"Submission Fee No. 112"

"Submission Fee No. 112" 4.5" x 3.75" Woodcut Edition of 5 Pay what you want by May 3

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT: 

Institution:  Dallas Metro Arts Contemporary
Venue Location:  Dallas, Texas
Opportunity:  2D National Juried Exhibition 

Eligibility:   National
Potential Benefits for Artists: $1000 in cash awards   
Notes:  Juror is Julie Shipp
Fee:   $30 for up to 2 entries, $5 per additional entry up to a total of 5 

"Submission Fee No. 111"

"Submission Fee No. 111" 5.5" x 7.5" Woodcut Edition of 5 Pay what you want by May 3

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT: 

Institution:  Labyrinth Arts Collective Inc.
Venue Location:  Staten Island, New York, NY
Opportunity:   Gender X: Regional Juried Art Show 

Eligibility:   18 and up Artists from the Northeast (NY, NJ, PA, CT, MA, RI, ME, VT, NH, DE, and MD)
Potential Benefits for Artists:   $1000 in cash awards 
Notes:  Juror is Gena Mimoza
Fee:   $45 for up to 3 entries, $5 per additional entry

Deadline Passed for "Submission Fee No. 108" and "No. 110"

This is documentation of the unsold prints (burned) and the discontinued blocks (gouged) of Submission Fee No. 108 and Submission Fee No. 110. 

NOTES:
6 copies of "No 108" were created. One artist's proof was archived. 3 from the edition were sold for less than $55, therefore no submission was made. The last 2 were destroyed as documented here. 

5 copies of "No 110" were created. One artist's proof was archived. 3 from the edition were sold for less than $55, therefore no submission was made. The last one was destroyed as documented here. 

My puzzle piece for "100 Acts of Kindness" Monumental Collaborative Woodcut

I finished carving and proofing my piece of the puzzle in 100 Acts of Kindness, a monumental collaborative woodcut organized by Maria Arango-Diener. 

When I participated in Maria's last monumental collaboration the Peace Puzzle, I drew and carved a picture of a peaceful routine from my personal life - reading to my daughters. It was a personal little slice from my life. Click here to see that print. 

This time I went in a completely different direction. At first I contemplated make an image to represent some kindness I'd either shown others or that others have shown me, but nothing jumped out as particularly satisfying.

I've also been doing mostly text-based art for the SUBMIT project, and began to consider how I might do something text-based. This led me to considering the verbal exchange people engage in after an act of kindness has been committed. Typically the person on the receiving end says "Thank you." So that phrase was a possibility. By itself it seemed  too blasé. 

What is more interesting to me is how people respond to a "Thank you." This is often a point of mild contention. Sometimes people feel uncomfortable about being thanked, particularly if they feel it wasn't a big deal and they don't want the receiver of kindness to feel indebted to them. Other times people very much want to be recognized for their efforts with a thank you. There's also contention over the most common phrase in English offered in response to gratitude, which is "You're welcome." In Why Don't We Say 'Your Welcome' Anymore, Caroline Bologna says, "Over the years, American etiquette experts, baby boomers and writers have lamented the apparent decline in the use of the phrase “you’re welcome” in everyday conversation." This rang true to me since I've heard one of my friends who is a retired librarian in her 90's complain about how people now say "No problem" instead of "You're welcome." To my friend, the sentiment reduces the weight of the act of kindness, and therefore also negates the gratitude expressed by the recipient. But in her article, Bologna notes that for many younger people the phrase "You're welcome" has come to be associated with bragging or sarcasm, and that alternatives such as "No problem" are a solution to that linguistic shift. Indeed, the idea of making a print that featured simply the phrase "You're Welcome!" outside of any context did make the sentiment seem comical and insincere to me. 

After considering all the alternatives to "You're Welcome", I landed on "Happy To Help!" It struck me as sounding sincere, acknowledging the weight of the kindness or "help", while also noting one of the most important aspects of genuine kindness, which is that being kind, while involving effort and maybe sacrifice, can also bring us joy. And the best way to encourage kindness from everyone is to celebrate the joyful aspects of being kind. 

"Chessie"

"Chessie"
4" x 4" (block)
Woodcut

A long, metal Goliath sliced through the flat stillness of the horizon. The zooming barrier suddenly separated the cloudless blue sky and the dull green field. The children watched with ears perked to the growing, rumbling hum. He thought of waking her up to see the train speed by, but noticing how she slept with a gentle smile on her face, decided against it. Being irretrievable, good dreams are too precious to waste. 

Chessie the Railroad Kitten was a highly popular corporate mascot for the Chesapeake and Ohio (C&O) Railroad. Art depicting Chessie debuted in 1933 and was most popular throughout the 30's, eventually expanding to include a whole family of cute cats. The original image of Chessie came from an etching by Guido Grunewald. It was in an ad for a passenger train and showed Chessie sleeping peacefully juxtaposed with the slogan "Sleep like a kitten and arrive fresh as a daisy!" While Chessie hasn't appeared in advertising in recent decades, she is technically still the mascot of what is now the CSX Corporation.

This print of Chessie with her mate "Peake" and their two kittens is a sort of addendum to the series of woodcuts I made for Cats A-Z back in 2013, and published as part of the launch of Words On Woodcuts Press in 2015. This print was a request from a collector who is fond of my cat prints. Reading about and looking art artwork of Chessie was a delight, and I was happy to learn about the character and create this image.

"Submission Fee No. 110"

"Submission Fee No. 110" 6" x 8" Linocut Edition of 4 Pay what you want by April 26

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT: 

Institution:  Camelback Gallery
Venue Location:  Online
Opportunity:   Flower Power 

Eligibility:   any visual medium excluding video, must depict an animal
Potential Benefits for Artists:   Best in show cash award, amount based on the number of entrants after costs
Notes:  Juror is Howard Hartman of Bitcoin Gallery and ArtChain.Info
Fee:   $18 for up to 2 entries

"Submission Fee No. 109"

"Submission Fee No. 109" 3" x 3.5" Woodcut Edition of 4 Pay what you want by April 26

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT: 

Institution:  Cerulean Arts
Venue Location:  Philadelphia, PA
Opportunity:   8th Annual Juried Exhibition 

Eligibility:  
Potential Benefits for Artists:   Cash awards for top three winners
Notes:  Juror is  Ying Li
Fee:   $25 for one entry, $30 for two entries, $35 for three entries

Deadline Passed for "Submission Fee No. 107"

This is documentation of the unsold prints (burned) and the discontinued blocks (gouged) of "Submission Fee No. 107". 

NOTES:
4 copies of "No 107" were created. One artist's proof was archived. All 3 from the edition were sold for less than $35, therefore no submission was made.

"Submission Fee No. 108"

"Submission Fee No. 108" 6" x 8" Linocut Edition of 5 Pay what you want by April 22

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT: 

Institution:  Leigh Yawkey Woodson Art Museum
Venue Location:  Wausau, Wisconsin
Opportunity:   Birds in Art 2020 

Eligibility:  
Potential Benefits for Artists:  
Notes:  All artists submitting images for consideration can receive a complimentary 2020 Birds in Art catalogue, shipping included (approximately 134 pages; full color). Artists selected for Birds in Art will be responsible for either a $100 or $250 imaging fee. (The $100 fee covers a digital file conforming to the Museum’s specifications; the $250 fee includes photography of the artwork at the Woodson Art Museum.) Participants get 4 copies of the catalogue
Fee:   $55 (1), $65 (2) 

"Submission Fee No. 107"

"Submission Fee No. 107" 4" x 4" Woodcut on handmade paper Edition of 3 Pay what you want by April 20

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT: 

Institution:  Bowery Gallery
Venue Location:  New York, NY
Opportunity:   29th Annual Juried Competition 

Potential Benefits for Artists:  
Notes:  Juror is Janice Nowinski
Fee:   $35 for up to 3 works

Deadline Passed for "Submission Fee No. 102-106"

This is documentation of the unsold prints (burned) and the discontinued blocks (gouged) of:
Submission Fee No. 102 
Submission Fee No. 103 
Submission Fee No. 104 
Submission Fee No. 105 
Submission Fee No. 106 

NOTES:
4 copies of "No 102" were created. One artist's proof was archived. All 3 from the edition were sold for less than $35, therefore no submission was made.


6 copies of "No 103" were created. One artist's proof was archived. All 5 from the edition sold for an amount exceeding $20, therefore a submission was sent to the Sacramento Fine Arts Center's juried show "Art Where the Wild Things Are".   6 copies of "No 104" were created. One artist's proof was archived. 3 from the edition were sold for less than $18, therefore no submission was made. The final 2 prints from the edition were destroyed as documented here. 

4 copies of "No 105" were created. One artist's proof was archived. All 3 from the edition were sold for less than $25, therefore no submission was made.

4 copies of "No 106" were created. One artist's proof was archived. All 3 from the edition were sold for less than $20, therefore no submission was made.

"Submission Fee No. 106"

"Submission Fee No. 106" 6" x 3" x 3" Linocut (2 layer reduction) Edition of 3 Pay what you want by April 15

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT: 

Institution:  Gallery Ring
Venue Location: Online 
Opportunity:   “Landscape-Still Life” International Online Juried Show 

Eligibility:   18 and up
Potential Benefits for Artists:   unspecified amount cash awards
Notes: 
Fee:   $20 for up to 3 works

"Submission Fee No. 105"

"Submission Fee No. 105" 3" x 4.5" Woodcut Edition of 3 Pay what you want by April 14

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT:

Institution:  Attleboro Arts Museum
Venue Location:  Attleboro, MA
Opportunity:   “On the Surface: A National Juried Exhibition” 

Eligibility:   National
Potential Benefits for Artists:   cash prizes
Notes: 
Fee:   $25 nonmembers, $18 members

"Submission Fee No. 104"

"Submission Fee No. 104" 5.5" x 8.5" Linocut Edition of 5 Pay what you want by April 12

This print is part of a time-based conceptual art project. Read more about it here.

INFO PARTICULAR FOR THIS PRINT:

Institution:  Camelback Gallery
Venue Location:  Online
Opportunity:   Amazing Animals 2020 

Eligibility:   any visual medium excluding video, must depict an animal
Potential Benefits for Artists:   Best in show cash award, amount based on the number of entrants after costs
Notes:  Juror is Howard Hartman of Bitcoin Gallery and ArtChain.Info
Fee:   $18 for up to 2 entries