Sense of Place: THERE
Juried Art Exhibition Call for Entries
Open for submission; the deadline for entries is May 8, 2019
Full Call can be found at: https://galaudetgallery.wixsite.com/ggllc/sense-of-place-there
Eligibility and Media
This is a juried international exhibition and is open to any artist or architect 18 years of age or older.
You must habit yourself to the dazzle of light of every moment of your life
—Walt Whitman, Song of Myself 46
The Political THERE
Do your politics and art intersect? What does being there politically do to your art?
The Future THERE
What rules do you follow in making art? Do you make your own rules? How do those rules help you get there (where you want your art to be)?
The Song of Myself THERE
What art have you made that sings a song of self? What does your current art say about where you will be? What roads have you traveled to get THERE?
Introduction to Call for Entry
Galaudet Gallery’s Summer 2019 Art exhibit will be Sense of Place: THERE an internationally juried art exhibit exploring the ideas of sense of place. The judges and curators seek art that deals with the exhibit theme of Sense of Place: THERE from many different perspectives. We offer the following ideas the judges and curators have been discussing, to guide you in selecting and deciding upon artworks to submit to Sense of Place: THERE
Sense of Place: THERE is the second year of a four year art series called Sense of Place. The first year was called Sense of Place: HERE: We Are Here which paraphrased Ed Abbey’s idea of past cultures creating rock art and leaving behind traces of their culture as a way of saying “We were here.” Sense of Place: THERE will continue this idea in making this year Sense of Place: THERE: Song of Myself in honor of Walt Whitman’s 200th birthday and as a way to focus artist submissions. Sense of Place: THERE: Song of Myself will also be continuing Galaudet Gallery’s work in our Partnership of Sight theory we founded during Sense of Place: HERE: We Are Here. The catalog essay from that exhibit can be found at:
In short, the Partnership of Sight is a 21st Century way to view art which has the artist and artwork involving the viewer. There is a partnership of sight when there is a connection made between the artist and the viewer by means of the artwork. The viewer adds another layer to the artwork by infusing their presence into it because the artist creates their artwork receptive to this Partnership of Sight. This does not mean the viewer has to do anything more than view the art but the experience of viewing the art is heightened by the Partnership of Sight.
Walt Whitman is the Galaudet Gallery writer muse for 2019 and in celebration of his 200th birthday three of his poems will guide the judges and curators in developing three themes based on THERE: the Political THERE, the Future THERE and the Song of Myself THERE
The Political THERE will contain artworks with a political theme or attribution that could attempt to understand the political landscape of 2019. The Future THERE works for art which develops new laws and ways of living and making art. And the Song of Myself THERE will look to Whitman’s poem of the same title and look for art which sings a song of itself and a song of the artist/creator.
The Political THERE
The first Walt Whitman poem is When Lilacs Last in the Dooryard Bloom’d Memories of President Lincoln which follows Whitman as he mourns the death of Lincoln. The lilac symbolizes Whitman’s sacred acceptance of death—not only Lincoln’s but his own—freeing his soul to roam elsewhere—as well as the knowledge of the “ever returning spring trinity sure to me you bring”. The “drooping star in the west” is Lincoln whose train passes Whitman as it moves west toward Lincoln’s burial site in Illinois taking 3 weeks to make the journey since many across the nation wanted to pay their respects. And the “shy and hidden bird” is Whitman trying to make sense of the loss of a huge symbol for his life and his knowing that it would create change in this country. Whitman gives the sprig of lilac he tore from the bush by his door to the train, then sees the star in the west again before it sets knowing Lincoln’s soul is no longer on the train and distraught after the train passes Whitman runs through a swamp and into a forest filled with cedars and pines seeking solace:
Yet each to keep and all, retrievements out of the night,
The song, the wondrous chant of the gray-brown bird,
And the tallying chant, the echo arous’d in my soul,
With the lustrous and drooping star with the countenance full of woe,
With the holders holding my hand nearing the call of the bird,
Comrades mine and I in the midst, and their memory ever to keep, for the dead I loved so well,
For the sweetest, wisest soul of all my days and lands—and this for his dear sake,
Lilac and star and bird twined with the chant of my soul,
There in the fragrant pines and the cedars dusk and dim.
Whitman ends this poem with a line stating There in the fragrant pines and cedars… because it was there at that moment that Whitman found his voice to write the poem and his voice as an artist. Due to the conflict Whitman experienced in losing a President he believed in and respected, Whitman was able to move his poetry forward into another way of being. Can the political landscape of today offer such experiences? Does our government incite artists to create art whether in approval or disapproval? What symbols are there in the political landscape of today? What do artists have to say about this landscape? Whitman created a sense of place in his poetry and most of the time the place was there, not here or everywhere, but a definite there is where this happened or there is where this will happen. How do you create a sense of place in your art and do you have a sense of there?
The Future THERE
The next Whitman poem judges and curators have been discussing is For Him I Sing which asks for artists to think their art—where it comes from showing where it is going. Art that will show the Future THERE will take these two things into account. Think of songs your art has sung thinking of THERE as in the past and how that might impact where you are going—the future THERE. Nostalgia may come into play here since seeing where you’ve been as an artist is THERE also.
For him I sing,
I raise the present on the past,
(As some perennial tree out of its roots, the present on the past,)
With time and pace I him dilate and fuse immortal laws,
To make himself by them the law unto himself
For Him I Sing looks at THERE as an immediate present based in the past—a present that is just about to happen. In For Him I Sing, the judges and curators look at the idea of THERE in the future. For Him I Sing is an exhortation to make up your own laws, make your own art. The greatest movements in art come from artists who change the rules and make a new art that has new rules. What kind of art would be made if you were the law unto yourself? What if immortal laws of art were fused within you to make your art? What pieces of art have you made which show the future of art?
Another line of thought judges and curators keep in mind for Sense of Place: THERE is that it is part of a four year art series which will culminate in the fourth year with a show called Sense of Place: NOWHERE using William Morris’s book News from Nowhere as its guide. So saying all four years of Sense of Place take Morris’ thoughts and ideas into account. Morris is seen as one of the originators of the Arts and Crafts Movement which is sometimes referred to as Art Nouveau (New Art) in the U.S. when it follows the tenants of the Arts and Crafts Movement—a respect for nature and its inspirational qualities, a respect for handmade original work and a respect for the artist as a professional who is following their talents and passions in creating art and treating their actions as a profession. Galaudet Gallery is working toward a 21st Century Arts and Crafts Movement using these past ideas to produce a forward motion into the future, into the present. Keeping these ideas in mind when selecting artworks to submit to this call is highly appreciated!
The Song of Myself There
Lastly are more words from Whitman’s Song of Myself. Thinking about the literal and figurative roads we have traveled as artists, those roads that have brought us to where we are today and those roads that will take us THERE—where we will be in the future.
My right hand pointing to landscapes of continents and the public road.
Not I, not any one else can travel that road for you,
You must travel it for yourself
It is not far,
It is within reach
Perhaps you have been on it since you were born and did not know.
Walt Whitman, Song of Myself 46
What art have you made that sings a song of self? This self can be an extension of you, someone else or the artwork itself. Where I will be? What does my current art say about where I will be? What roads have I traveled to get THERE?