https://tngarchive.cargo.site TNGarchive Sat, 16 Mar 2024 22:40:46 +0000 https://tngarchive.cargo.site en https://tngarchive.cargo.site/Offsite Sat, 16 Mar 2024 22:39:54 +0000 TNGarchive https://tngarchive.cargo.site/Offsite OFFSITE / ︎Offsite Projects Archive https://tngarchive.cargo.site/Offsite-Archive Sat, 16 Mar 2024 22:39:55 +0000 TNGarchive https://tngarchive.cargo.site/Offsite-Archive OFFSITE ARCHIVE / https://tngarchive.cargo.site/The-Next-Generation-1 Sat, 16 Mar 2024 22:39:59 +0000 TNGarchive https://tngarchive.cargo.site/The-Next-Generation-1 <img width="2802" height="954" width_o="2802" height_o="954" data-src="https://freight.cargo.site/t/original/i/277d78a1d28fad2a182aa1b6f3748dc049a1ef4a8deed750935a853bbf49b3f2/Screen-Shot-2022-11-16-at-5.17.51-PM.png" data-mid="206943793" border="0" src="https://freight.cargo.site/w/1000/i/277d78a1d28fad2a182aa1b6f3748dc049a1ef4a8deed750935a853bbf49b3f2/Screen-Shot-2022-11-16-at-5.17.51-PM.png" /> The New Gallery (TNG) is pleased to announce The Next Generation. The Next Generation is a new umbrella of programming at TNG designed for emerging artists. Our staff members, all of whom are emerging artists themselves, will be curating and programming different events, artworks, tools, and more, designed at developing stronger community spaces and resources for emerging artists.&nbsp; Emerging Artist Studio VisitsAs part of this programming, TNG is seeking to expand our network of emerging artists in order to better understand how to meaningfully create opportunities and programming centring emerging/ early career artists. We are able to pay emerging artists $50 for a 45 minute studio visit with TNG’s team. If you’re a self-defined early-career artist and you’re interested in meeting with the team, fill out the google form below, and someone will be in touch to schedule! Our team is mindful of the fact that artists begin their practice from many different circumstances - emerging/ early-career is a definition that is flexible, and personal to you. If you feel like you'd benefit from the resources and programming we are offering, and want to create a connection with the team and introduce yourself, please reach out!If you have any thoughts, questions or concerns, please email Alexa@TheNewGallery.org Thank you to all who applied for studio visits! We are temporarily closing the call for applicants while we meet with current applicants! Emerging Artist Resource ToolkitTips, tricks and resources crowd sourced and shared for emerging artists, all accessible through our website. <img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/deeb416e09d72d1db0780a82f66fa625edc36296d71ed96496f7bf5aad3a955f/TNG-Resource-Toolkit.png" data-mid="206943795" border="0" data-scale="81" alt="Emerging Artist Resource Tookit" data-caption="Emerging Artist Resource Tookit" src="https://freight.cargo.site/w/1000/i/deeb416e09d72d1db0780a82f66fa625edc36296d71ed96496f7bf5aad3a955f/TNG-Resource-Toolkit.png" />︎ Film ScreeningGrab a seat and some popcorn at Bú Vintage in Chinatown to watch some films by emerging video artists and revel in newfound perspectives. <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/6c319b03af8d17b9fc3cab8a3b78a2af060b94314d8ebe72f4520bbf2e9da531/Transformation-Screening.gif" data-mid="206943796" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/6c319b03af8d17b9fc3cab8a3b78a2af060b94314d8ebe72f4520bbf2e9da531/Transformation-Screening.gif" /> July 21st @ Bü Vintage110 3 Ave SE, Calgary, AB T2G 0B6 7PM-9PM play + practice gatheringsA space for play and practice! Periodic casual gatherings held in The New Gallery Resource Centre for crafting, connection to community and peer mentorship. Coming Soon! https://tngarchive.cargo.site/Free-Tote-Bags Sat, 16 Mar 2024 22:40:07 +0000 TNGarchive https://tngarchive.cargo.site/Free-Tote-Bags <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/80ad1a38c08a4074bc400e8df8d5482464396decd2162ce143fa3205285d172a/wrywwtotebag.jpg" data-mid="206943799" border="0" data-scale="58" src="https://freight.cargo.site/w/1000/i/80ad1a38c08a4074bc400e8df8d5482464396decd2162ce143fa3205285d172a/wrywwtotebag.jpg" /> In 2021 Qian Cheng created a project for The New Gallery’s Billboard 208 space in consultation with the Calgary Chinatown Business Improvement Area. The project was a response to the global COVID19 pandemic and its adverse effects on the socio-political and economic sectors experienced within the Chinese diasporic community in Calgary Chinatown.Part of this project was to encourage folks to support local Chinatown businesses by leaving positive reviews on Google, Yelp or other review platforms in exchange for a free “What are your weekend plans?” tote bag! The New Gallery still has a bunch of tote bags and we want to encourage folks to continue to support local Chinatown businesses! This support can be demonstrated in several ways: you can leave positive reviews on Google, Yelp, etc; share photos of your purchase or the business storefront with the hashtag #YYCChinatownWeekend; or DM photos to The New Gallery’s Instagram! Be sure to tag @calgarychinatown and @the_new_gallery in your stories and posts. You can find a comprehensive list of Calgary Chinatown businesses here. Show any of the TNG staff proof of your positive review or promotion of a local Chinatown business to recieve a free tote bag! :)&nbsp; Read more about “What are your weekend plans? 你的周末计划是什么？” by Qian Cheng ︎Here https://tngarchive.cargo.site/Art-Futures Sat, 16 Mar 2024 22:40:12 +0000 TNGarchive https://tngarchive.cargo.site/Art-Futures &nbsp; &nbsp; &nbsp; &nbsp; ART FUTURES /︎︎︎ Back <img width="300" height="300" width_o="300" height_o="300" data-src="https://freight.cargo.site/t/original/i/981b5c15ccb644eb489b74a8fdf5288a819ccebeb89761418a4ec8bc110e9286/Art-Futures-300x300.jpeg" data-mid="206943838" border="0" src="https://freight.cargo.site/w/300/i/981b5c15ccb644eb489b74a8fdf5288a819ccebeb89761418a4ec8bc110e9286/Art-Futures-300x300.jpeg" /> art futures: interdisciplinarity and multi-species cooperation as anti-oppression strategies for the anthropocene Jennifer Brant &amp; Jennifer Ireland The New Gallery (TNG) is pleased to present art futures, an ongoing podcast series by Main Frame &amp; Main Space exhibitors, Jennifer Brant &amp; Jennifer Ireland. Description In this podcast, Jennifer Brant and Jennifer Ireland talk art, art theory, art criticism, art love, with each other, and with other artists. While focusing on research, events, and ideas that are influencing conversations in our arts communities, artists Brant and Ireland reach outward to bring in interdisciplinary perspectives that range from the sciences to science fiction. Brant and Ireland’s exhibition in the long grass like the ocean, where the ocean used to be is on view at The New Gallery’s Main Frame indefinitely. Episode 1: Relationships with Land, Part 1 with Jennifer Brant and Jennifer Ireland The New Gallery · art futures: Relationships with Land, Part 1Episode 2: Relationships with Land, Part 2 with Jennifer Brant, Jennifer Ireland, and Mehran Modares-SadeghiThe New Gallery · art futures: Relationships with Land, Part 2 Episode 3: Relationships with Land, Part 3 with Jennifer Brant and Jennifer Ireland The New Gallery · art futures: Relationships with Land, Part 3 Biographies / Jennifer Brant is an interdisciplinary artist whose emergent research and material-based practice tries to concurrently experience, facilitate, and chronicle interactions with both the human and more-than-human world. She explores systems and relationships, marginalized spaces, complicated emotional states, and futurity. Using installations and interventions, field studies, textile practices, ceramics, writing, and drawing, she encourages and documents moments that bring an awareness of interconnection and kinship, gently interrupt passivity, and cultivate alternative narratives to our current mythologies of progress and nature. Born and raised on the West Coast, an uninvited guest on the stolen territories of the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh&nbsp; (Squamish) and səl̓ílwətaʔɬ /Selilwitulh (Tslei-wa-tuth) people, as well as on the territory of the Tla-amin people, she divides her time between Vancouver and xʷɛʔɛt̓ay (Lasqueti Island), a small island off the grid. Brant holds a BFA and MFA from Emily Carr University of Art + Design and a BEd from the University of British Columbia. Jennifer Ireland is a multimedia artist working to reconfigure ways of knowing and ways of being in land through the questioning of traditional epistemologies and abstract boundaries.&nbsp; Ireland strives to make work that is mindful of situation, site, context, and access.&nbsp; This ethic is found in her work through specific materials and methods which are often light, sustainable and provisional.&nbsp; Ireland’s multi-medium, research-based practice ranges from drawing, photography, video, and sculpture, to site-sensitive installation and performance.&nbsp; Each artwork is made as a proposition that operates simultaneously as suggestion and possibility for de-colonial wayfinding in the Anthropocene. As a Treaty 7 person, Ireland’s home is in Mohkinstsis/Calgary, Alberta, in the foothills between the prairies and the Rocky Mountains, the traditional lands of the Blackfoot Confederacy: Kainai, Piikani, Siksika, the Tsuu T’ina, and Îyâxe Nakoda Nations and the peoples of the Métis Nation (Region 3).&nbsp; Ireland holds a BA in Philosophy from the University of Calgary, studied drawing and sculpture at Alberta University of the Arts, and recently graduated from the 2018 Masters of Fine Arts at Emily Carr University of Art + Design. Mehran Modarres-Sadeghi is a visual artist based in Vancouver, BC. Originally from Isfahan, Iran, she immigrated to Canada 20 years ago where she has received an MFA in Visual Arts from Emily Carr University of Art + Design (2017) and a BFA from University of British Columbia (2007). Her recent practice is mostly engaged with drawing and sculpture, although she has worked in a variety of media such as photography, painting, and installation. Modarres-Sadeghi has exhibited her work at several art galleries in British Columbia, including group exhibitions at the Cityscape Community Art Space, Surrey Art Gallery, Concourse Gallery (ECU), as part of MFA Interim exhibition, Charles H. Scott Gallery (ECU), as part of MFA graduate exhibition, and most notably Centre A, as part of a group exhibition, Spring Exhibition, in spring 2017. Modarres-Sadeghi’s last exhibition was a solo exhibition at the Doris Crowston Gallery (at the Sunshine Coast Arts Council) in Sechelt, BC, in spring 2020. Modarres-Sadeghi’s next exhibition is a solo exhibition at Gallery 1515 in Vancouver, BC, in fall 2020. Territorial Acknowledgments / TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Métis Nation of Alberta Region III, Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), and Tsuu T’ina First Nation. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations. The online programming was generously funded by the Rozsa Foundation and the Calgary Foundation. <img width="200" height="117" width_o="200" height_o="117" data-src="https://freight.cargo.site/t/original/i/fa73f63b6ca3f8095c6eee6a647ef201f4a52b2a93b41803f102eb4427982d26/5-RF-Logo-colour-png-copy.jpg" data-mid="206943840" border="0" src="https://freight.cargo.site/w/200/i/fa73f63b6ca3f8095c6eee6a647ef201f4a52b2a93b41803f102eb4427982d26/5-RF-Logo-colour-png-copy.jpg" /><img width="300" height="100" width_o="300" height_o="100" data-src="https://freight.cargo.site/t/original/i/dc9155b3d2093a00d9dceb24e70ff87ec1ab84aa9368adbf681c75515f922535/calgary-foundation-logo-LARGER-tagline-RGB-300x100.jpg" data-mid="206943841" border="0" src="https://freight.cargo.site/w/300/i/dc9155b3d2093a00d9dceb24e70ff87ec1ab84aa9368adbf681c75515f922535/calgary-foundation-logo-LARGER-tagline-RGB-300x100.jpg" /> https://tngarchive.cargo.site/Lemon-Chicken-Association Sat, 16 Mar 2024 22:40:17 +0000 TNGarchive https://tngarchive.cargo.site/Lemon-Chicken-Association &nbsp; &nbsp; &nbsp; &nbsp; LEMON CHICKEN ASSOCIATION / ︎︎︎ Back <img width="2100" height="3000" width_o="2100" height_o="3000" data-src="https://freight.cargo.site/t/original/i/c3f8bb54157f7487e2a75aa37c81e6301d4e0f06002054602b0a3b331e7d2c02/Lemon_Chicken_Association.jpg" data-mid="206943843" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/c3f8bb54157f7487e2a75aa37c81e6301d4e0f06002054602b0a3b331e7d2c02/Lemon_Chicken_Association.jpg" /> ︎PDF The New Gallery and I &lt;3 YYC Chinatown are thrilled to present a collaborative publication by the Lemon Chicken Association. This publication is the result of a project that brought together six multigenerational Calgary-based writers (Ben HF Tsui, Calvin D. Jim, Helen Hu, Steph Wong Ken, Teresa Tam, and Yi Yang) to build a community of practice over several months in 2019. This group of writers experienced various aspects of Calgary Chinatown, meeting community members, sharing meals and stories, and reflecting on their own relationships to this community. Their time together resulted in each writer developing one new work in response to their experiences. The publication features each text in English, Simplified Chinese, and Traditional Chinese, and was designed in-house! Design by Nivedita IyerTranslation by Henry Heng LuContributions from Brittany Nickerson, Su Ying Strang &amp; Christina Dongqi Yao The New Gallery and I &lt;3 YYC Chinatown would like to thank the Calgary Foundation for their support of this collaborative publication project. Calling themselves the Lemon Chicken Association, here are the six contributing writers: Born as a proud British subject in regal Hong Kong during the sixties, Ben HF Tsui and his family immigrated to the Canadian Prairies at an early age. He grew up as a lifelong fixture around Calgary by participating in and witnessing Chinatown’s encompassing evolution since the mid-1970s.&nbsp;He graduated with a Bachelor of Fine Arts in theatre designs from the University of Calgary, and an arts certificate from the Southern Alberta Institute of Technology in writing and producing for television. Ben has been accredited on many productions in the local, national and international entertainment industry. Since the late 1990s to present, he has continued to serve as an educator and AV support technician for our city’s tech college community. A Prix-Aurora Award nominated author of the short story “Rose’s Armand” and co-editor of Shanghai Steam, Calvin D. Jim&nbsp;is a Calgary lawyer-turned-author whose Asian-inspired stories have appeared in numerous anthologies and publications. A self-proclaimed geek, he managed to wrangle his wife and two sons into board games and Karate (not necessarily in that order, and not without injury). His latest stories can be found in the anthologies Where the Stars Rise: Asian Science Fiction and Fantasy, Enigma Front: Onward and the upcoming Blue Rose Stories Anthology. Helen Hu is an arts writer, originally from Toronto and now based in Calgary. She studied Art History at Queen’s University. Her research focuses on the transfer of Palladianism throughout North America, as well as exploring the individual characteristics of Chinatowns throughout the world. She has a passion for making art accessible to the public by drawing real life connections to architectural spaces through the written and spoken word. Raised in Florida, Steph Wong Ken is a writer currently based in Calgary (Mohkínstsis). Her writing has appeared in Catapult, Joyland, Pithead Chapel, Moss, and other publications. She is the recipient of the 2016 Cosmonauts Avenue Fiction Prize, as well as the 2019 Ninth Letter Literary Fiction Prize. Find more of her work at stephwongken.com. Teresa Tam is a practicing artist based in Calgary, graduating from ACAD in 2014. Teresa’s practice utilizes familiar spaces and experiences and alter them into something foreign through re-interpreting and re-creating. Her projects are developed to include and emphasize visitor interactions. She specializes in digital platforms, functional installations and body-based exchanges. She recently exhibited with Stride Gallery and M:ST Performative Art. Yi Yang immigrated with her family to Canada at 4 years old from Guangdong, China. She can speak, at varying levels, Cantonese, Mandarin, Kaipingnese, and English. Presently, she works as a Canadian immigration consultant; where she and her team works to prepare and guide newcomers in their process of immigrating to Canada. She hopes to be able to improve the well-being of the migration experience through her professional and personal work. https://tngarchive.cargo.site/You-ve-Got-Mail-1 Sat, 16 Mar 2024 22:40:21 +0000 TNGarchive https://tngarchive.cargo.site/You-ve-Got-Mail-1 YOU’VE GOT MAIL /<img width="1600" height="400" width_o="1600" height_o="400" data-src="https://freight.cargo.site/t/original/i/6b489a0f7546521cf3ffbc4fae7fe63a98192ed6ce0eb0f281515360de4ea6f6/YGMGoogle-banner.jpg" data-mid="206943844" border="0" src="https://freight.cargo.site/w/1000/i/6b489a0f7546521cf3ffbc4fae7fe63a98192ed6ce0eb0f281515360de4ea6f6/YGMGoogle-banner.jpg" /> The New Gallery (TNG) is thrilled to announce "You've Got Mail", a mail-out program for all of TNG's free publications that have been developed in conjunction with our Main Space and Billboard 208 programming. TNG is excited to announce that these publications will now be available to be mailed to our members for free! We’ve affectionately titled this mail-out program “You Got Mail”. Memberships are $10 CAD or Pay What You Can! You can purchase a membership here: www.canadahelps.org/en/dn/78027 The following publications are currently available:︎ Lan Florence Yee / You Listen Better to Echoes︎ Danielle Piper / ᐊᑯᑳᐧᒋᑲᓂᐢ (akokwâcikanis) - Adorning the Land/Body︎ Lemon Chicken Association︎ Notes From an Artist-Run Archive / Steph Webber︎ SHED | Knowing each other as different and the same / Pam Tzeng and Jordan Baylon All publications are free. If you are a member and would like to have a publication mailed out to you, please email our communications coordinator to fill out the form to receive any (or all!) of the publications listed above. &nbsp;Communications Coordinator: Winona@TheNewGallery.org https://tngarchive.cargo.site/Studio-Visits-101-Winona-Julian Sat, 16 Mar 2024 22:40:27 +0000 TNGarchive https://tngarchive.cargo.site/Studio-Visits-101-Winona-Julian ︎︎︎Back to E.A.R.T.H<img width="690" height="285" width_o="690" height_o="285" data-src="https://freight.cargo.site/t/original/i/523f6e0599f1055825c789a43060c402d65c0afe9ab8062a1eea675e7d705692/titlestudivisits.png" data-mid="206943856" border="0" data-scale="46" alt="Studio Visits 101" data-caption="Studio Visits 101" src="https://freight.cargo.site/w/690/i/523f6e0599f1055825c789a43060c402d65c0afe9ab8062a1eea675e7d705692/titlestudivisits.png" /> a studio visit how-to for artists by Winona JulianThere is no right or wrong way to have a studio visit, but if you’ve never had one before, or if you’re unsure about it, here are a few things to think about! <img width="1200" height="600" width_o="1200" height_o="600" data-src="https://freight.cargo.site/t/original/i/65375f4c13bb2598bd9a0d52b6b0e83b2b2e79e09aaed90753ea5f74e9de61e4/studiovisitdesigns2.png" data-mid="206943846" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/65375f4c13bb2598bd9a0d52b6b0e83b2b2e79e09aaed90753ea5f74e9de61e4/studiovisitdesigns2.png" /> WHEN should I plan a studio visit? You feel like sharing something you’ve been working onYou’re feeling unsure and need a second opinionYou want to practice talking about your artworkYou need new inspirationYou want guidance on a research topicYou’re experiencing artist block, and don’t know where to go from here <img width="1200" height="600" width_o="1200" height_o="600" data-src="https://freight.cargo.site/t/original/i/5d760ea2478b8dc7b04c76573615c3a3b9dcad7d2d8d36dcf6275f1ac4d7c213/studiovisitdesigns3.png" data-mid="206943847" border="0" data-scale="68" src="https://freight.cargo.site/w/1000/i/5d760ea2478b8dc7b04c76573615c3a3b9dcad7d2d8d36dcf6275f1ac4d7c213/studiovisitdesigns3.png" /> WHO should I plan a studio visit with? A mentor or artist that you admireA friend who will push you to think furtherA professional in the topic you’re studyingA community member who will provide you with contextA family member who would like to learn more about your artwork <img width="1200" height="600" width_o="1200" height_o="600" data-src="https://freight.cargo.site/t/original/i/e918ee4f6c0a90ac7f01bd1e2ed04a49d3b101b345e0a3a84361c24817ea6bb8/studiovisitdesigns4.png" data-mid="206943848" border="0" data-scale="67" src="https://freight.cargo.site/w/1000/i/e918ee4f6c0a90ac7f01bd1e2ed04a49d3b101b345e0a3a84361c24817ea6bb8/studiovisitdesigns4.png" /> HOW should I plan a studio visit? Be respectful of the other person’s time and energyConsider which avenue of communication works best for you both and is most appropriateGive context as to why you chose them to have a studio visit with youTell them if there is any specific feedback you desireFind a time that works best for both of youConsider their accessibility: How will they be getting to your meeting? Do they require any extra information or accommodations? <img width="1200" height="600" width_o="1200" height_o="600" data-src="https://freight.cargo.site/t/original/i/5ed594d2d277c991c8369ec72fad468bf9da194e7331d3f662c166eaa69a3fe2/studiovisitdesigns5.png" data-mid="206943849" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/5ed594d2d277c991c8369ec72fad468bf9da194e7331d3f662c166eaa69a3fe2/studiovisitdesigns5.png" /> WHERE should I have a studio visit? Your studio ;)If you work in a shared studio, be mindful of your studio mates schedulesA place that is relevant to your art practiceOnline through Zoom, Skype, Google Meets, etc.A neutral place like a library or a coffee shopAnywhere you’d like, as long as you and your studio visitor are comfortable <img width="1200" height="600" width_o="1200" height_o="600" data-src="https://freight.cargo.site/t/original/i/194d5ff70e0ad4133cde55a5022466f80a7f7a079aea29f218bdaf51ed8bfc28/studiovisitdesigns6.png" data-mid="206943850" border="0" data-scale="71" src="https://freight.cargo.site/w/1000/i/194d5ff70e0ad4133cde55a5022466f80a7f7a079aea29f218bdaf51ed8bfc28/studiovisitdesigns6.png" />What should I prepare? Whether you're acquainted with your studio visitor or not, it’s helpful to send them some reference materials beforehand, whether it be a small portfolio or a link to your website, or even just explaining what type of work you’ll be discussing.Remember: This is your time! You can guide the conversation and get down to what you really would like to discuss! Choosing specific artworks to discuss or ideas beforehand will help you stay on track.Be prepared to answer questions, but also be prepared to ask questions. If you’re struggling with a specific idea or unsure about a research question, you can guide the discussion further and really get something helpful out of it.Be prepared to receive criticism and constructive feedback without being defensive; it will help you move forward and grow into new areas! Look forward to fresh perspectives.If you’re hosting the studio visit, be prepared to have someone enter your space. You can set the stage for your studio visit.It’s helpful to have a computer or something that lets you look up references quickly if the discussion requires it or if you would like to show something online to your studio visitor.<img width="1200" height="600" width_o="1200" height_o="600" data-src="https://freight.cargo.site/t/original/i/7d330c15e94e8b38d701b97d4c423c5ec399e52a4a440d48f0cb8c7abc3c6729/studiovisitdesigns7.png" data-mid="206943851" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/7d330c15e94e8b38d701b97d4c423c5ec399e52a4a440d48f0cb8c7abc3c6729/studiovisitdesigns7.png" />What’s the vibe? Some studio visits can be super casual and others can be more professional: Did you ask someone to do a studio visit with you? Then you can set the tone based on your relationship with the studio visitor and the type of conversations you would like to have.Did someone else ask you for a studio visit? If you can’t determine if the studio visit will be casual or professional based on who has asked you, you are always allowed to ask:&nbsp;Will this studio visit be more casual or more professional? Is there anything specific about my art practice that you would like to discuss?Is there an underlying purpose for this studio visit?<img width="1200" height="600" width_o="1200" height_o="600" data-src="https://freight.cargo.site/t/original/i/dd5a713afeb51d38e53700144fceb7d0b8fc804ef16e17c10e1a71332abf0610/studiovisitdesigns8.png" data-mid="206943853" border="0" data-scale="73" src="https://freight.cargo.site/w/1000/i/dd5a713afeb51d38e53700144fceb7d0b8fc804ef16e17c10e1a71332abf0610/studiovisitdesigns8.png" />What should I talk about? The conceptual ideas behind your artworkResearch topics you are interested inYour chosen medium/materialsYour artistic processWhat inspires you? Things you are experimenting withArtwork you want to create in the future Artists who have done similar artworkThe context behind your artworkWhere you would like to exhibit your artwork <img width="1200" height="600" width_o="1200" height_o="600" data-src="https://freight.cargo.site/t/original/i/e4da0a84164f81ca640d0402a3e89f9a4d887ecf0c40a6a2dae293b06c4ac294/studiovisitdesigns9.png" data-mid="206943854" border="0" data-scale="68" src="https://freight.cargo.site/w/1000/i/e4da0a84164f81ca640d0402a3e89f9a4d887ecf0c40a6a2dae293b06c4ac294/studiovisitdesigns9.png" />All in all, studio visits are a great tool to get some outside perspective on your artistic practice. You may learn about&nbsp; new artists, ideas, or inspirations that end up influencing your own artistic practice. You may learn something new that solves a problem you have been pondering and can’t seem to solve by yourself. You may identify a new concept or idea within your artistic practice that you had never considered before. Studio visits don’t have to be nerve wracking like a job interview or a test, they can be beneficial to both the visitor and the visitee! :) With this in mind, have fun studio visiting! https://tngarchive.cargo.site/Thoughts-On-Rejection-Holly-Chang Sat, 16 Mar 2024 22:40:38 +0000 TNGarchive https://tngarchive.cargo.site/Thoughts-On-Rejection-Holly-Chang ︎︎︎Back to E.A.R.T.H Thoughts on... R E J E C T I O N by Holly Chang Rejection is a hard pill to swallow. I like to tell people I get my feelings hurt “professionally.” Because when it comes to being an artist, sometimes it feels like rejection is hiding around every corner. I started to track my rejections last year and it really put things into perspective. I had never tracked what I was applying to before and to be honest it felt bleak. In 2022, I applied to 77 opportunities which included exhibitions, grants, artist residencies, jobs, prizes, and curatorial opportunities — you name it, I applied. And of those 77 applications, I only received 11 of those opportunities. That means I have a 14% success rate and had 66 rejections. That’s more than one rejection per week. Now, I want to preface this by saying that I am a bit unusual and apply to more applications than most people. I think that has a lot to do with the nature of my work which is freelance. Sometimes I found myself with more time during the month because I was between contracts so I would be applying to 15 plus things. Other months, I would struggle to put in one application or even finish. So, I don’t think that I am the greatest role model for the sheer bulk of applications I am putting out there. <img width="900" height="900" width_o="900" height_o="900" data-src="https://freight.cargo.site/t/original/i/2f6941c121355ce368890dda26e3fee85e6f2f6c3cc1eb9a9c1f2cdbef42fce6/ON-REJECTIONrejection.gif" data-mid="206943860" border="0" src="https://freight.cargo.site/w/900/i/2f6941c121355ce368890dda26e3fee85e6f2f6c3cc1eb9a9c1f2cdbef42fce6/ON-REJECTIONrejection.gif" /> <img width="900" height="900" width_o="900" height_o="900" data-src="https://freight.cargo.site/t/original/i/6edc230d3cd2d4583055cf4e56050e8e0c0ffaa35c426e2c5332eb07bb80604e/ON-REJECTION.gif" data-mid="206943857" border="0" data-scale="100" src="https://freight.cargo.site/w/900/i/6edc230d3cd2d4583055cf4e56050e8e0c0ffaa35c426e2c5332eb07bb80604e/ON-REJECTION.gif" /> I believe because of how much I get told “no”, I’ve learned a lot and want to share my thoughts and insight here. Of course, this is solely from my own experiences and perspectives so maybe this will be useful to you or not at all. I would say right from the top that applying yourself and putting yourself out there is never a waste of time. Rejection can feel aimless, but I want to share examples from my life to illuminate things you may have not considered before. In 2019, I started to curate exhibitions and work with other artists, and this is when the Middlebrook Prize came into my consciousness. The prize is given to one Canadian curator under the age of 30 to curate an exhibition at the Art Gallery of Guelph and this opportunity really appealed to me. So, I decided to apply for the first time in 2020. With that application, though, I was met with a rejection email. I thought to myself: “It’s my first time applying, of course I wouldn’t get it on the first try.” So, I tried again in 2021. Again, another rejection. 2022 rolled around and I tried again. Rejected. At this point, I was feeling disgruntled. The application process is long - it takes time. I’m talking letter of intent, exhibition proposal, outreach programming, budget, writing samples, proposed layout, possible artists, and support materials. After the first year, the application became a bit easier because I had all these materials already prepared. But I was still spending a lot of time tweaking the exhibition every year. In 2023, I applied again for the fourth time, and I was amazed to find out that I had received the prize. I had tried for so long and I had finally done it. After being rejected every year for 4 years, I got it. Upon the acceptance of this award, I reflected on all those years I had tried and failed. The process of applying taught me so much. Every time I would put in a new application, I would resubmit with a new understanding of the process. My new submission was better because of my growth as an artist over the course of the year. I would try to not let the rejection paralyze my growth/artistry, accept it as part of the process and learn from it as I moved on. I have changed so much over 4 years, and I felt the timing of this award was much more aligned with my career and understanding of curation. This was something that I really wanted so I was prepared to apply every year until I turned 30 which is the cut-off. In my reflection, I realized that the secret of all of this was asking for help. After the first two rejections, I looked at who was receiving this award and what they were doing, and I decided to reach out to one of the previous winners. And that winner provided me with knowledge, perspective, and an approach I had never considered beforehand. Asking for help really changed my trajectory and I think that was a huge contributing factor in my success. <img width="900" height="900" width_o="900" height_o="900" data-src="https://freight.cargo.site/t/original/i/6f28ee405ba715d7a07c48e5110da80907a4af18f3f6198e61c4bb0f19dec094/ON-REJECTIONtrashcan.gif" data-mid="206943858" border="0" data-scale="100" src="https://freight.cargo.site/w/900/i/6f28ee405ba715d7a07c48e5110da80907a4af18f3f6198e61c4bb0f19dec094/ON-REJECTIONtrashcan.gif" /> <img width="900" height="900" width_o="900" height_o="900" data-src="https://freight.cargo.site/t/original/i/ba9428fac29fbd0e4647b07b874d6d401ca338af5278398f27e03657913b1e78/ON-REJECTIOnplinko.gif" data-mid="206943861" border="0" src="https://freight.cargo.site/w/900/i/ba9428fac29fbd0e4647b07b874d6d401ca338af5278398f27e03657913b1e78/ON-REJECTIOnplinko.gif" /> Another takeaway from this experience is that opportunities usually come back around. There is no harm in applying again next year. You take all your experiences and knowledge the subsequent months and take another stab at it. And if it’s something you really want, you keep trying until you get it. But this is easier said than done. Speaking candidly, rejection is something that can be so embarrassing to talk about or even admit. The way society is shaped has led us to believe that when we're rejected, it's associated with failure. That something we have done is wrong or at fault. I don’t think that this is the case at all for rejection. Rejection as an artist/arts worker is so fundamentally part of our process. It is woven into the fabric of what we do every single day. Sometimes the difference between rejection and acceptance is marginal and the jury will be splitting hairs. I’ve heard so many stories of juries struggling to pick between one person and another. This is another example of how rejection is not a reflection of your skill, talent, or artistic merit. Sometimes there is only one space, one opportunity, and it might truly be innocuous. You, like I at times, were simply not the person they chose that year. The process of rejection is tedious, and sometimes I feel like I am in a constant state of rejection. It’s become like water off a duck’s back. I think, from all these years of trying and failing, I have thicker skin, but I still have really big feelings and the onslaught of rejection can get to me. I am always reminding myself that what is meant for me is for me — and that rejection is almost never personal. Though, it’s hard to wrap your head around the “it’s not personal” thing because what we do and what we make is so intimate; it comes from us, it is something that we produce from our hearts and minds. I like to remind myself that the work I create is for me, and that if it gets rejected, then that work was just not meant for that opportunity at that time, and I can keep proposing/trying until someone bites. All in all, rejection is hard, I cannot deny that. But for me, my love of the arts is stronger, and rejection has never stopped me from what I want, which is to be an artist/curator and to work/collaborate with others. If you haven’t had your feelings hurt too bad, I would urge you to keep trying and getting your name out there. Rejection is just another opportunity to grow as an artist. <img width="900" height="900" width_o="900" height_o="900" data-src="https://freight.cargo.site/t/original/i/921f14b1cfcc7239f57a81b1a4a7dc76d23f13b7de56fe1bb5d76363d781b277/ON-REJECTIOduck.gif" data-mid="206943862" border="0" src="https://freight.cargo.site/w/900/i/921f14b1cfcc7239f57a81b1a4a7dc76d23f13b7de56fe1bb5d76363d781b277/ON-REJECTIOduck.gif" /> TO RECAP: 1. Applying to opportunities is never a waste of time – it can always be turned into a learning experience and something to grow from. 2. Try not to let the rejection paralyze your growth – it should be accepted as part of the artistic process. 3. Look at who is receiving these opportunities – did this residency pick 8 painters to be in the cohort but you are a photographer? Looking on social media or websites for arts organizations when they announce who received the opportunity might illuminate something to you about your rejection and possibly how you could tweak your application next time. 4. Ask for help when you need it! Most of us are in the same boat, it never hurts to ask peers and friends for help with applications because ultimately, we are all in the same boat. 5. Opportunities come back around – a “no” this year might be a yes next year or the year following. 6. Rejection is not a reflection of your skill, talent, or artistic merit – your favorite artists also get told no. Just because something is rejected does not mean it wasn’t good or even amazing. 7. What is meant for me is for me – sometimes things get rejected and other opportunities come up instead. Something bigger could be waiting for you. 8. Rejection is almost never personal – it is hard to not take things personally, but a rejection is not a criticism of who you are as a person. 9. Keep proposing it until someone bites – keep adapting your idea and passing it to different opportunities and eventually something will happen. 10. Rejection is just another opportunity to grow as an artist – rejection is part of the process and something to embrace. Animated gifs by Winona Julian https://tngarchive.cargo.site/MOLD-MAKIN-Liam-Black Sat, 16 Mar 2024 22:40:46 +0000 TNGarchive https://tngarchive.cargo.site/MOLD-MAKIN-Liam-Black ︎︎︎Back to E.A.R.T.H <img width="2750" height="2750" width_o="2750" height_o="2750" data-src="https://freight.cargo.site/t/original/i/08b04a282928f29d487a462363feb0004b6ed081c86db49945c41cb8c986f32b/LB_0000_Layer-1.png" data-mid="206943864" border="0" data-scale="100" alt="MOLD MAKIN' YO WE'RE GONNA MAKE A MOLD TODAY BY THE RIVER COOL? YOU DON'T HAVE TO DO IT AT A RIVER BUT I DID AND YOU SHOULD TOO. POINT IS TO MAKE A MOLD OUTSIDE OF SOMETHING YOU FIND AND LOVE WITHOUT REMOVING IT FROM ITS ENVIRONMENT. DO YOUR BEST TO FIND AN OBJECT YOU CONNECT WITH. GATHER THESE CHEAP ITEMS AND GO ON A WALK. REQUIRED MATERIALS SILICONE CAULKING You seriously want 100% silicone caulking, no fast cure, no fancy bullsh**. I highly recommend the kind pictured below. BLUE DISH SOAP AND WATER MIXTURE 1:16 OR 4 OZ TO 64OZ The more dish soap you put into the solution the faster the silicone will cure within the mixture. VESSEL FOR DISH SOAP AND WATER. I used a water bottle, washes your bottle real nice and is easy to transport. DISH TO LAY MOLD UPON I used a glass tupperware container with a plastic lid, the lid can be used as a plate for your mold once your silicone is ready OPTIONAL MATERIALS SILICONE CAULKING GUN * you can cut your caulking gun open with a knife and scoop the insides out if you don't have a caulking gun or don't want to purchase one. just be careful. KNIFE or PIPE CUTTER * if you don't have a caulking gun and cannot use it to open your silicone / penetrate the seal within then use a knife to cut it open / cut the tip off. When i can, i use a pipe cutter to chop my silicone tube open, much safer for my fingers and yours too probably. VASELINE *Vaseline is a cheap and accessible mould release if you're working with a porous object or surface. I used it in this instance and usually recommend using it, makes your skin soft too." data-caption="MOLD MAKIN' YO WE'RE GONNA MAKE A MOLD TODAY BY THE RIVER COOL? YOU DON'T HAVE TO DO IT AT A RIVER BUT I DID AND YOU SHOULD TOO. POINT IS TO MAKE A MOLD OUTSIDE OF SOMETHING YOU FIND AND LOVE WITHOUT REMOVING IT FROM ITS ENVIRONMENT. DO YOUR BEST TO FIND AN OBJECT YOU CONNECT WITH. GATHER THESE CHEAP ITEMS AND GO ON A WALK. REQUIRED MATERIALS SILICONE CAULKING You seriously want 100% silicone caulking, no fast cure, no fancy bullsh**. I highly recommend the kind pictured below. BLUE DISH SOAP AND WATER MIXTURE 1:16 OR 4 OZ TO 64OZ The more dish soap you put into the solution the faster the silicone will cure within the mixture. VESSEL FOR DISH SOAP AND WATER. I used a water bottle, washes your bottle real nice and is easy to transport. DISH TO LAY MOLD UPON I used a glass tupperware container with a plastic lid, the lid can be used as a plate for your mold once your silicone is ready OPTIONAL MATERIALS SILICONE CAULKING GUN * you can cut your caulking gun open with a knife and scoop the insides out if you don't have a caulking gun or don't want to purchase one. just be careful. KNIFE or PIPE CUTTER * if you don't have a caulking gun and cannot use it to open your silicone / penetrate the seal within then use a knife to cut it open / cut the tip off. When i can, i use a pipe cutter to chop my silicone tube open, much safer for my fingers and yours too probably. VASELINE *Vaseline is a cheap and accessible mould release if you're working with a porous object or surface. I used it in this instance and usually recommend using it, makes your skin soft too." src="https://freight.cargo.site/w/1000/i/08b04a282928f29d487a462363feb0004b6ed081c86db49945c41cb8c986f32b/LB_0000_Layer-1.png" /> <img width="2750" height="2750" width_o="2750" height_o="2750" data-src="https://freight.cargo.site/t/original/i/7c842fb656492399ea664a56597fa57887b7103764d6b0d375bb76249a2962a5/LB_0000_Layer-2.png" data-mid="206943865" border="0" alt="Here is everything i brought, it all fits in a bag. Unpack your junk and start looking for an object to behold, Here is the stick and stone I chose." data-caption="Here is everything i brought, it all fits in a bag. Unpack your junk and start looking for an object to behold, Here is the stick and stone I chose." src="https://freight.cargo.site/w/1000/i/7c842fb656492399ea664a56597fa57887b7103764d6b0d375bb76249a2962a5/LB_0000_Layer-2.png" /><img width="2750" height="2750" width_o="2750" height_o="2750" data-src="https://freight.cargo.site/t/original/i/6d76f7216d307430bcd70d092bbe5fcb9ef21afe457106efb0f03c024004a896/3.png" data-mid="206943871" border="0" alt="* keep in mind silicone sticks to silicone so if your surface is also silicone make sure you use a mold release (like vaseline) to stop it from joining to its surface or itself. 2.5 Choose how you would like your object to be cast, place it on your flat casting surface (lid of container) at this point you can apply Vaseline." data-caption="* keep in mind silicone sticks to silicone so if your surface is also silicone make sure you use a mold release (like vaseline) to stop it from joining to its surface or itself. 2.5 Choose how you would like your object to be cast, place it on your flat casting surface (lid of container) at this point you can apply Vaseline." src="https://freight.cargo.site/w/1000/i/6d76f7216d307430bcd70d092bbe5fcb9ef21afe457106efb0f03c024004a896/3.png" /> <img width="2750" height="2750" width_o="2750" height_o="2750" data-src="https://freight.cargo.site/t/original/i/c1908ad3aeeb1491b52251768a73e4696dbcc17de5470683d6b495cb11ed6950/4.png" data-mid="206943866" border="0" alt="3. Dump your soap and water into your vessel. 3.5 Cut the tip of your silicone off then penetrate the seal within and squirt the contents into your soapy water * I used 2/3rds of a tube for my mold." data-caption="3. Dump your soap and water into your vessel. 3.5 Cut the tip of your silicone off then penetrate the seal within and squirt the contents into your soapy water * I used 2/3rds of a tube for my mold." src="https://freight.cargo.site/w/1000/i/c1908ad3aeeb1491b52251768a73e4696dbcc17de5470683d6b495cb11ed6950/4.png" /> <img width="2750" height="2750" width_o="2750" height_o="2750" data-src="https://freight.cargo.site/t/original/i/a42a5672ec25195465c09bb0fee6b11226be3701bc28452c36d3cc76f0efa8ba/5.png" data-mid="206943867" border="0" alt="4. Knead silicone like dough within the soapy water until it is a sort of soft / hard putty depending on what you're most comfortable working with." data-caption="4. Knead silicone like dough within the soapy water until it is a sort of soft / hard putty depending on what you're most comfortable working with." src="https://freight.cargo.site/w/1000/i/a42a5672ec25195465c09bb0fee6b11226be3701bc28452c36d3cc76f0efa8ba/5.png" /> <img width="2750" height="2750" width_o="2750" height_o="2750" data-src="https://freight.cargo.site/t/original/i/a330f1906e0984f41f4c78a17e5b848a2532719f9ca2c287d7c54be50b37bd4a/6.png" data-mid="206943873" border="0" alt="4.5 It will look something like this. After it's a nice consistency I flatten the silicone into a pancake to make it easier to fold over your positive 5. Place your positive within the kneaded silicone, wrap it and apply light pressure to ensure the silicone is pushed into all the surface details." data-caption="4.5 It will look something like this. After it's a nice consistency I flatten the silicone into a pancake to make it easier to fold over your positive 5. Place your positive within the kneaded silicone, wrap it and apply light pressure to ensure the silicone is pushed into all the surface details." src="https://freight.cargo.site/w/1000/i/a330f1906e0984f41f4c78a17e5b848a2532719f9ca2c287d7c54be50b37bd4a/6.png" /> <img width="2750" height="2750" width_o="2750" height_o="2750" data-src="https://freight.cargo.site/t/original/i/8e26e132e9065bc5323b530aa5b2b1f27a4d08df5e6e3576adb0b6aa0dba1dc4/7.png" data-mid="206943874" border="0" alt=" 5.5 The silicone will take about an hour to fully cure. While you wait for your mold to fully cure you can listen to this playlist I made that should last through the entire cure time." data-caption=" 5.5 The silicone will take about an hour to fully cure. While you wait for your mold to fully cure you can listen to this playlist I made that should last through the entire cure time." src="https://freight.cargo.site/w/1000/i/8e26e132e9065bc5323b530aa5b2b1f27a4d08df5e6e3576adb0b6aa0dba1dc4/7.png" /> <img width="2750" height="2750" width_o="2750" height_o="2750" data-src="https://freight.cargo.site/t/original/i/a823f07bb323f51172acf438690aa7accfa7029b0d8bf56c455f02afb672c6f1/8.png" data-mid="206943875" border="0" alt="(QR CODE), When your mould is fully cured you can use a knife to carefully cut open your mould and retrieve the positive from within, i usually let my mould sit for another day or two before i use it. At this point you can return your positive to where you found it after you've cleaned the silicone and vaseline off of it. I usually use the soap and water solution for this part." data-caption="(QR CODE), When your mould is fully cured you can use a knife to carefully cut open your mould and retrieve the positive from within, i usually let my mould sit for another day or two before i use it. At this point you can return your positive to where you found it after you've cleaned the silicone and vaseline off of it. I usually use the soap and water solution for this part." src="https://freight.cargo.site/w/1000/i/a823f07bb323f51172acf438690aa7accfa7029b0d8bf56c455f02afb672c6f1/8.png" /> <img width="2750" height="2750" width_o="2750" height_o="2750" data-src="https://freight.cargo.site/t/original/i/c7a34676ec8b893ec58dae2f6cf82441958176b5d1240e3e2f307e96053105f6/9.png" data-mid="206943868" border="0" alt="Silicone is excellent at capturing detail so I recommend a highly viscous material to be poured into your mold, I used a smooth cast 300 solution you can purchase from Smooth-On, if you are located in Mohkinstsis/Calgary you can purchase most of Smooth-Ons main line products from Industrial Paints and Plastics or directly from another distributor. You can also try a paraffin wax which is safe to use at home with the proper PPE (Heat Resistant gloves, ventilated area) and dedicated pots or pans." data-caption="Silicone is excellent at capturing detail so I recommend a highly viscous material to be poured into your mold, I used a smooth cast 300 solution you can purchase from Smooth-On, if you are located in Mohkinstsis/Calgary you can purchase most of Smooth-Ons main line products from Industrial Paints and Plastics or directly from another distributor. You can also try a paraffin wax which is safe to use at home with the proper PPE (Heat Resistant gloves, ventilated area) and dedicated pots or pans." src="https://freight.cargo.site/w/1000/i/c7a34676ec8b893ec58dae2f6cf82441958176b5d1240e3e2f307e96053105f6/9.png" /> <img width="2750" height="2750" width_o="2750" height_o="2750" data-src="https://freight.cargo.site/t/original/i/b0827155173900e044325e270d36d6433ba7a5a8e284f7e9314675bbf643f9ef/10.png" data-mid="206943876" border="0" alt="If you have any questions or inquiries about this process or what kinds of materials you can use with your mold please email me @ LJBLACK@SHAW.CA Or DM me on insta @okiedokiehaha i'll do my best to respond in a timely manner. Liam J. Black (he/him) is a visual artist based in Treaty 7 Territory (Mohkinstis/Calgary, Alberta). He completed his BFA at Alberta University of the Arts (2021) with a major in Painting and a minor in Printmaking. His work explores slowness :)" data-caption="If you have any questions or inquiries about this process or what kinds of materials you can use with your mold please email me @ LJBLACK@SHAW.CA Or DM me on insta @okiedokiehaha i'll do my best to respond in a timely manner. Liam J. Black (he/him) is a visual artist based in Treaty 7 Territory (Mohkinstis/Calgary, Alberta). He completed his BFA at Alberta University of the Arts (2021) with a major in Painting and a minor in Printmaking. His work explores slowness :)" src="https://freight.cargo.site/w/1000/i/b0827155173900e044325e270d36d6433ba7a5a8e284f7e9314675bbf643f9ef/10.png" />