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Colorado Springs, CO, 80903
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Intake: July 2, 5, 6, 7, 8 | 10 am to 5 pm
Opening: July 30 | Closing: August 20
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War is a state of armed conflict between societies. It is generally characterized by extreme collective aggression, destruction, and usually high mortality.

Nations customarily measure the 'costs of war' in dollars, lost production, or the number of soldiers killed or wounded. Rarely do military establishments attempt to measure the costs of war in terms of individual human suffering. Psychiatric breakdown remains one of the most costly items of war when expressed in human terms.

Military personnel subject to combat in war often suffer mental and physical injuries, including depression, post traumatic stress disorder, disease, injury, and death. In every war in which American soldiers have fought in, the chances of becoming a psychiatric casualty - of being debilitated for some period of time as a consequence of the stresses of military life - were greater than the chances of being killed by enemy fire.

Most wars have resulted in significant loss of life, along with destruction of infrastructure and resources (which may lead to famine, disease, death in the civilian population, a decrease in social spending, large-scale emigration from the war zone, and often the mistreatment of prisoners of war or civilians). Civilians in war zones may also be subject to war atrocities such as genocide, while survivors may suffer the psychological aftereffects of witnessing the destruction of war.

Typically speaking, war becomes very intertwined with the economy and many wars are partially or entirely based on economic reasons. Some economists believe war can stimulate a country's economy but in many cases warfare serves only to damage the economy of the countries involved.

War leads to forced migration causing potentially large displacements of population. Among forced migrants there are usually relatively large shares of artists and other types of creative people causing the war effects to be particularly harmful for the country’s creative potential in the long-run. War is further argued to have a direct impact on artistic output, as it disrupts the production processes and distribution of artworks. Since creativity in the arts is often an expression of intense feeling, and as war affects the frame of mind of an artist, it has a negative effect on an artist’s individual life-cycle output.

War is not healthy for children and other living things
Another Mother for Peace (AMP) is a grassroots anti-war advocacy group founded in 1967 in opposition to the U.S. war in Vietnam. AMP’s first action was a Mother's Day campaign in opposition to the Vietnam War. Their plan was to send then-President Lyndon B. Johnson and members of Congress Mother's Day cards expressing their yearning for peace. Los Angeles artist Lorraine Art Schneider donated the use of a striking illustration for the Mother's Day peace cards - a sunflower on yellow background amid the slogan “War is not healthy for children and other living things.”

Pieces should be created to reflect these themes, specifically the effects of war. Additional research is encouraged. All media will be accepted.


Intake: July 2, 5, 6, 7, 8 | 10 am to 5 pm
Opening: July 30 | Closing: August 20
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With the widespread importance of flowers throughout the history of human cultures, it is understandable that all forms of art have involved flowers on some level: sculpture, books, music, interior design, painting, ceramics, decorative tiles, and so forth. Floral works generally symbolize the romantic notion that the delights of this world are transitory and perishable.

During the Medieval and Early Renaissance Ages from the 13th to the 15th century, flower symbolism and plant symbolism developed as a way of teaching religious truths. For example, the ivy is an evergreen and symbolized eternal life. A peach symbolized truth and salvation and was used in place of the maligned apple.

The symbolism of flowers has evolved since early Christian days. The most common flowers and their symbolic meanings include: rose (Virgin Mary, transience, Venus, love); lily (Virgin Mary, virginity, female breast, purity of mind or justice); tulip (showiness, nobility); sunflower (faithfulness, divine love, devotion); violet (modesty, reserve, humility); columbine (melancholy); poppy (power, sleep, death). In addition, some flowers are associated with particular artists. Monet is famous for his water lilies, Georgia O’Keeffe is best known for her sensuous calla lilies, and Vincent Van Gogh is associated with his portraits of sunflowers.

This topic encourages artists to explore the beauty, peace, transition, and impermanence associated with floral works. Pieces must be created to represent florals in some way. Additional research is encouraged. All media will be accepted.


Intake: August 6 | 10 am to 5 pm
Opening: August 27 | Closing: September 17
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 A self-portrait is a representation of an artist, drawn, painted, photographed, or sculpted by that artist. Although self-portraits have been made by artists since the earliest times, it is not until the Early Renaissance in the mid-15th century that artists can be frequently identified depicting themselves as either the main subject, or as important characters in their work. With better and cheaper mirrors, and the advent of the panel portrait, many painters, sculptors and printmakers tried some form of self-portraiture. The genre is venerable, but not until the Renaissance, with increased wealth and interest in the individual as a subject, did it become truly popular.

Historically portraits were commissioned by the very wealthy and were not as accessible to people of common means. Self portraits allowed artists the freedom to present their own likeness with no need for outside perspective. Portraits and self portraits can both be viewed as historical documents, while only the latter offer the viewer a personal relationship with the artist’s interpretation of themselves, whether the depiction is based in truth, or simply the truth they wish to present.

With the advent of modern photographic technology and greater availability to the masses, along with the widespread acceptance of contemporary artistic movements and non-traditional mediums, the self portrait has evolved into an expression of almost limitless possibility.

A true self portrait requires a certain level of introspection, sets out to tell a story about the individual, and should be developed beyond the instant nature of the everyday smartphone-facilitated selfie. A self portrait can be skewed, abstracted, or distorted and does not need to be a literal representation of the self. Additional research is encouraged. All media will be accepted.


Intake: August 6 | 10 am to 5 pm
Opening: September 24 | Closing: October 22
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A work of art has beauty and value when the elements of the composition achieve a harmonic unity through the actions of the artist. The struggle of the artist to always go further in this pursuit enriches the work with a spiritual value. Still life allows the artist the most opportunity to stay focused on the infinite possibilities of color and composition to be discovered.

Historically a still life painting or photograph is the study of inanimate objects. These objects are typically those of the everyday and include plants, fruit, vegetables, dishes, soup cans and more. But, perhaps even more importantly, a key feature of still life artwork is the degree of control that the artist can exercise over the work. The elements that make up a still life can be arranged or composed by the artist at will; the lighting can be redirected. Still life painting can be seen to be a relatively pure, even abstract, form of art.

In the wake of the computer age, and the rise of Computer art and Digital art the nature and definition of still life has changed. Contemporary still life breaks the two-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, video and sound, and even spilling out from ceiling to floor, and filling an entire room in a gallery.

Pieces created should invoke harmonic unity through composition and choice of subject matter. Additional research is encouraged. All media will be accepted.


Intake: October 1 | 10 am to 5 pm
Opening: October 29 | Closing: November 19
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Anthropology is the study of humanity. Its main subdivisions are social and cultural anthropology, which describes the workings of societies around the world, linguistic anthropology, which investigates the influence of language in social life, and biological or physical anthropology, which concerns long-term development of the human organism.

As a defining aspect of what it means to be human, culture is a central concept in anthropology, encompassing the range of phenomena that are transmitted through social learning in human societies. The word is used in a general sense to refer to the ability to categorize and represent patterns of meaning with symbols and to act imaginatively and creatively. This capacity is often thought to be unique to humans, although some other species have demonstrated similar, though much less complex abilities for social learning. Culture is also used to denote the complex networks of practices and accumulated knowledge and ideas that are transmitted through social interaction and exist in specific human groups, or cultures, using the plural form.

Some aspects of human behavior such as language, social practices such as kinship, gender, and marriage, forms of expression such as art, music, dance, ritual, and religion, and technologies such as cooking, shelter, and clothing are said to be cultural universals, found in all human societies. The concept “material culture” covers the physical expressions of culture, such as technology, architecture, and art, whereas the immaterial aspects of culture that make up the intangible heritage of a culture include structures of social organization (including political organization and social institutions), mythology, philosophy, literature (both written and oral), and science.

Pieces created should be relevant to your own cultural background and anthropological history or can explore science, religion, and politics as statements about contemporary currents of American culture. All media will be accepted.


Intake: November 5 | 10 am to 5 pm
Opening: December 3 | Closing: January 2017
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The maker culture is a contemporary culture or subculture representing a technology-based extension of DIY culture that intersects with hacker culture which is less concerned with physical objects (opposed to software) and the creation of new devices (opposed to tinkering with existing ones). Typical interests enjoyed by the maker culture include engineering-oriented pursuits such as electronics, robotics, 3-D printing, and the use of CNC tools, as well as more traditional activities such as metalworking, woodworking, and, mainly, its predecessor, the traditional arts and crafts.

The community consists of a wide variety of interests and skill levels, from industry experts to garage tinkerers. For some it's a full-time job, while others are weekend warriors. The types of people who identify as makers are just as varied, from those who focus on home crafts, baking and preserving, to electronics experts, to woodworkers and welders.

An artisan (from French: artisan, Italian: artigiano) is a skilled craft worker who makes or creates things by hand that may be functional or strictly decorative, for example furniture, decorative arts, sculptures, clothing, jewelry, household items and tools or even mechanical mechanisms such as the handmade clockwork movement of a watchmaker.

Pieces created can be functional, decorative, or both and can encompass the current cultural climate of makers and makerspaces. Emphasis can be placed on metalworking, woodworking, and traditional arts and crafts such as textiles and fiber arts or a contemporary maker’s mindset of updated ideas on traditional materials into relevant themes and concepts. Additional research on maker culture and current trends in artisan craftsmanship are encouraged.