderator Salome Asega, director of NEW INC. 

Mimi Ọnụọha’s Library of Missing Datasets series assembles the blank spaces in a sprawling datascape. Through a filing cabinet with empty or concealed files, the artist shows us what is rendered invisible or intentionally hidden. Stephanie Dinkins’ Conversations with Bina48 (Fragment 11) documents encounters with Bina48, a social robot developed to reflect the beliefs and memories of a Black woman, revealing that Bina48’s coding has given her no meaningful awareness of Blackness, race, or racialization. Dinkins’ N’TOO redresses this algorithmic erasure by offering a framework for co-authoring alternative models of AI. For this work, featured in What Models Make Worlds, an interactive intelligence trained with data drawn from oral histories by the artist’s family generates a “multigenerational memoir of a Black American family.”

This event is presented as part of the current gallery exhibition What Models Make Worlds on view through December 9. Live captioning will be provided.

Learn more and register here.

Kahlo’s ‘Portrait of Christina’ a rare offering at Christie’s

October 11, 2023 by Call for Artists

This past August saw the death of a massively influential member of the American music industry—Jerry Moss, the co-founder of A&M Records alongside legendary bandleader Herb Alpert. As Moss’ art collection goes to auction at Christie’s, one painting in particular seems to shine: a painting by Frida Kahlo entitled Portrait of Christina, My Sister—the only known work she painted of her.

 

Portrait of Christina is a notably simple composition by Kahlo, perhaps unsurprisingly as it was made in the artist’s very early 20s. Depicting her younger sister in a simple white gown with an austere demeanour, a gradient sky of blue and pink greeting a murky green land with two simple pieces of foliage is the entirety of the work. A perfectly pleasant honour to give one’s sibling, and understandably the only given that Christina would have an affair with her husband not long after.

 

With this piece alone estimated to fetch between $8 million and $12 million, the entire lot, which will go up at Christie’s on November 9th and 10th, is expected to garner $50 million collectively. These prices are also stated as fairly conservative as Kahlo’s works have seen a large uptick in price over the last few years, a self-portrait of hers going for $34.9 million at Sotheby’s in 2021.

 

Going up alongside works by Andy Warhol, Max Ernst and more, Portrait of Christina is slated to be a gem of the lot given its unique rarity of content. While it may not be indicative of Kahlo’s style at large, it is an interesting marker of a point in her life, both artistically and personally.

Elliot Page is grounding force of ‘Close To You’

October 11, 2023 by Call for Artists

One of the most buzzed-about films that came to international festivals across Canada this season was Close To You. Premiering at TIFF, this slow burn of a modern family drama was helmed by British director Dominic Savage and stars long-time Canadian favourite Elliot Page. A slice of life diving into the complex familial conflict and navigation that comes from returning home post-transition, this film’s broadly improvisatory formula makes for something understated yet lively, but perhaps a little too loose.

 

Page plays the central character of Sam, returning home to his family in Cobourg for the first time in several years after having transitioned. The film begins with a meditatively gradual awakening in his rented room at a friend’s house in Toronto and discussing his anxieties about the reunion for his father’s birthday. Taking the train, we experience the first flicker of Sam’s past in his friend Katherine (Hillary Baack), who appears to still hold some form of candle for Sam but becomes guarded the moment they disembark. We’re then privy to immediate joy and celebration of Sam’s family at his return which quickly devolves into constant needs of explanation, support, and comfort on his part as they broach his absence and transition, all spiked by genuine bigotry from a sibling’s partner.

 

To start, this film is an important conversation. The journey of Sam is one had by countless individuals across the LGBTQ+ spectrum and is a caring, insightful depiction of trans experience put forth through a major platform. Having this content that evokes not only valuable representation but particularly in a grounded realm of small-ish-town Canada is a meaningful mirror to have in our cinematic spectrum. Through Page’s rooted performance and a wealth of strong delivery across the board from the actors, something very real is conjured.

 

But there is something about Savage’s approach that also often leaves an aimless or disjointed feeling in the story’s beats, and some scenes’ dialogue feels weaker for it. While the progression of the familial drama makes logical sense, it is broken up by a bouncing back-and-forth between Sam and Katherine walking along the beach and digging into their past and present. It doesn’t quite work as a framework in a film that’s otherwise so linear, and despite their connection being a necessary win emotionally for the otherwise arduously taxed Sam, more often than not the scenes between the two of them seem to be lacking narrative connective tissue to make the payoff impactful.

 

All of this isn’t to say that Close To You isn’t an enjoyable watch. It highlights a poignant family situation in a multi-faceted manner that has a layered weight on the character of Sam and the audience. What could be an overbearing experience of emotional baggage is often broken up by moments of true reconciliation and even surprisingly sharp bits of humour. Even if the film meanders at times, it stays true to the heart it intends to evoke, and that alone makes it a worthy watch.

Banksy’s true identity bet on throughout libel suit

October 11, 2023 by Call for Artists

Few things grip the minds of the public as much as a mystery. It’s no wonder that true crime remains as popular as ever in the vast, interconnected age of the modern internet. But some mysteries, while less nefarious, grip the mind even tighter as they go against commonly withheld information. One of these mysteries is the true identity of legendarily elusive artist Banksy, and right now, thanks to a lawsuit, Banksy’s true identity is being bet on online.

 

Banksy has made a name for himself these past several decades through his irreverent voice and striking, duotone individuals. With his work brimming with anti-war imagery and twisted cultural mirrors, as well as a truly prankster-like spirit, it’s no surprise that he’s drawn ire over the years. But the lawsuit that some are claiming could result in the unmasking of the anonymous artist stems from a seemingly more mundane dispute—greeting card company Full Colour Black and its owner Andrew Gallagher claiming libel against Banksy from an Instagram post last year.

 

This back-and-forth has gone on for several years, relating to the trademark of a monkey with a sandwich board, and has seen rulings both in the favour of Full Colour Black as well as Pest Control Office Ltd., the body that authenticates Banksy’s works. Now, in this libel suit, Gallagher and co. are naming Robin Gunningham, a Bristol-based artist and the individual who has previously been pointed to as potentially being Banksy’s true identity. Additionally, Gunningham’s wife Joy Millward, a lobbyist for the Labour Party, is being named, seeming to close the target around Gunningham once again.

 

Despite this fervour leading to betting pools, it is unlikely that Banksy will be forced to reveal his identity in court given that his legal name is not even stated on court documents and given the precedent set for other closed cases in this feud—but it doesn’t stop the speculation. Platforms like BetOnline and BetUS have Gunningham at the top of the list of possibilities, but it includes other speculations such as Millward, Massive Attack’s Robert Del Naja (a purported inspiration of Banksy’s), and Gorillaz cartoonist Jamie Hewlett.

 

Whether or not Banksy’s true identity will be forced to come to light is still up in the air. Seemingly there will be no forced unmasking through the libel suit by Full Colour Black, but the nature of the case itself and the naming of Gunningham and Millward may accomplish that itself. But until then, Donald Trump still remains in the running for ostensible Banksy, as low as it may be.

Fritz Grünbaum’s recovered Egion Schieles up at Christie’s

October 11, 2023 by Call for Artists

Restitution has certainly been a hot topic in the art and museum spheres these last few years. From the busting of high-profile trafficking rings to the seizure of Ukrainian pieces throughout the war to the growing call to return historical artifacts to their rightful nations, it’s an issue that extends far back. Recently we saw an unprecedented return of works through the relinquishing of Fritz Grünbaum’s collected pieces by Egon Schiele, and now the works are set to headline a Christie’s auction this November.

 

Fritz Grünbaum was an Austrian Jewish cabaret performer in the early 20th century. Having studied law and volunteered in World War I, Grünbaum found his home in writing, performing, and serving as MC for cabarets in Berlin and Vienna. Actively political in his communities and critical of the Nazi party, he was targeted as a dissident first and his Jewish heritage second. He was deported to Dachau in 1938, and not long after a final New Year’s Eve performance for his fellow captives in 1941, he died.

 

Grünbaum’s collection was sizeable, with approximately eighty pieces by Schiele alone. Since the early 00s, his heirs have been attempting to regain their ancestor’s art collection, meeting mostly obstacles and denial. But when their legal representation reached out to Manhattan district attorney Alvin Bragg, their case was heightened to that of criminal court and Bragg issued warrants for the seizure of multiple works belonging to museums across New York. It has so far led to the return of close to a dozen works for the family.

 

Now, six of the returned Schiele works are slated for sale at Christie’s next month. Three watercolours on paper will be headlining the 20th Century Evening Sale and the other three will be part of the Impressionist and Modern Works on Paper Sale shortly after. The works carry with them estimates from $150,000 up to as high as $2.5 million.

 

While there certainly still hangs a dark weight around the context of Fritz Grünbaum’s collection, the fact that his family is finally seeing some form of restitution is heartening. It’s a valuable reminder of the fact that so many high-profile collectors and presenters have a trail of blood leading away from their galleries.

What We’re Watching: Movement Economies: Making Our Vision a Collective Reality

October 10, 2023 by Call for Artists
Submitted by Jaime Sharp on October 10, 2023

From Surdna Foundation: Join us at the Surdna Foundation for light bites and a panel discussion with Nonprofit Quarterly.

You’ll hear from NPQ editors, authors, and movement leaders exploring themes from NPQ’s latest economic justice issue about how movements today are advancing economic justice, and how grassroots efforts can be amplified by resourcing a national media platform.

Panelists will be in conversation with NPQ editors Steve Dubb and Rithika Ramamurthy:

Emily Kawano, U.S. Solidarity Economy Network and Co-Director of Wellspring Cooperative
José Garcia, Ford Foundation
Esteban Kelly, U.S. Federation of Worker Cooperatives.

Please RSVP by Oct. 6 to attend and let us know if you would like to invite any colleagues.

New Fund: Just Transition Integrated Capital Fund

October 10, 2023 by Call for Artists
Submitted by Jaime Sharp on October 10, 2023

From Justice Funders: A new model for philanthropy, the Just Transition Integrated Capital Fund offers foundations a learning vehicle to move endowed assets to BIPOC and working class controlled funds and grassroots projects through non-extractive financing in the form of 0% loans and catalytic grants.

The Just Transition Integrated Capital Fund (JTIC Fund) operationalizes the Just Transition Investment Framework in the form of a democratically controlled integrated capital fund governed by five democratically controlled investment funds stewarded by movement partners.

The guiding values of the JTIC Fund are local community control, non-extractive finance and right relationships, rematriation, and reparations.

Learn more about the fund here.

ICYMI: Zellerbach Family Foundation announces inaugural Community Arts Fellow

October 10, 2023 by Call for Artists
Submitted by Jaime Sharp on October 10, 2023

The Zellerbach Family Foundation is thrilled to welcome Chibueze Crouch as its first Community Arts Fellow. An Igbo-American artist & writer, Chibueze Crouch (they/she) performs and creates immersive, experimental live art spanning ritual theater, song, movement, video, and text. 

“We’re thrilled to introduce this new fellowship and Chibueze’s selection for its inaugural year,” shares Zellerbach Family Foundation President and CEO, Allison Magee. “The fellowship is part of a broader commitment the foundation has made to deepen its engagement with the arts community and reaffirm the important role arts and culture hold in the health, vitality, and future of our region.”

Chibueze organizes with BlaQyard, a land collective centering QTBIPOC in the East Bay, and they perform with BANDALOOP, an internationally touring vertical dance company. They also curate and produce shows with the Performance Primers, KH FRESH Festival and Queering Dance Festival. They are co-director of OYSTERKNIFE, a postdisciplinary performance company, with Gabriele Christian. Chibueze is also the 2019 RHE Foundation Artistic Fellowship recipient, and a 2021 California Arts Council Established Artist Fellow.

The Community Arts Fellowship emerged from the foundation’s effort to activate its strategic framework: an integrated approach to grantmaking that promotes belonging, connection, and a shared sense of safety among people and communities across the Bay Area and California. In their role as Community Arts Fellow, Chibueze will help the foundation actualize its belief in the power of arts and culture to bring people together, change hearts and minds, and imagine a better future. 

“The Community Arts Program at the Zellerbach Family Foundation has a long-held commitment to collaborative decision making,” says Margot Melcon, who leads Arts and Culture grantmaking for the foundation. “We engage a panel of artists from the community to recommend how funding is meaningfully distributed to artists and arts organizations across the Bay Area. This Fellowship is an extension of that commitment, a way for us to further bring the community into our grantmaking process, to transparently share who we are as a foundation, and to learn from the valuable insights community members bring to our work. Chibueze joins the foundation with years of experience as a practicing artist, community organizer, and activist, and we are so excited to build this Fellowship together.”

The Community Arts Fellowship is a new opportunity for learning and professional development in arts philanthropy. This compensated, year-long fellowship provides on-the-job training in arts administration and arts philanthropy, supporting all aspects of the Community Arts grantmaking program, including operations, project management, communications, and learning and evaluation, as well as individual mentorship and experience with participatory grant-making and collaborative decision-making models. The foundation intends to make the fellowship an annual opportunity to engage with an arts leader for mutual sharing and learning.

This fellowship opportunity is offered in partnership with Independent Arts & Media (IAM), a San Francisco-based nonprofit community organization. IAM currently supports over 100 affiliate projects dedicated to non-commercial work in media and the arts, including publishing, theater, dance, music, visual art, film and video, journalism, history, and public-events production. The partnership with IAM is a key component to ensuring an equitable recruitment process and assurance that the foundation was continuing to work closely with the community. “This program promises to offer the fellow a unique perspective into the grant-making process through direct engagement with one of the Bay Area’s key arts and culture funders. We are excited and honored to support such an innovative opportunity,” said IAM Executive Director Lisa Burger.

What We’re Reading:

October 10, 2023 by Call for Artists
Submitted by Jaime Sharp on October 10, 2023

From Pam Breaux for NASAA: “I recently joined state arts agency leaders for the NASAA 2023 Learning Series session, Leading in the Face of Disaster. We all know that unexpected disasters are often devastating for communities, and the arts community is certainly no exception. Whether we’re thinking about weather and climate disasters like floods, fires and hurricanes or about other kinds of emergencies, in the aftermath of catastrophe there are important roles state arts agencies can play, especially to help the arts community connect to resources and pertinent information needed to begin recovering.”

“Unfortunately, weather and climate disasters have become so numerous and intense that it’s challenging to name all those most recently impacted. Top of mind for me at the moment are our colleagues in Florida because of recent storms, our colleagues in Vermont due to unprecedented flooding this year, and our colleagues in Hawaiʻi because of the devastating fires in Maui. There are certainly others, and the current hurricane season steadily making headlines isn’t helping any of us rest easily. In each of these examples, state arts agencies are leading and going about the work of understanding and illuminating the impact of disasters and connecting the arts community to much-needed resources.”

“Our speakers shared valuable perspectives, learning and resources that can help prepare state arts agencies to respond to disasters. Please check out the webinar and its related resources. I know you’ll join me in thanking our speakers for their leadership in this space and for sharing their knowledge with us.”

Read the full piece here.