CALL for Photography - Indie Grits Labs

Indie Grits Labs is seeking work from emerging Southern artists that addresses and challenges the social, cultural, and physical landscapes of the South through photographic media.

Submission Information

Submission Deadline: July 2, 2018
Entry fee: $5.00 – Purchase through our shop
Notification of Acceptance: July 12
Opening Reception: July 26 at Indie Grits Labs | 1013 Duke Ave.

All Images will be printed center weighted on a 13×19 sheet by Indie Grits Labs.

Prints will be available for sale through Indie Grits Labs. We are suggesting a 30% commision on all sales to be put towards future juried exhibitions and educational opportunities. Prices will be established upon acceptance into the exhibition.

You can submit anywhere from 1-5 photos for the $5.00 fee.

 

Submission Guidelines

All Submissions should be included in one email to exhibitions@indiegrits.org

Subject Line: “Submission: Southern Disposition”
In the body of the email:
Your Name
Titles of Pieces Submitted
1 to 2 sentences about your work if desired
Link to Website
Entry Fee Screenshot/Receipt

File Requirements

1 to 5 images: .jpgs, 1000px on the longest side, 72ppi, sRGB color space
File Name Format: lastname_disposition_1.jpg

  •  

"The Journey Home" - a guest blog by Jenna Sach

When the pilot announces that we are 30 minutes to our destination, I stare out the window.  I watch the country below slowly become visible through the grey clouds.   The land is a beautiful patchwork of varying hues of green.  The houses and cars slowly come into view as we get closer.  The wheels touch down, I’m filled with excitement.  I am home. "Grand Canal of Venice" - photography by Jenna Sach

I began taking photos when I was 16.  My high school offered a darkroom course.  The smell of the chemicals, the look of film, the whole art behind photography drew me in.  Ever since then, whenever I traveled, a camera came with me.  Though all I had at the time was a little 35 mm point-and-shoot, I spent most of my time viewing Europe through a lens.  After the first few trips, my mom mentioned the lack of photos of family; it wasn’t until we were visiting Venice together that she stopped mentioning it.

For years, the only people who saw my photographs from my adventures were those who came into my Mom’s house.  She adorned her walls with images from England, Rome, and Venice.  I decided last September that I wanted to showcase photographs from England.  After running the idea by Mark Plessinger, we set up a show at frame of Mind.  My family and I were heading off the England, specifically North Derbyshire for two weeks, and it lined up perfectly.  So I lugged my camera equipment across the Atlantic Ocean and bought tons of film.  We had a few places outlined of where we were going, but I had no preset notions of what exactly I wanted to photograph.

The first few days there, I drew a blank.  However, when we went to visit Chatsworth, a stately home, something clicked.  From that point on, I was always behind the camera.  My mom and stepfather put up with me randomly asking to pull off the road, so that I could jump out and snap a few shots.  Everyone was so understanding when I wanted to spend a few extra minutes at a location, or climb up a hill to get a different vantage point.  And somehow the weather worked out perfectly, though I did stand in a shower or two to grab a shot.

chatsworth

 

capt

I wanted to illustrate to everyone the beauty of the English countryside and the personal meaning it holds for me.  Each photograph in this show holds a story behind it (which I am always willing to tell.)  I have been in inspired by England for years, and I am hoping to  inspire others who view my work.

~ Jenna Sach

 

"The Journey Home" is the featured exhibition at Frame of Mind (located at 1520 Main Street, Suite 1e, right across from the Columbia Museum of Art) as part of this month's First Thursdays on Main.

Jessica Ream, Sean McGuinness, Jenna Sach, Jessica Christine Owen, and James and Michael Dwyer featured at First Thursday on Main Street

Charleston has Spoleto, and Jasper is bringing you day-by-day, event-by-event coverage, but let's not forget about Columbia's own monthly celebration of the arts, First Thursdays on Main.  Festivities officially run 6-9 PM this Thursday, June 6th.  Below are some facts, figures and images taken from assorted press material: You Must Eat (Food Is Medicine) - artwork by Jessica Ream

Jessica Ream is the featured artist at Wine Down on Main (located at 1520 Main Street,  Suite 1B.) She was born in Columbus, Ohio, early in the year 1990, but was raised south of the Mason-Dixon line, in Carolina suburbia. She is a jack-of-all trades artist, and incorporates her knowledge of painting, photography, print and sculpture into her mixed media pieces. She began her studies at Columbia College but transferred to Savannah College of Art and Design where she graduated with honors, with a BFA in Painting. She returned to Columbia shortly after graduation, and currently works for the Columbia Art Museum while continuing her work as an artist.

Expectations Are The Only Option - artwork by Jessica Ream

 

Skeletons Make Uncomfortable Lovers -m artwork by Jessica Ream

A couple of doors down, at 1520 Main Street, Suite 1e, Frame of Mind is delighted to announce the return of one of Columbia's favorite daughters and artists to the FOM gallery, Jenna Sach, a familiar face and vital fixture among the Main Street community. For this FOM Series, she is sharing images close to her heart and taking us all on "The Journey Home." Sach says:

For this show I wanted to ‘bring it home.’ Though I have always taken photographs on my journeys to Europe, I've never displayed them (unless you count my mom’s walls). With this series I maintain my style, keeping the rich blacks in contrast to the cool whites. All the photos are taken from North Derbyshire, which is located in the East Midlands of England. A large portion of the Peak District National Park is within this county, as well as part of the Pennines. Within this region, there are various stately homes, castle ruins, gardens, caverns, and the beautiful rolling hills, for which it is so well known.

During a recent two week visit home, I traveled around North Derbyshire with my camera, occasionally making my family pull off to the side of the road, just so I could jump out and capture the landscape to share with you! For putting up with my artistic endeavors on this, and many others trips, I dedicate this show to them. Places featured include Buxton, Chatsworth Stately Home, Bolsover Castle, Tideswell, Castleton, Peveril Castle, Hardwick Hall and Haddon Hall.

jenna_sach

Born in Southampton, England, Jenna Sach immigrated to South Carolina in 1990. Ever since she was a young girl, she has shown a fondness for art. However, it was not until she was 16 that she began her passion for photography. Jenna’s high school offered a darkroom course; it was her first experience developing film, and she fell in love. Over the years Jenna took pictures of the places she visited, but it was not until she arrived at the University of South Carolina that she began to formulate her style. There, she connected with her mentor and darkroom professor, Toby Morriss. Under his guidance, she perfected her printing and found her style. Morriss taught Jenna how to combine her two passions, photography and psychology. She obtained her B.A. in Experimental Psychology and hopes to pursue a Ph.D. in Clinical Psychology.

Jessica Christine Owen is featured in "A Study of Self and Others"  at S&S Art Supply (located at 1633 Main Street.) Owen is an innovative photographer who uses herself as the subject matter. Through physical alteration as a performative aspect of the final photograph, her works are beautiful and eerie, funny and disturbing, all rolled into one. DJ B will be out front spinnin' some awesome family-friendly tunes as well!

Her artist statement reads:

The term grotesque has the contemporary definition of being something strange, fantastic, ugly or disgusting. The grotesque has formed an attachment to other terms proliferated to describe aspects of experience, among them, the abject. The abject is something that exists between the concept of an object and of the subject. The abject becomes a reaction to the threatened breakdown in meaning caused by the loss of distinction between subject and object or self and other. My intention is to create an emotional bond with the viewer through a combination of unlike things that challenges established realities or constructs new ones. By altering physical form through self-inflicted acts or complete physical alteration, the viewer is meant to see the blurred lines of what we perceive to be self and what is other.

photography by Jessica Christine Owen

Owen received her BFA in Photography and BA in Art History with honors from New Mexico State University in 2010. She currently resides in Columbia, South Carolina where she is pursuing her MFA in Photography at the University of South Carolina.

Anastasia & Friends (located at 1534 Main Street) is presents "Color Movement," an exhibition which features paintings by father and son, James Dwyer and Michael Dwyer, who have spent a combined nine decades creating abstract paintings, rooted in Modernism, with color as a primary focus.

artwork by Michael Dwyer

Michael Dwyer:

I grew up in a home in which both parents were artists and paintings by them and their friends always hung on the walls. Although my mother mostly put aside her professional art career to raise a family, my father was an energetic and accomplished painter all the years I knew him, only giving up his studio work at the age of eighty-seven to care for my mother. My father also taught painting and drawing at Syracuse University for thirty-some years, including while I was there as an undergraduate. I never took a class with him, but I learned a great deal from my Dad, whether it was during dinner conversations or trips to museums. Probably, most of what I learned was just from the long-term exposure of having his paintings around the house.

As a kid, I loved to draw from the time I could pick up a pencil and I received enormous encouragement and support from both parents. Sometimes I’d visit my Dad’s studio and make little drawings while he painted. Once, when I was seven or eight, my father stretched a small canvas for me to work on (my first abstract painting!) while classical music played on the radio and he worked on a large canvas. The scale of his paintings – often seven or eight feet - made an early impression, too.

A few years before my father’s death in 2011, we had a couple of conversations about how we might be able to put together a two-man show, but we were never able to make that happen during his lifetime. Before he died my father shipped me about thirty of the paintings he’d made over the past few years. That shipment has allowed me to finally, and very happily, assemble this exhibition.

........

A sense of movement has been an important element in my work for a long time. Earlier pieces often conveyed a feeling of forms drifting in space. Then, there was a shift toward using linear composition to create direction. I wanted the viewer’s eye to move along a variety of circuits and have experiences along the way. I also found from my earlier collage work, that I like the crisp, definitive edges that result from cutting shapes with scissors, so I began using masking tape for a similar effect.

Recent works often have a sequential aspect that comes partly from a fascination with similarities between visual art and music. Thinking of musical composition as one note followed by another, and so on, I wondered if this might be a basis for a painting. Ultimately, I’m always after that transcendent moment when abstract elements come together in a way that‘s thrilling and somehow right.

Dwyer also provides this artist's statement from his father James Dwyer:

Since space is the fundamental characteristic of drawing, painting, sculpture, and architecture, I have long understood that eloquence in those forms is to be achieved through the structuring of space. Within the past ten years or so, I have stumbled my way into a style based on low relief as its principal component.

In low relief I have discovered that I can offer variable visual and tactile experience controlled only in part by me. The viewer is invited to share in control through physical viewpoint. Elements within a work change, or are perceived as changing when seen from different angles. This, I believe, can bring about an especially intimate and creative communication.

artwork by James Dwyer

"Color Movement" will open as a part of the First Thursday art crawl on Main on June 6th, from 6 PM to 9 PM and run through June 28th.  Special thanks to Maria Kennedy Mungo for preparing delicious food for this very special opening.

Tapp's Art Center, located at 1644 Main Street, is home to several dozen artists' studios, as well as changing exhibitions inside and in the display windows on Main and Blanding Streets.  Included in those window exhibits is Sean McGuinness, aka That Godzilla Guy:

This will be a big event, marking Godzillafications all up in your grill, so to speak! I will have my largest window display ever, and I will also be in the Tapp's Courtyard selling my artwork. If that isn't enough, my art will also be hanging inside the Tapp's Arts Center as part of a charity event benefiting local police canines. Last year I held my first-ever "Meet Godzilla @ Tapps". The presence you guys helped me create got noticed by all the local merchants, and started me on the path to becoming "That Godzilla Guy" [in retrospect, it was like you helped lodge some shrapnel in my chest, so I could go on to build a wicked suit of armor in a cave with a box of scraps!] Please come visit, and be part of the magic.

sean_mcguinness

And if there is any question as to the meaning of the term, McGuinness has helpfully provided a definition:

Godzillafications [noun] God-zill-a-fi-ca-tions (g d-zɪlə-f -k sh n):   An artwork or consequence growing out of That Godzilla Guy’s [Sean McGuinness] unique vision to interject his Godzilla Collectibles into established works of art, photographs, or concepts. It ranges from serious gravitas to social and political satire, yet always centers around a deep love of the kaiju [giant monster] eras of past, present and future. The purpose is to not only spread the love of Godzilla and his eternal, relevant messages, but to also connect people with art who would not normally appreciate traditional arts or even Godzilla himself.

Godzillafications are crafted through non-traditional means using kaiju collectibles, digital photography, Photoshop, and artwork covered and/or homaged under the Fair Use Act. If available, permission of the original artist is obtained. Godzillafications can also consist of inserting a kaiju into a photo with no digital manipulation at all. The artwork is then printed out on high quality cardstock or matte polypropylene, then sealed to a wood plank or inserted into a recycled frame. Godzillafications are also a movement, inserting themselves into art shows, galleries, window displays, street performances, internet videos and webcomics.

Use in a sentence: Art Appreciation Through Godzillafication.

Godzilla

Also, the cast of the upcoming Trustus Theatre production of Ain't Misbehavin' will be giving a sneak-peek performance at 7 PM in the courtyard, next to Tapp's!

aint misbehavin

 

Palmetto Pointe Project 2013 Calendar

The New Year is upon us, the celebratory holiday decorations are ready to be stored away for another year, and Christmas and Hanukkah gifts are now being put to good use. Except... what's that one thing you forgot?  A 2013 calendar! Once a standard and modest-looking seasonal gift from gas stations and insurance companies, visually appealing calendars for specific tastes and audiences really took off in the 70's, with a plethora of cute kitty photos, Tolkien art from the Brothers Hildebrandt, scenic landscapes, and just about any other image imaginable.  There's often a calendar on your bulletin board at work, another in the kitchen at home, possibly another in a study, playroom, workshop or garage. Local Columbia photographer Jason Ayer has now joined the mix, with the perfect gift for the ballerina or dance enthusiast in your life (even if that happens to be you.)

Ayer's calendar is the first product from his Palmetto Pointe Project; his images "explore South Carolina through the eyes, and feet, of dancers," caught on film and on site at scenic landmarks, historic venues, and locales showcasing our state's natural beauty. Ayer is a long-time friend of Jasper, having done countless photo shoots and publicity images for the USC Dance Program, as well as for the Coquettes, and the Cheerleading, Equestrian and Cross Country teams. (His show last year at Cool Beans was profiled here.) His interest in dance goes all the way back to the late 80's, when, full disclosure, he and I were roommates, and did shows together at Town Theatre, including musicals like 42nd St., Gypsy and My Fair Lady.  Vaguely suggested by NYC's "Ballerina Project" (to which Ayer was introduced by ballerina Kathryn Miles) the Palmetto Pointe Project takes Columbia dancers out of the studio and into striking locations that complement the creativity of both model and photographer. Each dancer collaborates with Ayer on the mood and theme of the image, with the individual performer's personality influencing much of the look and feel.  The dancers also share in the profits of any images sold in which they appear.

Ayer notes that the calendar's dimensions are 8.5"x 11", and that the individual images are "clean" artwork, so "at the end of the year, you can take it apart and have 13 pieces of artwork for your wall!"  Calendars are available at S&S Art Supply on Main Street, and online. More images and info about future projects can be found at the Palmetto Pointe Project Facebook Page.

~ August Krickel

 

 

 

Jasper Magazine Coalescence Series: Volume 1 – Photography and the Word

Something special happens when artists from differing disciplines get together and share the creative process. For artists and arts lovers alike, there’s a tingling in the spine. Chills rush up the arms, and the shade on a window in the brain dramatically flaps open, as you realize you see something in a brand new, mind-expanding light.

Selfishly, Jasper is a junkie for this type of not-so-naughty voyeuristic experience. That’s why we’re announcing the Jasper Magazine Coalescence Series.  The Coalescence Series will facilitate connecting artists from two or more disciplines in the creative process – dancers with painters, and musicians with actors, for example.

The first event in the series, Coalescence: Volume 1 – Photography and the Word, will turn the process of illustration on its head as the Columbia area’s excellent local writers are invited to respond in short prose form (500 words or less) to photos submitted by our best local photographers. The result?  A journey into the imagination of the literary artist as it is stimulated by that of the visual artist in photographic form.

Here’s how to get involved.

Photographers – please select your most evocative, narrative-rich photographic images for submission. While portraits are not prohibited, they may be less likely to induce imaginative response, and therefore, not chosen for this project. We encourage you to choose photographic submissions that depict action or interaction; pictures that show distance, proximity, mannerisms, emotions, relationships, or response. Look for potential clues to the action in your images. Can you can find one or more stories in the image you submit?

A few more things to consider:

If your submission depicts an individual, have your model sign a standard model release form (available at jaspercolumbia.com).

Submit only high-resolution photography to editor@jaspercolumbia.com.

The deadline for photography is October 15, 2011.

Writers – stay tuned to jaspercolumbia.com and the announcement of the winning photographic images selected for your compositional pleasure, and follow the directions you find there.

Photography and the Word will coalesce in December 2011. More details to come at jaspercolumbia.com.