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Orbiting the Liverpool Biennial: Sample Practice PhD and Praxis Clinic Sessions with Transart Institute

Transart Institute
Call for Low-Residency Practice PhD Applications until June 15
Invitation to Sample PhD and Praxis Clinic Sessions
Orbiting the Liverpool Biennial Talks, May 28

Images by Aleks Slota

Sample this month's translocal weekend events for Transart Practice PhD creative researchers. Stick around for a Praxis Clinic session, meet Transart advisors and alumni to discuss your practice, get solid, actionable feedback that will help you to take your creativity to the next level, find out if there is a Transart program to help support your goals.

Join us for two talks and a Q&A as part of May's monthly weekend session Orbiting the Liverpool Biennial:

The Stomach and the Port: May 28, 5–6 pm UTC
By Liverpool Biennale Curator Manuela Moscoso
The title, “The Stomach and the Port” reflects on systems of exchange, how borders are not only geographic but also political and subjective constructs, the outcome of a historical process of division begun in the modern, colonial world. The biennial resists this order, reminding us that our lives are intertwined with one another.

Manuela Moscoso will be presenting the work behind assembling the Liverpool Biennial 2021 which will unfold her perspective on curating, exhibition-making, and producing in motion with artistic practices. Manuela Moscoso is a curator, researcher, and critical producer devising and delivering exhibitions, public programs, and publications, independently or for organizations in Europe and Latin America, for example as Senior Curator at Museo Tamayo (Mexico City) or co-director of CAPACETE (Rio de Janeiro); and currently as curator at the 2021 Liverpool Biennial (UK).

The Next Biennial Should be Curated by a Machine: May 28, 4–5 pm UTC
Curatorial Practice at the Intersection of Academic Research and Public Display
By curator Joasia Krysa

In her talk, Joasia Krysa will discuss her curatorial work and interests that underpin it: her interest in technology, and curatorial practice as research and form of knowledge. She discusses her work leading the Exhibition Research Lab, an experimental research environment, and a public exhibitions venue at Liverpool School of Art and Design and she will also introduce her recent projects developed in the context of the Liverpool Biennial.

Joasia Krysa is a curator working at the intersection of art and technology. Her first curatorial software experiment was launched at Tate Modern in 2005 and published in Curating Immateriality (2006). She is Professor of Exhibition Research and Head of Art and Design at Liverpool John Moores University, with an adjunct position at the Liverpool Biennial. Formerly, she served as Artistic Director of Kunsthal Aarhus, Denmark, part of the curatorial team for Documenta 13, and co-curator of Liverpool Biennial 2016 and Sapporo International Art Triennale (SIAF) 2020/21. She is an international advisor for Helsinki Biennial 2021.

About Transart

Transart Institute is a space for experimentation and thinking in any form, for sharing and connecting, and offering practice-based doctoral studies in a low-residency model. We champion self-directed, curious, flexible, and independent-minded creative researchers working solo and/or collectively.

Our border-free platform attracts an eclectic international body of students and advisors from equally diverse artistic and academic contexts and geographic locations as part of a global, transdisciplinary research community; creating opportunities to expand, enhance and sustain individual and collective practices in the world, beyond the walls of the academy.

We support research on themes in all creative genres including art and social technologies; curatorial practices; cultural engagement through food; docufiction and creative writing; ecology and environmental activism; expanded studio practices; experimental pedagogies; fashion and textiles; foreignness, otherness; home, nostalgia and the uncanny; international diaspora and exiled states; language and image; liminal states, interstices, and spacetime; media and design; memory, forgetting, trauma and the archive; movement, dance, choreography; new materialism, object-oriented ontology; olfactory arts; peace, mediation, and performative activism; post-nationalism, post-genderism, post-colonialism; publishing as an art practice; robotics; sound, music, composing; space and temporary architecture.

Participate
Participate in international residencies, retreats, and pop-up events, attend monthly translocal monthly weekend intensive sessions and work independently with dedicated advisors and peer groups. Earn a practice PhD, one-year MFA, both or develop and enhance your independent creative praxis through the Academy alongside other international advanced practitioners. Become part of an intimate international community.

Sign up for the Praxis Clinic here.
Check out our monthly Translocal Intensives and public talks.
Find our Creative Research Practice PhD program here.
Apply to one of our programs here.

Transart Institute for Creative Research
Rolling admissions, space permitting, until June 15, 2021, for the September start date. Ten places are available. We keep a waiting list.
Scholarships: 50% diversity scholarships are available for all non-credit Academy courses. 1-year MFA start date to be announced in May.

Transart Institute
hello@transart.org
www.transartinstitute.org
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TURPS CORRESPONDENCE COURSE 2021/22

APPLICATIONS NOW OPEN

Tim Millen (Turps Correspondence Course 2020/21)

Applications are now open for the Turps Correspondence Course 2021/22

‘Imagine you are in a very, very remote place and post takes a couple of months to arrive. Or you are above the arctic circle! You send images to an esteemed colleague and await a response. The response comes months later. You are unable to ask questions of what you just read because it's a letter, no Internet, no phones. What then happens is that you slow right down, you listen to and digest every last drop of sense in that letter. You sniff it, you sleep with it under your pillow and you constantly re-read it until you suck every last ounce of anything useful from it. You then make work and any accompanying comments that are posted off with your next work upload will be very deeply thought about. That's it, period! Babbling, garbling impatient 'I must know now' hysteria has ruined people's ability to absorb and reflect. In doing this course you have enabled a slightly different process to take place. You learn from what you already know. The mentor is a guide. You do the work. It works! Read, reflect then make!’
Marcus Harvey, Director & Co-Founder of Turps

Turps Correspondence Course is an innovative programme of online mentoring facilitated through critical, supportive written reviews delivered by a dedicated mentor. The course is aimed at painters who want to develop or reinvigorate their work, whether recently graduated from art school, mid career or those without any formal arts education.

The course is designed and structured to be delivered entirely online so that painters, based anywhere in the world and at any stage in their career, can participate and receive informed, critical feedback from a mentor who is practising painter selected by Turps. There are 5 review points throughout the year when you will be required to upload images of your work and a short statement or ‘letter’ to your mentor. Your mentor will then review what has been uploaded and write their response. It is a very different type of feedback from more conventional face-to-face tutorials but we believe this is what makes the correspondence course such an appealing and sought after professional development course.

Since 2012, it has offered over 560 artists a fresh perspective on their work within the context of current painting discourse. Once enrolled, many painters continue on the programme for 2 or more years, developing close connections with both the mentoring team and their peer network through participant-led initiatives and social media connections.

Turps Correspondence Course painters have gone on to feature in New Contemporaries, John Moores Painting Prize and the Marmite Prize for Painting, and it has also enabled painters to successfully apply for and be accepted onto MA and MFA programmes across the world. Applicants must have a personal email address, access to the Internet and reasonable facilities to document work digitally. For more information, see our FAQ.

Participants will be expected to upload works, drawings, works in progress, sketchbook pages etc. for the duration of the course. It is important this is an ongoing process that best describes their output as this will allow the mentors to track developments and compile their observations at dedicated feedback points.

More information about the course can be found here: https://www.turpsbanana.com/cc-overview

FAQ: https://www.turpsbanana.com/cc-faq

Correspondence Course Fee: £1,750

Correspondence Course Application Deadline: 30th June 2021

Michele Silk (Turps Correspondence Course 2018-21)

HOW TO APPLY

To apply please complete the application form via the Turps website before the deadline: https://www.turpsbanana.com/cc-applications

Applications will be reviewed on a rolling basis.

Turps Art School does not award accredited educational qualifications but offers an opportunity for artists to further their understanding and exploration of painting and re-energize their work through dedicated critical response from practising artists.

Correspondence Course mentors currently include: Adam Hennessey, Andrea Medjesi-Jones, Anne Sassoon, Andrew Grassie, Ansel Krut, Barbara Nicholls, Benjamin Senior, Bernice Donszelmann, Chris Gilvan-Cartwright, Colin Smith, Covadonga Valdes, Damien Meade, Dan Hays, Dan Howard-Birt, Dave Leeson, Emma Biggs, Emma Talbot, Geraldine Swayne, Gig Depio, Hannah Murgatroyd, Henry Ward, Jake Clark, Jane Harris, Jeffrey Dennis, Jennifer Coates, Joanna Kirk, Joe Packer, John Bunker, John Greenwood, Juan Bolivar, Katie Pratt, Katrina Blannin, Kirsten Glass, Kyung Hwa Shon, Luci Eyers, Luke Dowd, Martin Westwood, Matt Lippiatt, Matthew Collings, Michael Szpakowski, Neal Tait, Phillip Allen, Phil King, Raksha Patel, Roisin Fogarty, Sam Windett, Sarah Pickstone, Scott McCracken, Simon Willems, Sofia Silva, Stuart Elliot, Tim Renshaw, Tom McGlynn, Virginia Verran

Angelina Davis (Turps Correspondence Course 2020/21)

‘I applied for the course to re-enter a creative and critical community, to begin a conversation that would assist me in articulating my practice and give me the confidence to discuss my work on my terms. I wanted to connect with a community of painters. My experience of the Turps Correspondence course so far is that it has felt inclusive and generous but full of rigour, intelligence and humour. It couldn’t be more different to my MA back in 1996 which felt like a long and unproductive battle to justify myself as a painter.... Coming onto the course I had no preconceptions. My first review was articulate, intelligent and startlingly accurate in its assessment of both what the work was attempting and where I might focus my attention. It was generous and unexpected, discussing my work at length and in terms that were entirely appropriate to the way that I had made it. I felt that I was being taken seriously, by someone who knew what they were talking about, who understood painting. It has given me a sense of momentum and the second review affirmed the choices that I have begun to make, whilst daring me to be braver and more direct. I hadn't realised how much I had missed the conversations that painting generates with other painters, I had been having those conversations with my own paintings for many years and needed to look up from what I was doing. It has been exactly what I needed. I nearly didn’t apply. I am now planning to continue onto a second year of the programme. ’
Angelina Davis (Turps Correspondence Course 2020/21)

TURPS CORRESPONDENCE COURSE 2020/21

APPLICATIONS NOW OPEN

Nettle Grellier (Turps Correspondence Course 2019/20)

Applications are now open for Turps Art School’s Correspondence Course 2020/21

“Imagine you are in a very, very remote place and post takes a couple of months to arrive. Or you are above the arctic circle! You send images to an esteemed colleague and await response. The response comes months later. You are unable to ask questions of what you just read because it's a letter, no Internet, no phones. What then happens is that you slow right down, you listen to and digest every last drop of sense in that letter. You sniff it, you sleep with it under your pillow and you constantly re-read it until you suck every last ounce of anything useful from it. You then make work and any accompanying comments that are posted off with your next work upload will be very deeply thought about. That's it, period! Babbling, garbling impatient 'I must know now' hysteria has ruined people's ability to absorb and reflect. In doing this course you have enabled a slightly different process to take place. You learn from what you already know. The mentor is a guide. You do the work. It works! Read, reflect then make!”
Marcus Harvey, Director

Turps Correspondence Course is an innovative distance-learning programme of online mentoring facilitated through critical, supportive written reviews by a dedicated mentor.  The course is aimed at painters based anywhere in the world and at any stage in their career who want to develop or reinvigorate their work, whether recently graduated from art school or those without any formal arts education.  

Since 2012, it has offered over 500 artists a fresh perspective on their work within the context of current painting discourse. Once enrolled, many painters will continue on the programme for 2 or more years, developing close connections with both the mentoring team and their peer network through peer-led initiatives and social media connections.

Turps Correspondence Course painters have gone on to feature in New Contemporaries, John Moores Painting Prize and the Marmite Prize for Painting, and it has also enabled painters to successfully apply for and be accepted onto MA and MFA programmes across the world.

More information about the course can be found here:
https://www.turpsbanana.com/ccgeneral

FAQs available here: https://www.turpsbanana.com/ccfaqs

Correspondence Course Fees: £1,750

Correspondence Course Application Deadline: 31st August 2020

Lara Cobden (Turps Correspondence Course 2019/20)

HOW TO APPLY

To apply please complete the application form via the Turps website before the deadline:  https://www.turpsbanana.com/art-school

Applications will be reviewed on a rolling basis.

Turps Art School does not award accredited educational qualifications but offers an opportunity for artists to further their understanding and exploration of painting and re-energize their work through dedicated critical response from practising artists.

Correspondence Course mentors currently include: Marcus Harvey, Phillip Allen, Andrea Medjesi-Jones, Sarah Pickstone, Katrina Blannin, Geraldine Swayne, Benjamin Senior, Neal Tait, Ansel Krut, Katie Pratt, Phil King, Sofia Silva, Emma Talbot, Emma Biggs, Matthew Collings, Luke Dowd, Hannah Murgatroyd, Adam Hennessey, John Greenwood, Jake Clark, Scott McCracken, Andrew Grassie, Barbara Nicholls, Dan Hays, John Bunker, Martin Westwood, Matt Lippiatt, Roisin Fogarty, Stuart Elliot, Tim Renshaw.

Rachel Jeffers (Turps Correspondence Course 2019/20)

“My time in Turps Correspondence Course has been an exercise in learning to trust my own voice. I came to my first review braced to defend the ideas behind the paintings I was making - a dynamic I was accustomed to from previous art school settings. I was surprised when my mentor paid no attention to the ideas I had been prepared to defend. Instead, he talked about the paintings themselves - as paintings - on their own terms. The three-month review/response structure had the effect of turning what might have been my defensive initial reaction into a deeper questioning of myself and the choices I was making. This experience ultimately brought me back to where my heart really is as a painter, taking the focus away from background ideas and giving me a sense of permission to dive in and make work that stemmed from a joyful engagement with the medium itself. The focused dialogue has helped me be more accountable for each choice I make within the paintings. I find that I am producing work that feels more authentic to who I am as a person, and that I am able to grapple with the paintings in a much deeper way than before.”
Rachel Jeffers (Correspondence Course 2019/20)

 

OPEN CALL FOR the FIELD KITCHEN ACADEMY Educational Residency near Berlin, Germany

15 August - 9 September 2020
Deadline: APPLICATION DEADLINE for SCHOLARSHIP and PARTICIPATION: 22 June 2020, 23:59 CET
Application fee: n/a

OPEN CALL FOR the FIELD KITCHEN ACADEMY Educational Residency at WÜSTEN BUCHHOLZ,

1,5 hrs. away from BERLIN, GERMANY

15 August - 9 September 2020
APPLICATION DEADLINE for SCHOLARSHIP and PARTICIPATION: 22 June 2022, 23:59 CET

Open call for an educational residency with:

BILL FONTANA (composer and video artist),
HANS PETER KUHN (sound and visual artist),
SEBASTIAN MULLAERT a.k.a MINILOGUE (producer and DJ),
OVE HOLMQVIST (sound artist),
HANS ROSENSTRÖM (sound artist),
STEFFI WEISMANN (sound artist),
JI WOO & SUN WOO (Zen masters) and
PROF. DR. URSULA KOCH (Neurophysiologist)

Chef in Residence: EMRAH TAŞ

Selection committee: Peter Cusack, Ali M. Demirel, Juliana Hodkinson, Mario Asef and Ece Pazarbaşı.

The FIELD KITCHEN ACADEMY is an interdisciplinary educational residency programme that gathers artists/ creative minds, a resident chef and prominent experts from different fields together around a kitchen table through mind-opening acts and actions.

On its second edition, a total of 11 interdisciplinary residents will be selected to join the upcoming FIELD KITCHEN ACADEMY in its three modules. Curated by Ece Pazarbaşı, this year, under the title of THE CURIOUS LOOP, we will use the notion of loops-in-sound as a gateway to other concepts of repetition, offering a variety of individual and collective experiences. Loops represent a time that is suspended, which is a compressed source of the past, present and the future. The loop also oscillates between the known and the unknown; as for the viewer and listener it could unfold to a future of known (as it repeats the same material over and over again), but also it may relate to an unknown (as surprises are always welcome), and one never knows if the loop will be broken with an unknown sound or visual component - no matter how well defined and repeated the loop has developed in the past. If one cannot step into the same river twice, and if one opens to perception with all senses, what differences can we find in each loop?

Composed of three intertwined modules that allow for different durations in the residency, the program is open to application from all disciplines and all walks of life. The selected residents will have the opportunity of pursuing processes of experimentation, discussion, trial and error, the progression of knowledge, and know-how in working sessions during the first 3 weeks. The last half week will be the ‘simmering’ period where the residents are expected to do NOTHING but only LISTENING.

* for the Covid-19 measures at the Field Kitchen Academy /// The Curious Loop, please visit our website.

** The outcome of the Field Kitchen Academy’s three working sessions will be presented as part of The Curious Loop Public Program. The Public Program is partially supported by Musikfonds and Die Beauftragte der Bundesregierung für Kultur und Medien.

Location: GUTSHAUS WÜSTEN-BUCHHOLZ, Perleberg, Germany / app. 2 hrs. away from Berlin. Selected participants will be announced by 6 July 2020.

 

New Course program in Finland, Fall 2020

Residency program for artists, performers & creative professionals
Deadline: 9th of July 2020

New Course
Residency program for artists and creative professionals
at Arteles Creative Center in Hämeenkyrö, Finland
1 month periods in October & November 2020
Deadline for applications: 9th of July 2020

Setting the course & rituals for your creative practice

New Course is a guided program for the personal growth of artists, performers and creative professionals. The program is designed to expand and enhance artists' creative practice, routines and way of being through new collaborative methods and professional guidance. The program is led by Dr Margi Brown Ash, a professional collaborative creative coach, therapist and award-winning theatre director.

Read more & apply online: http://www.arteles.org

 

 

Alps Art Academy

Open call: Summer School for Land and Environmental Art
Deadline: March 8th, 2020
Application fee: No application fee

Alps Art Academy

Open call: Summer School for Land and Environmental Art

The third international Alps Art Academy will take place between June 25–July 4, 2020, in the Safiental (Grisons, Switzerland). Located in Tenna, 1650 meters above sea level, the summer school focuses on Land and Environmental Art.

In a dialogue with the canonized Land Art of the 1960s–70s, the Academy focuses on contemporary approaches to Land and Environmental Art by bringing them into a relationship with the Alpine landscape. We wish to create a platform of potentialities for the contemporary and future Land Art, which integrates not only natural landscape and the environment but also other “media” and the wider social context.

We encourage proposal submissions from artists working with landscape and the environment across genres and media, as well as from theoreticians, facilitators and curators engaged in research on the topic of Land Art. We welcome applications accompanied by a concrete concept that can be realized during the period of the summer school. The concepts should reflect the 2020 Alps Art Academy theme “ANALOG – DIGITAL.”

Program

Gathering circa thirty participants over a period of ten days, the Academy offers a rich program of workshops, seminars, field trips, artist talks and presentations, as well as a thematic symposium. Participants have the opportunity to explore what does it mean to create in, and interact with, the Alpine landscape and apply their experience in their work. Participants work together with international instructors who offer practical and theoretical mentoring. The Academy is linked to the Land Art Biennale Art Safiental (July 4–October 18, 2020) and offers an opportunity to present final projects.

Instructors

Matthias Bildstein (AT), Les Frères Chapuisat (CH), Sally de Kunst (BE/CH), Fragmentin (CH), Gabriela Gerber / Lukas Bardill (CH), Hanna B. Hölling (CH/UK), Richard Saxton (USA), Ella Tetrault (CAN), Lucie Tuma (CH) and additional guests.

Registration/Information
The conditions of participation, application form and further information can be obtained at: www.alpsartacademy.com

Fees
CHF 1‘200.–, USD 1‘200.–, EUR 1‘110.–

The fee entails 10 days academy, accommodation in double room, board, excursions during the academy: Travel expenses to and from the Academy is not inclusive and have to be carried by the participants. For participants in need of a financial support there is the possibility to apply for a funding.

Funding
The academy is committed to a diversified group of participants (age, gender, origin, underrepresented groups). Lower-income applicants may apply for a reduction of the tuition fee and / or a travel funding. To qualify for the funding, applicants should provide a justification letter in addition to the regular application form.

Deadline
The deadline for submissions is Sunday, March 8, 2020.

Organization
Sponsorship: Naturpark Beverin / The Municipality of Safiental; Director: Johannes M. Hedinger

Contact

Alps Art Academy
c/o Naturpark Beverin
Hauptstrasse 35
CH - 7104 Versam
Switzerland

T +41 81 630 60 16
info@alpsartacademy.ch

alpsartacademy.ch
Facebook / Instagram

RELATED EVENTS:

Symposium ILEA TALKS: 27th–June 28th, 2020
Biennale ART SAFIENTAL: July 4–October 18, 2020

 

OCAD UNIVERSITY CONTEMPORARY FLORENCE STUDIO

OCAD UNIVERSITY CONTEMPORARY FLORENCE STUDIO
Spring/Summer 2020 Residencies and Courses

Image: Fahmina Ahmed

OCAD University, Canada’s leader in preparing the next generation of contemporary artists, is pleased to open the doors of our Florence studio to the international art and design community!

These programs are open to members of the OCAD U community as well as creative practitioners world-wide. In addition to utilizing OCAD U’s studio and emphasizing our approach to contemporary practice, this programming also includes the opportunity to engage with local practitioners and workshops.

1. OPEN SESSION CREATOR-IN-RESIDENCE

SPRING SESSIONS:
April 14th - 20th, 2020
April 21st - 27th, 2020
APPLICATION DEADLINE: February 25th, 2020

SUMMER SESSIONS:
June 6th -12th, 2020
June 13th -19th, 2020
APPLICATION DEADLINE: April 14th, 2020

Immerse yourself in a city where the rich traditions of fine art and craftsmanship meet contemporary art and design! The Creator in Residence Open Residency supports the participation of artists, designers, writers and any creative practitioners that can benefit from the time and space to develop their practice in a studio environment. As a participant, you will receive access to space at OCAD U’s Florence studio in a quiet shared palazzo in Florence’s San Marco neighbourhood. Your own designated work space will be complemented by the proximity to other creative professionals from around the world, as well as an array of programming to help you reflect on and share your practice. The residency includes an introductory Italian lesson, group community events, studio visits with local practitioners and a facilitated weekly group critique session.

2. UNDERSTANDING NORTHWEST COAST INDIGENOUS ART WITH LUKE PARNELL

May 1st - 7th, 2020
APPLICATION DEADLINE: March 20th, 2020

This workshop series will be aimed at helping participants be able to recognize the imagery of NWC art (from the Northwest Coast of North America), in addition to gaining knowledge of its historical and contemporary context. The lectures will trace the history of NWC art from pre-contact to modernity to now and the hands-on learning will teach the participants the elements of NWC art by drawing and copying traditional designs.

This course will be a 6-part studio/seminar, with an additional day dedicated to a group field trip. Each day will start with a lecture (approximately 1 hour), and finish with some hands-on learning. There will also be time for participants to explore Florence, as well as engage in critical, group dialogue reflecting on how the context and history of the city in relationship to the class focus.

3. REFRAMING HISTORIES: PHOTOGRAPHY IN SEQUENCE WITH APRIL HICKOX

May 10th - 16th, 2020
APPLICATION DEADLINE: March 20th, 2020

This collaborative course, Reframing Histories: Photography in Sequence focuses on connections to the landscape, which embrace land use (urban and rural), sustainability, site-specific interactions, and personal relationships to the land.

Through the exploration of site and place, this studio-based photography course will propel participants to respond to a new environment while intertwining their personal areas of interest. During this seven-day experience, learners will be given a series projects asking them to respond using their personal cultural history or their experiences in Florence as inspiration. At the start of the session, each day will center around responding to a landmark in the city, including both the natural environment, historical sites and museums. The participants will have the opportunity to link the series of small assignments into a linked body of work or to use the tasks as a way to generate new directions for their creative practice.

4. WATER AND STONES WITH MICHÈLE WHITE AND KATHARINA GIRALDI-HALLER

May 19th - 25th, 2020
APPLICATION DEADLINE: March 20th, 2020

COURSE DESCRIPTION
In a post-internet world, we will be looking at the origins of a culture from its material base. We’ll follow in the footsteps of Mary McCarthy who wrote The Stones of Florence (1959) influenced by John Ruskin’s book The Stones of Venice (1851).

Our week will involve exploring Florence and surrounding area using the art, architecture and history as the basis of our research into contemporary art production. Each participant will produce a suite of works exemplifying their individual interpretation of “The Stones of Florence”. A guiding principal will be to find and reuse and repurpose existing materials from the environment and make our own paint.

5. ON ‘DRAWN’ HISTORIES OF ART AND ARCHITECTURE WITH ADIL MANSURE (In Florence and Venice)

May 29th - June 7th, 2020
APPLICATION DEADLINE: March 20th, 2020

This ten-day drawing workshop will offer a broad overview of the major art and architectural works has Florence to offer. The ever-changing city is a rich palimpsest of historical layers dating from antiquity to the present. Using Renaissance art and architecture as an anchoring point, this workshop will examine historical continuity and change by considering influences that shaped Florentine art and history from both within and without Florentine society.

The first six days will consist of walking tours in Florence where, following short lectures, students will draw both on-site and in studio. The final day in Florence will be dedicated to an intensive drawn thesis (or analysis) of a single selected artwork or theme. The instructor will provide individual critiques and the day will culminate in a celebratory drawing exhibition. The program will culminate in Venice with a visit to the Venice Architecture Biennale 2020.

Spaces are limited, submit your registration fee to reserve your space!

Register or learn more at http://ocadu.ca/florence

At the link there is also photographs of our studios, details of what is included in each program, draft schedules and testimonials from past participants.

For any questions about any of these courses, contact:

JENNIE SUDDICK, MFA
MANAGER, INTERNATIONAL PROJECTS & PARTNERSHIPS
E jsuddick@ocadu.ca

Note: Our main studio is partially accessible. We would love to discuss individual requirements and how we can support them.

Image: Mashayla Ritchie

 

Image: Jennie Suddick

 

OCAD UNIVERSITY CONTEMPORARY FLORENCE STUDIO

CREATOR-IN-RESIDENCE
FALL 2019/WINTER AND SPRING 2020

OCAD University, Canada’s leader in preparing the next generation of contemporary artists, is pleased to be opening the doors of our Florence studio to the international art and design community!

WINTER CREATOR-IN-RESIDENCE SESSIONS:
December 9th - 15th, 2019
December 16th - 22nd, 2019
January 6th - 12th, 2020
January 13th - 19th, 2020
APPLICATION DEADLINE: November 4th, 2019

SPRING CREATOR-IN-RESIDENCE SESSIONS:
April 14th - 20th, 2020
April 21st - 27th, 2020
APPLICATION DEADLINE: February 25th, 2020

Application fee
COURSE FEE:
$900 CAD FOR 1 week (+HST)
$1700 CAD FOR 2 weeks (+HST)

WORKSHOP/EXCURSION FEE:
$100 (+HST) per participant for each 1 or 2 week session

Spaces are limited, submit your course fee to reserve your space!

COURSE DESCRIPTION

Immerse yourself in a city where the rich traditions of fine art and craftsmanship meet contemporary art and design! The Creator in Residence Open Residency supports the participation of artists, designers, writers and any creative practitioners that can benefit from the time and space to develop their practice in a studio environment. As a participant, you will receive access to space at OCAD U’s Florence studio in a quiet shared palazzo in Florence’s San Marco neighbourhood. Your own designated work space will be complemented by the proximity to other creative professionals from around the world, as well as an array of programming to help you reflect on and share your practice. The residency includes an introductory Italian lesson, group community events, studio visits with local practitioners and a facilitated weekly group critique session.

You can decide to participate in the Open Residency for either one or two weeks, and if you choose to select only one week, you can register for either the first or second week, based on your preference and availability.

WHO SHOULD TAKE THIS COURSE

This program is flexible to suit the needs of creative practices at various levels and media. This is an opportunity to dedicate time to your practice, or experiment with new processes and considerations. It is ideal for individuals who want to further their own studio or written work, with a structure that will provide a new context and framework for them to do so within.

DURATION:

Participants can choose to participate for 1-4 weeks and can register in 1 or 2 week blocks

What is included:
Studio Access
Italian lesson and group excursion costs and facilitation
Guest studio visit at the end of each week-long session

What is not included:
Accommodation in Florence
Airfare and other travel
Materials for personal projects
Meals or beverages

Each week of this program can count as one course towards the OCAD U Continuing Studies Art and Design Studio Skills Certificate

Participants in the Contemporary Florence Studio Short Courses must be 18 years or older.

Spaces are limited, submit your registration fee to reserve your space!

Learn more, including pictures of our studios, draft schedules and testimonials from past participants at: http://ocadu.ca/florence

For more documentation, and to keep up-to-date on announcements of future programs, follow us on Instagram: ocaduinternational

For more information about any of these courses, contact:
JENNIE SUDDICK, MFA
MANAGER, INTERNATIONAL PROJECTS & PARTNERSHIPS

E jsuddick@ocadu.ca
T 416 977 6000 x2451
www.ocadu.ca

Note: Our main studio is partially accessible. We would love to discuss individual requirements and how we can support them.

http://ocadu.ca/florence

 

TURPS CORRESPONDENCE COURSE 2019/20

Janet Sainsbury

TURPS CORRESPONDENCE COURSE 2019/20

Applications open now for 2019/20
Deadline: 31st August 2019

Turps Correspondence Course is an innovative project giving painters a critical perspective and challenging insight into their work, wherever they are based and at any point in their career, in the form of quarterly appraisals aimed at supporting their studio development.

During the year participants will engage in a structured two-way process during which time they will present images of works and, in turn, receive feedback from a dedicated mentor as well as the wider tutorial team at Turps Art School.

Applicants must have a personal email address, access to the internet and reasonable facilities to document work digitally.

Participants will be provided with a dedicated online folder at privateviews.com that will be visible to both themselves and the tutorial team. Participants will be expected to upload images of paintings, drawings, works in progress, sketchbook pages etc. during the duration of the course. It is important this is an ongoing process that best describes their output as this will allow the mentors to track developments and compile their observations at dedicated feedback points.

The application process is now open and applications will be reviewed on an on-going basis until August 31st 2019, when the process will close until next year. Applicants can expect to hear about the success of their application within 6 weeks of Turps receiving it.

Programme mentors currently include: Dan Coombs, Covadonga Valdes, Katrina Blannin, David Leeson, Sarah Pickstone, Katie Pratt, Marcus Harvey, Phil Allen, Philip King, Sofia Silva, Colin Smith, Neal Tait, Emma Talbot, Andrea Medjesi-Jones, Luke Dowd, Hannah Murgatroyd, Adam Hennessey, John Greenwood, Jake Clark and Geraldine Swayne.

“Looking back to my first year, I feel my work and how I feel about it has changed significantly. I am more sure of the direction I want to pursue and more confident about my skills. The feedback I’ve received has been of a consistently high standard and always relevant, often challenging. An ex Turps student said to me when I asked if doing the correspondence course was a good idea ‘you get out of it what you put in’ – which I think is very true. I’ve enjoyed the structure and the format of submitting work and a statement and getting a review back from my tutor works really well for me. I am going to meet up with 5 other artists on the Turps Correspondence Course soon in Bristol and I’m hoping to be part of a group Turp CC show in London later this year. It feels great to have this shared connection with other painters.”
Janet Sainsbury

“What I enjoy most about the Correspondence Course is the sustained critical dialogue with my mentor. I have time to experiment with ideas, produce new work, think about my process – then comes a submission and much awaited report. And again I have another two or three months to reflect, agree or disagree, check recommended artists, do more reading. In this cycle of concentrated energy and exchange my painting and self-reflection have become richer and more varied.”
Peter Leese

“Having left art school, my practice began to develop in a more painterly direction. After a period of time working by myself in the studio I sought out critical interaction. Turps CC provided me the opportunity to gain constructive feedback towards the develop of my painting practice. The tutor interaction provided me with a fresh perspective to the way I was thinking about, and approaching my paintings. The course challenged me to re-evaluate and experiment, leading to unforeseen outcomes in my work. It has been a great learning experience and the guidance that I’ve received has contributed towards me receiving an offer to enrol at the Royal Academy of Art’s Postgraduate programme 2019-2021.”
Max Boyla

“I applied to the Turps Correspondence Course because I felt I could benefit from a dialogue with and critical response from a course mentor in order for me to assess the work I was making and how I wanted it to develop.  I was allocated a mentor who had a real sympathy with and understanding of the paintings I was making and the themes and thoughts behind them, and asked questions that required me to think carefully about what I was doing and why.  Over the year a useful and thought-provoking dialogue has taken place with the mentor, which I found supportive and encouraging whilst at the same time challenging, leading me to broaden the subject matter, and consider other approaches to mark making, scale and paint handling.  Consequently my work has developed and evolved in exciting and unexpected ways.  The Turps Correspondence Course has contributed hugely to this, and I would unreservedly recommend it to those who have a serious interest in painting and wish to develop and critique their practice.”
Ben Walker

Course fees: £1750

Programme runs October 2019 – September 2020

Applications are now open and close on 31st August 2019.

Applications should be submitted using a file transfer website, such as https://www.wetransfer.com/ or https://www.hightail.com/ to scott@turpsbanana.com

Each application must include:
· A short statement of intent. What do you expect to gain from the Correspondence Course? What will you bring to the programme? (Max 500 words)
· A CV including all educational and professional practice related information
· Full name, DOB, and contact details (inc. address, telephone, email)
· Up to 10 images. It is desirable that at least 5 of the images relate to work made in the last two years. You may include 5 further images of sketch book or supporting images. See Image requirements at end of document.
· It is desirable, but not essential that applicants have achieved at least a BA (Hons) level of education or can show an equivalent level of engagement with their work.
· Applicants must have their own personal email address, access to the Internet and ‘reasonable’ facilities to digitally record their work.

This is not an accredited educational qualification programme but an opportunity for painters to further their exploration of the medium and re-energize their work through dedicated critical response from practising artists.

Application fee: £35 Payable:
· By cheque made payable to ‘Turps Education’ and delivered to Turps Gallery, Unit 11, Taplow House, Thurlow Street, London SE17 2UQ
· By payment via the Turps Shop online at www.turpsbanana.com
· By Bank Transfer to Turps Education. Sort Code 309447 Ac.No. 49374268 (please reference surname)

Applications will not be considered until payment has been received.

Notes on Supplying Images: Please supply images in Digital Format Digital Images must be supplied Jpeg format and RGB mode. Each file should be between 100kb and 1MB and formatted to be viewed on a Mac. Image files must be labelled clearly and listed on an accompanying word document. This should include the title, medium, size/duration and date of each work. Applicants should ensure that the list corresponds with file names supplied.

Email enquiries to scott@turpsbanana.com

Max Boyla

Peter Leese		Ben Walker

TURPS
Turps, Unit 12, Taplow House, Thurlow Street, London, SE17 2UQ
www.turpsbanana.com
www.turpsgallery.co.uk

F12 Progressing Painting II: Ideas, Strategies & Solutions

Duration: 15 July – 26 July / - 2 weeks

Tutor(s): Rose Davey, Tessa Whitehead, Sarah Kate Wilson

https://onlinestore.ucl.ac.uk/short-courses/faculty-of-arts-humanities-c01/slade-school-of-fine-art-summer-school-courses-f12/f12-progressing-painting-ii-ideas-strategies-solutions

Level 3: This course is suitable for those who have experience within the area but want to expand on their knowledge and techniques

Course Code

SummerSchool19PP2

Course Leader

Rose Davey, Tessa Whitehead, Sarah Kate Wilson: Administrator: Lea Collet & Rebecca Loweth

Course Description

This intensive two-week (or four week) course is designed for students who have a pre-existing painting practice they wish to develop and advance in a dedicated studio environment with the support of a range of tutors specialising in Painting. The aim of the course is to enable students to develop their work through discussion, expand their awareness of artists and artworks and engage with a new artist community.

Each tutor will run a practical workshop outlining a strategy used in their own practice to help students develop their visual research. These workshops will cover the basics such as colour and form and the more experimental concepts of chance and collaboration. Studio based learning will include one-to-one tutorials, group critiques and reading groups which will run alongside visits to an artist’s studio and a guided tour of a museum.

Students will begin by presenting an idea for a new body of work, which will evolve throughout the two weeks and will be shown in development at a group exhibition in conclusion to the course.

For more information on the Slade Summer School 2019 please visit: https://www.ucl.ac.uk/slade/summer-school

Discounts are available for current UCL students and staff. To claim this discount, you will be asked to enter your UPI number (available on your UCL ID card) when making a booking with the online store.

Please Read Slade’s Terms & Conditions https://www.ucl.ac.uk/slade/summer-school/general-information