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CALLS FOR ENTRIES

2018 | A YEAR OF INSPIRATION


COLOR BLOCK | WORKS INSPIRED BY BLINKY PALERMO
INTAKE: January 25, 2018 - January 27, 2018 | 10 am to 5 pm
OPENING: February 2, 2018 | 5 pm to 8 pm
CLOSING: February 27, 2018

Blinky Palermo’s brief life produced a body of work that questioned, challenged, and enriched Abstraction and Minimalism in the art world of the 1960s and 70s. His career began while still a student of Joseph Beuys, when he was inspired by his teacher to ‘change your art, by changing yourself.’ In a brashly clever response typical of his Bauhaus education, he changed his name (it was Peter Heisterkamp) - a re-branding strategy that set the stage for new discovery. 

Palermo’s work was characterized by space and thoughtful spatial interplay between form and color. His best known early works, a series entitled “Cloth Paintings,” are simply rectangles of commercially produced fabric mechanically stitched together and placed on stretchers. Their simplicity belies their visual and conceptual impact. Scale, palette, and the literal absence of paint communicate a uniquely beautiful understanding of color/space and an intellectually playful relationship with his artist contemporaries. Later works experimented with other geometric shapes and culminated with a series of painted color-blocked aluminum panels, “Metal Pictures.”

Artists’ works for this call for entries should avoid imitation of Palermo, but rather celebrate and build on the Abstract Minimalism oeuvre as well as Palermo’s avant garde commentary on modern art. All media will be considered.

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PURE COLOR, BRIGHT LIGHT | WORKS INSPIRED BY HENRI MATISSE
INTAKE: February 22, 2018 - February 24, 2018 | 10 am to 5 pm
OPENING: March 2, 2018 | 5 pm to 8 pm
CLOSING: April 3, 2018

The Post-Impressionist painting of Henri Matisse is revolutionary, both in its unorthodox use of color and expressive content. His work is clearly representational, but his use of vivid contrasting colors to define his forms is a radical shift from traditional shading techniques, and the intense effect led his new art movement to be dubbed Fauvism (“wild beasts” in French). He used color to imbue his subjects with emotion and positivity. Joy, Pleasure, and Contentment are the feelings most often associated with Matisse’s work. 

Matisse is well known for his fondness for the human form, for still life, and for conveying a sense of place in his sun-drenched landscapes and interiors. As his career progressed, Matisse incorporated decorative techniques into his works, at first surreptitiously adding tiny slivers of paper into his painted compositions, then more boldly in his paper cut-outs. These paper cut-outs employed his trademark wild colors as well, in patterns that simultaneously delighted and unsettled the viewer.

Artists’ works for this call for entries should avoid imitation of Matisse, but rather take inspiration from his palette, subject matter, and emotional expression. All media will be considered.

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WASTE NOT, WANT NOT | WORKS INSPIRED BY MIRIAM SCHAPIRO
INTAKE: April 26, 2018 - April 28, 2018 | 10 am to 5 pm
OPENING: May 4, 2018 | 5 pm to 8 pm
CLOSING: May 29, 2018

Miriam Schapiro was a painter, sculptor, printmaker, and a pioneer of feminist art. Considered one of the leaders of the Pattern and Decoration movement, her artwork blurred the line between fine art and craft. She incorporated craft elements into her paintings due to their association with women and femininity and honed her domesticated craft work to create work that stood amongst the rest of the high art world. She often used icons that are associated with women, such as hearts, floral decorations, geometric patterns, and the color pink.

Schapiro's work from the 1970s onward consisted primarily of what she deemed "femmages" a word invented by Schapiro and Melissa Meyer to include activities practiced by women using traditional women's techniques: art-sewing, piecing, hooking, cutting, appliquéing, cooking and the like - activities also engaged in by men but assigned in history to women. In "Waste Not Want Not: An Inquiry into What Women Saved and Assembled," Schapiro cites scrapbooking, collage, assemblage, decoupage, and photomontage as ways of documenting culture.

Artists’ works for this call for entries should avoid imitation of Schapiro, but rather take inspiration from her fine art/craft dichotomy, geometric Pattern and Decoration icons, or celebration of "traditional" women's techniques in regard to feminism and feminist art. All media will be considered.

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WILDEST DREAMS | WORKS INSPIRED BY MAN RAY
INTAKE: May 24, 2018 - May 26, 2018 | 10 am to 5 pm
OPENING: June 1, 2018 | 5 pm to 8 pm
CLOSING: July 3, 2018

Man Ray’s eclectic career spanned many decades, but he is best known for his work during the 1930s in Paris. This period saw an array of experimental artwork involving painting, assemblage, film, and famously his “Rayographs” - prints made by placing objects on photosensitive paper.
 
Man Ray was an artist who evaded categorization, but he is usually referred to as a Surrealist. A defining theme throughout his work is his unique ability to create meaning by placing unconnected forms in juxtaposition, and in unexpected context.
 
Artists answering this call for entries should avoid imitation of Man Ray, but rather reimagine his surreal and conceptual impulses in the context of their own work and culture. All media will be considered. 

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RELIEF | WORKS INSPIRED BY LOUISE NEVELSON
INTAKE: June 28, 2018 - June 30, 2018 | 10 am to 5 pm
OPENING: July 6, 2018 | 5 pm to 8 pm
CLOSING: July 31, 2018

Louise Nevelson's early work focused on found objects and conceptual style, which took precedence over traditional aesthetic, technical, and material concerns. Usually created out of wood, her work appears puzzle-like, with multiple, intricately cut pieces placed into wall sculptures. A unique feature of her work is that her figures are often painted in monochromatic black or white.

In her most iconic works, she utilized wooden objects that she gathered from urban debris piles and carefully arranged the objects in order to historicize the debris within the new narrative context of her wall sculptures. Nevelson purposefully selected wooden objects for their evocative potential to call to mind the forms of the city, nature, and the celestial bodies. While the individual pieces had an intimate scale, they became monumental when viewed holistically within the combined environment of the assemblage.

Artists’ works for this call for entries should avoid imitation of Nevelson, but rather take inspiration from her conceptual aesthetic, carefully selected objects, minimal color palette, puzzle-like intricacies, and use of layering and sculptural style. Pieces need not be physical sculptures or three-dimensional assemblages but should imbue the sculptural feeling and aesthetic of Nevelson's work, even within two-dimensional representations.

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MAKER’S MARK | WORKS INSPIRED BY HARRIET POWERS
INTAKE: July 26, 2018 - July 28, 2018 | 10 am to 5 pm
OPENING: August 3, 2018 | 5 pm to 8 pm
CLOSING: September 4, 2018

Born into slavery in rural Georgia in 1837, Harriet Powers produced some of the finest examples of 19th Century Southern American quilts. While her skill with appliqué displayed the finest technical skill, it was her unique composition of forms and use of storytelling that set her apart as a true artist.
 
Powers’ subject matter included stories from the Bible, folklore, and her own life, as well as celestial objects, and elements of her daily life. Her African heritage is also beautifully represented in both the visual rhythms of her composition and the irregular boundaries of the squares in her quilts - to prevent evil from “moving in straight lines.”
 
Artists’ submissions to this call for entries need not adhere to Powers’ materials or style, nor even quilting. Artists are encouraged to tell stories from their own lives using techniques and mark-making associated with their own personal histories. All media will be considered.

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COMPANION | POLLOCK AND MOTHERWELL
INTAKE: August 30, 2018 - September 1, 2018 | 10 am to 5 pm
OPENING: September 7, 2018 | 5 pm to 8 pm
CLOSING: October 2, 2018

NOTE: For this show only, artists are limited to one entry and may only partner with one other artist. Multiple pairings will not be accepted. Combined entry fees will equal $20.

Jackson Pollock and Robert Motherwell are two of the most celebrated American painters from the mid-20th century.
 
“Mural,” Pollock’s largest-ever canvas, was commissioned in 1943 by famed art collector and dealer Peggy Guggenheim. In 1948, Guggenheim gifted “Mural” to the University of Iowa. Motherwell’s “Elegy to the Spanish Republic, No. 126” is a unique salute to Pollock. In 1972 it was commissioned by the director of the University of Iowa Museum of Art to hang together with and directly respond to “Mural’s” larger-than-life size.
 
Companion celebrates the concept of works that hang with and directly respond to each other. Each interested artist must find another artist to collaborate with in order to create a cohesive pair of works. Pieces created can speak to each other through color, subject matter, size, emotion, materials, or any other approach the two artists see fit.
 
Additional research about Pollock and Motherwell’s companion exhibition is encouraged. All media will be considered.

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SYNCHRONICITY | WORKS INSPIRED BY HELEN FRANKENTHALER
INTAKE: October 25, 2018 - October 27, 2018 | 10 am to 5 pm
OPENING: November 2, 2018 | 5 pm to 8 pm
CLOSING: December 4, 2018

Helen Frankenthaler was a prolific and influential artist in the Abstract Expressionism movement in the latter half of the 20th Century. Her career spanned several decades and her specific style and media shifted throughout her lifetime, but hallmarks of her work include a fluidity of form, a harmony of brushwork, and an overall effortlessness in her compositions.

In her earlier works, she invented a technique she called “soak staining,” in which liberal use of turpentine on raw canvas allowed oil paint to move and build transparency much like watercolor. Later on, she switched to acrylics which allowed for brighter, more opaque forms to define her canvases. Her most successful work has the quality of having been created in a spontaneous moment, with just a few deft and graceful strokes.

Artists’ works for this call for entries should avoid imitation of Frankenthaler, but rather take the spirit of her spontaneity and gestural lyricism to create abstract works. All media will be considered.

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SMALL TALES | WORKS INSPIRED BY BEATRIX POTTER
INTAKE: November 29, 2018 - December 1, 2018 | 10 am to 5 pm
OPENING: December 7, 2018 | 5 pm to 8 pm
CLOSING: January 1, 2019

Beatrix Potter was an English writer, illustrator, natural scientist, and conservationist best known for her books for children featuring animals, such as those in The Tale of Peter Rabbit.

Potter's artistic and literary interests were deeply influenced by fairies, fairy tales, and fantasy as well as a love of landscape, flora, and fauna, all of which she closely observed and painted. She studied book illustration from a young age and developed her own tastes, first choosing to illustrate traditional rhymes and stories such as Cinderella, Sleeping Beauty, Ali Baba and the Forty Thieves, Puss-in-Boots, and Red Riding Hood, but most often her illustrations were fantasies featuring her own pets: mice, rabbits, kittens, and guinea pigs.

Potter wrote about 30 books including the popular stories about Tom Kitten, Peter Rabbit, and Jemima Puddleduck. The immense popularity of Potter's books was based on the lively quality of her illustrations, the non-didactic nature of her stories, the depiction of the rural countryside, and the imaginative qualities she lent to her animal characters.

Artists’ works for this call for entries should avoid imitation of Potter, but rather take inspiration from fairy tales, fantasy, or personal stories important to the artist, should include an illustrative quality, and speak to the storytelling nature of Potter's illustrations. All media, themes, and emotional styles will be considered.

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