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Countdown to Awesomeness 

Apply by October 10th for Your Chance to Win $2,000

Calling all dreamers. The Awesome Foundation is raising the bar and doubling our normal cash prize to $2,000 for a project that SCREAMS “awesome!” and makes Baltimore an even more awesome place just by existing. We want your wild schemes, your spectacular flights of fancy, your semi-deranged space-monkey rocket launches. We’re looking for Snark-hunters, white-whale stalkers, and King-Kong conquistadors. Something so explosive it’ll make the gunpowder plot look like a pop-gun, so off the wall it’ll bounce off the plaster like Tigger on crack, so far outside the box that right angles start to weep and cry for mercy.

Something like …

“I want to build the world’s largest hammock.” http://www.architects.org/news/constructing-big-hammock

“I want to start a fashion line for diabetics with a cheeky name that makes wearing an insulin pump hotter than toting a Fendi bag.” http://shop.hankypancreas.com/

“I want to recreate the boulder scene from Raiders of the Lost Ark in an urban environment so people can run screaming through back-alleys with a giant plush ball rumbling after them.” http://alleyofdoom.org/

What we don’t want: NOTHING BORING. The usual suspects will be rounded up and shot. No gallery exhibitions unless you’ve found a way to sculpt or paint with molten lava; no travel budgets or research budgets unless you bring back a yeti or resurrect a velociraptor. We think kids are awesome too but unless you’re training them to be ninja pirates, we’re probably the wrong address for funding your after-school program. We love community gardens too but we’d want to see magic beanstalks and we call dibs on all the golden eggs for our kick-ass recipe for glittering french toast. In other words, nothing that’s already been done to death or would get funded by a foundation NOT run by a crew of reckless maniacs bent on world anti-hum-drum-ination.

Got it? Awesome. Collect your inspiration together into concentrated form, go tohttp://www.awesomefoundation.org/en/submissions/new?chapter=baltimore and tell us why you should get two thousand bucks for it by OCTOBER 10th.

Questions? Email us at awesomebmore@gmail.com

http://www.awesomefoundation.org/chapters/baltimore

facebook.com/AwesomeBaltimore

 

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Surdna Foundation Accepting Proposals for Artist-Led Social Change Projects

The Surdna Foundation is accepting proposals through its Artists Engaging in Social Change funding area for one- or two-year support for extraordinary artist-driven projects.

Grants of up to $150,000 over two years will be awarded in support of compelling artists projects developed in response to specific challenges in their communities, as well as projects by artists whose work over the long term has increased social engagement without necessarily being explicitly defined as “activist.”  All artistic disciplines will be considered, including cross-disciplinary work. The funds are designated for one-time project support and cannot support organizations’ ongoing programs, operations, capital, or endowments, although up to 15 percent administrative overhead is allowed.

To be eligible, projects must be artist-led and demonstrate a deep commitment to a community, as demonstrated by the process through which the work is developed and the theme or themes on which it is focused. Applicants can be at any stage of their careers but must have a track record of developed work that demonstrates their capacity to complete the proposed project and to manage the level of funds requested. Both 501(c)(3) organizations and individual artists are eligible to apply, but artists and collectives that are not incorporated as 501(c)(3)s must apply under a fiscal sponsor.

Visit the Surdna Foundation for complete program guidelines, an FAQ, and application instructions.

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2014 Broomfield Public Art Project in Open Space
3 Community Park Road

View Site Details

SUBMISSION REQUIREMENTS:

  1. Resume/CV
  2. Professional References: 3
  3. Artist Statement
  4. Letter of interest-a one to two page narrative outlining your qualifications and interest in this project, a general approach to this project, and previous relevant experience.
  5. Media Images: Up to 6
  6. Optional: a visual representation of one to three concept images may be submitted, artists will not be expected to commit to any preliminary ideas

 

OVERVIEW

The City and County of Broomfield Public Art Committee (PAC) seeks to commission an artist or team of artists to create an original work of art for open space located in Broomfield Commons Community Park. The PAC will choose semifinalists who will be paid an honorarium for their proposals.  The finalists will provide refined concepts, a maquette and work plans as requested. Installation is targeted for completion by May 31, 2015.  Total project budget is $60,000.

 

PUBLIC ART AND PROJECT BACKGROUND

In 2001 the City and County of Broomfield adopted a comprehensive master plan, Creative Broomfield, for cultural development supporting creation of the Cultural Affairs Division, Cultural Council and the Public Art Committee (PAC).  Formed to facilitate acquisition of public art for the City and County of Broomfield, the PAC created a public art master plan and guidelines. To review these documents and to learn more about the public art programs and permanent collection, please visit www.broomfieldpublicart.com.

The 2014 public art project will strengthen community identity and enhance a “sense of place” and community pride for people who live and work in the City and County of Broomfield. Please see the Addendum for a community profile and www.broomfield.org.

 

PROPOSED SITE DESCRIPTION

The Public Art Committee has chosen a popular open space property called Broomfield County Commons Open Space (BCC Open Space) as a public art site due to its high visibility, high use and public accessibility.

•      Address:  13200 Sheridan Blvd, Broomfield, Colorado

•      Site:  open space located south of the champion athletic field which is just east of the concession stand, picnic, and restroom pavilion;

•      Piece:  integrate into natural environment without infringing on the integrity of the open space, particularly the wetland area;

The site for the artwork overlooks the wetland on the west end of the irrigation channel. Views exist across the wetland, wildlife trails, farm fields and mountains. Prairie grasses cover the site. Rabbit brush, a native shrub, provides a natural edge between the athletic fields to the north and the open space to the south.  See the Addendum for a detailed description of the site and see www.broomfieldpublicart.com for additional pictures.

PROJECT BUDGET                                  Up to $60,000

The project budget will be all-inclusive and must cover design fees, travel expenses, all materials and fabrication costs, insurance, architect/engineering fees, shipping and transportation to the site, and all costs related to installation. Any expense that exceeds the contracted amount will be the artist’s responsibility. The artist is responsible for working with the PAC and Broomfield representatives to oversee all aspects of art installation.

 

SELECTION PROCESS

The PAC will review Request for Qualifications (RFQ) submissions to select semi-finalists for the Commons Park site.  Artists will be selected based upon past works and experience.  Semi-finalists will be paid an honorarium for refined concepts, a maquette and work plans including detailed budget as requested. Artists may be requested to give an in-person or virtual presentation to the Public Art Committee on November 12, 2104.  Semifinalist will be expected to pay for travel expenses from the honorarium.

 

ART WORK

Artists are strongly encouraged to review the PAC Guidelines prior to submitting their RFQs.  Under these guidelines, a chosen artwork must reflect:

1.    Quality:  The consideration of highest priority is the inherent artistic excellence of the artwork as well as a broad range of appeal to the general public.

2.    Timelessness:  Artwork will be viewed as a long-term acquisition that should have aesthetic relevance to the community in future years and reflect enduring artistic quality. The artwork should celebrate creativity and establish a “sense of place.”

3.    Site Compatibility and Appropriateness:  Artwork must be appropriate in scale, material, form and content for both the immediate and general, social and physical environment in which the artwork will be placed. The artwork should have connection to the chosen site.

4.    Elements of Design:  The PAC takes into account that public artwork may have consideration beyond the aesthetic; it may serve to establish focal points, define spaces, or establish a cultural identity. The artwork will be viewed from all angles; artists should consider the entire surface of the piece when planning the design.

5.    Permanence and Safety:  Consideration will be given to structural and surface integrity, permanence, and protection against theft, vandalism, weathering, and excessive maintenance and repair costs. The artwork should be durable and safe for interaction with the public, especially children.

6.    Diversity:  The PAC strives for diversity in style, scale, media and artists.

The art piece will be installed outside and exposed to the elements, including harsh sun, high winds, wide fluctuations in temperature and moisture.  Materials must require little or no maintenance and must be able to withstand the test of time.  Painted artwork should use pigment designed to withstand the elements.

The piece cannot:  1) interfere with the movement, safety and security of pedestrians;  2) hinder or require significant additional grounds maintenance; 3) adversely impact wildlife; 4) adversely impact the wetlands, or 4) adversely impact views in any significant way.

In addition, since this call is for artwork that will be installed in open space, the following guidelines have been suggested by the Open Space and Trails Advisory Committee.

Artwork in open space:

    • is incorporated into the site so that it blends well;
    • is made of natural materials and uses neutral or natural colors;
    • relates to the site and people on a human scale;
    • could have an environmental purpose;
    • could provide environmental education.

Please see the Addendum for more background on Broomfield Open Space.

APPLY TO THIS CALL

 

CALL TO ARTISTS (RFQ) – WESTSIDE POOL PUBLIC ART PROJECT

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The City of El Paso’s Museums and Cultural Affairs Department (MCAD) Public Art Program and Parks and Recreation Department seeks to commission a professional visual artist or artist team to design, fabricate, and install artwork for the Westside Pool Project. To access application, go towww.callforentry.org and look for “City of El Paso Westside Pool Project”About the Project
The Westside Pool Project is to include an indoor capable competition pool that will host local, sectional, state, and High School swimming competitions as well as programming swimming, water polo, and synchronized swimming.  The swimming pool shall comply with the United States of America Swimming (USAS) standards and requirements.  The swimming pool facility will be designed to be able to accommodate 840 spectators and 420 athletes. Design features of the building facility will also be compatible with the existing Leo Cancellare Pool.The Public Art Program is looking for an artist capable of collaborating with the Architectural design team to envision and create a large scaled artwork that integrates with the building’s architecture, reflects the active nature of the building and values of the community that uses it.

Application
All interested artists are encouraged to apply and review further details of the RFQ atwww.callforentry.org and submit application by September 25th by 5:00pm MST.

http://www.elpasotexas.gov/mcad/publicart_artists.asp

Public Art Projects for the Future Maryland2115

Purple Line

Issue Date: September 16, 2014

1. INTRODUCTION

1.1. Overview of the Opportunity

The Maryland Transit Administration (MTA) is seeking artwork for projects integrated into the design and infrastructure of the future Purple Line transit corridor in suburban Washington, D.C. This is a call to artists who wish to be considered for this work.  This call is open to artists from a broad range of media, and will be used to generate pools of artists who could be selected to compete for specific projects in the future.

The Purple Line is a new, 16-mile-long light-rail line extending from Bethesda in Montgomery County to New Carrollton in Prince George’s County. Art opportunities anticipated relate to stations (underground, surface and elevated) as well as infrastructure elements between the stations. Construction of the Purple Line is expected to begin in 2015 and end in 2020. For more information about the project visit: www.PurpleLineMD.com.

This Call to Artists / Request for Qualifications (RFQ) is being issued by the General Engineering Consultant (GEC), who is contracted to provide planning, engineering and design services for the Purple Line on behalf of the MTA. Ultimately, final design, construction and operation services will be contracted to a public-private partnership which, after award, will become the Soliciting Organization for the Art‑in‑Transit Program and which will use the artist pools developed by this process to issue solicitations for specific project opportunities.

1.2. Description of the Project

The Purple Line will offer a reliable system of east–west transit in the Maryland suburbs of Washington, D.C., providing direct connections between major economic centers such as Bethesda, Silver Spring, the University of Maryland College Park and New Carrollton. It will also link the Metrorail Red, Green and Orange Lines, as well as MARC commuter rail, Amtrak and local bus services. Most of the route will involve a dedicated right of way, on surface, aerial bridge and tunnel, and some segments will share right-of-way with traffic. Twenty-one stations will be located along the light-rail line.

The Purple Line follows a circumferential route intersecting with numerous arterial roadways and rail lines that have anchored urban growth leading outward from the core of Washington. As a result, the Purple Line uniquely connects the first-ring suburbs that have developed along these transportation corridors over the last century, and the diverse communities and socio-economic groups that have settled along them. In this way, the Purple Line experience is one of a journey that offers a unique, cross-sectional view of the diversity of Montgomery and Prince George’s Counties.

1.3. Art-in-Transit Mission

The mission of the Purple Line Art-in-Transit Program is:

•      To incorporate artwork that makes the light-rail system distinct in its design and artistic impact, encourages civic pride, and serves as a positive symbol for the communities it passes through and connects.

•      To enrich the aesthetics of the light-rail system, not to serve as a replacement for good station design and urban design.

•      To make connections to communities and support neighborhood identities.

•      To be accomplished through a fair and equitable process.

1.4. Artist Opportunities

Specific projects and budgets have not been announced. Possible artist opportunities include: fences and railings, ground planes and plazas, feature walls, retaining walls, light installations, passive water features, enhancements for bridges, tunnel portals, wayfinding pylons, and the surfaces of station canopies and windscreens. In addition, artists may be asked to work on corridor-wide opportunities such as color strategies, a text-based installation and interpretive displays. Artists may be invited to work on design, fabrication and/or installation phases of these opportunities.

2.  CALL TO ARTISTS / REQUEST FOR QUALIFICATIONS (RFQ) PHASE

2.1.  Overview of the Opportunity

Artist selection for Purple Line Art‑in‑Transit opportunities will be a two-phase process: “Call to Artists / Request for Qualifications (RFQ)” and “Procurement”.

Call to Artists / RFQ Phase

This Call to Artists / Request for Qualifications represents the first phase. Its purpose is to generate lists of qualified artists, working in a variety of media, who may be invited at a later date to create integrated public artworks for Purple Line stations and connecting infrastructure. A Selection Panel will meet this fall to review the submissions and generate lists of artists who may be invited to take part in the Procurement phase.

Procurement Phase

Subsequent to this phase, the Soliciting Organization will determine the specific project opportunities available under the Purple Line Art‑in‑Transit Program, as well as budgets and timelines. For each of the identified opportunities, the Soliciting Organization will conduct a competitive artist selection process. The Soliciting Organization will use the artist pools generated in this phase to identify a small number of artists who may be invited to compete for that opportunity. The final artist selection will be made through a competitive process based on interviews and/or proposals.

This is the only open call that will be issued for the Purple Line. All artists interested in being considered for opportunities on the Purple Line must respond to this Call to Artists / RFQ. Artists who applied for the Baltimore Red Line must respond to this Call to Artists / RFQ to be considered for the Maryland Purple Line.

2.2.  Artist Pools

Specifically, the Art-in-Transit Program is seeking artists with experience and qualifications in the following categories:

•      Terrazzo, concrete, inlays or similar media suitable for floor surfaces

•      Murals, mosaics, light, metalwork, ceramic tiles, form-liners or similar media suitable for vertical surfaces

•      Metalwork for fences, grates and similar features

•      Lighting effects for walls

•      Urban environmental artworks, particularly related to stormwater management

•      Posters and graphic projects

•      Community-based interpretive projects

•      Photography

•      Color palettes for complex public space and infrastructure systems

•      Two-dimensional imagery suitable for incorporation into a series of glass interlayers

•      Text-based narrative works that weave throughout the stations and infrastructure

•      Three-dimensional wayfinding markers at various stations

·          Textile Design

The Selection Panel will review submissions in each category according to the general criteria listed in Section 5.2. For each category, the Selection Panel will recommend a pool of artists who can be invited to take part in the Procurement phase of this process and considered for commissions.

2.3.  Artist Eligibility

This Call to Artists / RFQ is open to all professional artists or artist teams preferably with public art experience. Artists must be U.S. citizens or have legal working status in the U.S. Local artists are encouraged to apply. Qualified artists will be considered regardless of race, color, religion, creed, national origin, sex, marital status, physical or mental disability, sexual orientation, genetic information or age.

2.4.  Special Considerations

Before responding to this Call to Artists / RFQ, artists should carefully consider the following requirements that will be incorporated into the Procurement phase of the selection process. Artists who are invited by the Soliciting Organization to take part in the Procurement phase will be bound by these requirements. Therefore, artists who can demonstrate an ability to meet these criteria in the Call to Artists / RFQ phase of the selection process can improve their likelihood of being included in the Procurement phase of the selection process.

1. Artists should be aware that in the development of their concepts, they must consider approaches that relate to the local community. Artists must be prepared to undertake research, including direct community contact through site visits, to obtain the necessary input. Project budgets will not be adjusted to accommodate travel expenses.

2. Artists should be aware that their work must be able to meet standards of durability and longevity that would be expected for artworks incorporated into demanding public transit environments. Specifically, artists will be expected to work with materials and fabrication processes that will result in a projected useful life of not less than thirty-five years for their projects, assuming normal maintenance.

3. Artists should be aware that the Federal Transit Administration (FTA) requires the following criteria be used when artists are commissioned to create work that is integrated into transit systems:

•      Quality. Quality of the art or design.

•      Effect. Impact on the public.

•      Relationship. Connection to the site or the adjacent community, or both; art that relates, in form or substance, to the cultures, people, natural or built surroundings, or history of the area in which the project is located.

•      Suitability. Appropriateness for the site, including safety and scale.

•      Resilience. Durability of materials and fabrication.

•      Indestructibility. Resistance to vandalism.

•      Preservation. Minimum maintenance.

3. PROCUREMENT PHASE

The second phase of the artist selection, the Procurement phase, is expected to follow the process outlined below. Specific details for the Procurement phase are still being developed, but will be included in the artist solicitations.

3.1.  Identification of Artist Opportunities Subsequent to this Call to Artists / RFQ phase, the Soliciting Organization will determine the specific artist opportunities that will be available through the Art-in-Transit Program. Please see Section 1.4 for a summary of the potential arts opportunities.

The determination of the specific artist opportunities, as well as their budgets, scopes and schedules, will be based on a range of factors, including availability of funding, construction schedule, and operations and maintenance considerations. Artists may be invited to work on design, fabrication and/or installation phases of the opportunities.

3.2.  Solicitation Process

Once the artist opportunities are determined, the Soliciting Organization may issue one or more competitive solicitations to artists who are selected from the artist pools created as an outcome of the Call to Artists / RFQ phase of this process. The solicitations may be issued for individual opportunities or grouped by location and/or type of project (e.g., plazas, retaining walls, canopies). The solicitations may incorporate an interview-based or proposal-based selection process.

The solicitations will describe submission requirements and evaluation criteria, and will include schedules and budgets. Additionally, they will describe scopes of work that will potentially combine elements of design, artist supervision and fabrication in the finalarrangements, depending on the nature of the opportunity.

A Selection Panel will be assembled to identify finalists for each solicitation that is issued. The Selection Panel will be able to draw finalists from any relevant artist pool assembled as an outcome of the Call to Artists / RFQ phase of this process. For example, a selection panel looking for artists to develop a wall treatment may look to artists interested in vertical surfaces, light, posters/graphics and photography.

Finalists will be asked to develop concepts for the projects, and/or take part in an interview process, depending on how the solicitation is structured. Commissions will be awarded on the basis of concepts and/or interviews, references and overall qualifications.

Only artists who have responded to this Call to Artists / RFQ will be eligible for consideration in the Procurement phase of the process.

3.3.  Stipends

If the solicitation invites artists to submit proposals, those artists will be paid a stipend of up to $3500 for producing the proposals. Travel to the Maryland area is encouraged to acquire community input as part of preparing a proposal and to present concepts to the selection panel, and in some cases may be a requirement. The stipends will be intended to cover artist costs associated with preparation of proposals, and will be scaled to be commensurate with the scope of the specific project and the requirements of the concept proposals.

If the solicitation invites artists to take part in an interview process only, no stipends will be paid.

4. SUBMITTAL REQUIREMENTS

4.1.  General Qualifications must be submitted through the CaFÉ call for entry website:

CaFÉ Purple Line Submission Page

The MTA will reserve the right to reject any or all submission(s), if, in its sole discretion, the submission is in whole or in part incomplete or unresponsive, or because the submission fails to meet the requirements for eligibility set forth in this Call to Artists, or is otherwise determined not to be in the best interest of the MTA.

This is a Request for Qualifications only. Artists should not send proposals.

This is the only open call that will be issued for the Purple Line. All artists interested in being considered for opportunities on the Purple Line must respond to this Call to Artists / RFQ.

4.2. Artist Briefings

The GEC will hold artist briefings at various locations in Montgomery and Prince George’s Counties. The briefings will be announced on the Purple Line Art-In-Transit Page.

4.3. Question and Answer Period

Questions must be submitted via e-mail to: artintransit@purplelinemd.com. No telephone calls, please.

Questions must be submitted no later than Friday, October 31, 2014, at8:00PM in theEasternTimeZone. Time permitting, answers to all substantive questions will be answered so that interested parties will have sufficienttime for the answer to be taken into consideration in preparation of the RFQ.

The Point of Contact shall, in her own discretion, determine whether an answer can be given to submitted questions. Answers will be posted periodically at theCaFÉ website and on thePurple Line Art-In-Transit Page.

4.4. Point of Contact

Artists shall correspond with the GEC regarding the Call to Artists only through the Point of Contact. E-mail inquiries only, please.

Jo Schneider, Art‑in‑Transit Manager, Maryland Purple Line

artintransit@purplelinemd.com

4.5  Submission Deadline

Qualifications must be submitted to the CaFÉ websiteby Friday, November 14, 2014, at8:00PM in the Eastern Time Zone.All elements of a submission must be received by the deadline date and time for the commission to be considered complete.

4.6 Submittal Content

Submissions must include the following:

•Application Form:

Artists must indicate the category, from the list in section 2.2 of this Call to Artists / RFQ, for which they would like to be considered. Artists wishing to be considered for more than one category must submit one application for each category. The categories will be outlined on the application page on the CaFÉ website.

Portfolio: Work Examples/Images: Up to ten (10) digital file images of completed past artworks that are relevant to the category for which the artist is applying. Digital files must be in JPEG format. Images should be no smaller than 1920 pixels on the longest side; 3MB maximum file size; 72 ppi/dpi).

Annotated Images List: List each digital image in sequence. Indicate the title of the work, media, dimensions, location, brief description, date of work, project budget and project partners if applicable. For previous public art projects, please list the client organization or agency.

Resume: Current resume and/or artist’s biographical statement which outlines your experience as a public artist.

Statement of Interest: Briefly describe your interests and qualifications for the project. In your statement, address the criteria outlined in Section 5.1 – RFQ Evaluation Process.

Experience in Public Art, Transit-Based Projects, and Community Engagement: Please provide any additional information about your experience working in public art, especially transit-based projects, and in community engagement.

References: Submit three (3) professional references (commissioning agency or organization, design or arts professional, architect, landscape architect, etc.) that have detailed knowledge of your work and working methods. You must provide name, title and contact information (e-mail and phone) for each reference.

4.7. Special Instructions for Artist Teams If artists are applying as a team, the team should be declared in the Artist Statement, specifying a team leader who will receive notifications, and provide that team leader’s contact information. If applying as a collaborative artist group, name each member of the group and provide resumes for all members of the group.

4.8. Special Instructions for Artists Applying in Multiple Categories Artists who have skills and credentials in more than one category cited in Section 2.2 can be considered for multiple pools.

Artists must upload a separate application for each category, including a separate portfolio that highlights that artist’s experience and proficiency in each category. Artists who upload identical applications and/or portfolios to multiple categories may be considered unresponsive and their submissions to one or all of the categories may be rejected.

4.9. Special Instructions for Artists Seeking to Collaborate with Local Non-Profit Arts Organizations At this phase of artist selection, artists will be evaluated solely according to the criteria outlined in Section 5.2 of this call, “General RFQ Evaluation Criteria for All Categories”. Artists who are advanced to the Procurement phase of artist selection can propose to collaborate with a non-profit arts organization, depending on the nature and scope of the opportunity for which they are being considered.

 

5. RFQ EVALUATION

PROCESS AND CRITERIA

5.1. RFQ Evaluation Process

A Selection Panel, comprised of art and design professionals, MTA’s GEC and its consultants, and representatives of state and local arts agencies,will review the submissions and select the artists who will be included in the pools to be considered for future commission opportunities.

5.2. General RFQ Evaluation Criteria for All Categories The following criteria will be used to evaluate artists, in the following order of importance, as applicable.

•      Artistic originality, excellence and innovation.

•      Ability to collaborate with the community, architects, public agencies and other stakeholders.

•      Professional experience, and experience working in public art and with FTA criteria commensurate with the category being reviewed.

•      Mastery of techniques and materials.

•      Familiarity with this geographic region.

•      Education and recognition, such as exhibitions, grants and awards.

Denali National Park and Preserve Artist-in-Residence, Winter and Summer 2015

A panel of artists, writers, and park personnel appointed by the superintendent reviews applications from professional artists annually. Selection is made on the basis of required entry materials, vision, new and innovative ways of responding to the park, and recognized accomplishment as demonstrated in those materials.

Each residency takes place during a ten-day period. Artists are responsible for their own food and transportation. No stipend is provided. Each artist may bring with him or her one adult guest for the length of the residency.

Between June and September, summer residents stay at the historic East Fork Cabin at Mile 43 on the Park Road. Winter residencies take place between late February and the end of March and are based primarily at Park Headquarters at Mile 3.4. Depending on weather and other circumstances, winter residents also may have an opportunity to stay several nights at one of the historic ranger patrol cabins along the first 20 miles of the Park Road.

Each artist is expected —

  • to donate one art piece to the park. The work may be selected for display at art galleries throughout the park, including the Denali Visitor Center, Eielson Visitor Center, Murie Science and Learning Center, and the Walter Harper Talkeetna Ranger Station, as well as Alaska Public Lands Information Centers in Anchorage and Fairbanks. Finished pieces should not be larger than 60 inches in any direction, and should not require the park to provide additional infrastructure or permanent installation. For pieces that have special considerations for display, storage, or transport, artists should provide appropriate frames, cases, or crates.
  • to offer at least one public outreach activity in the park entrance area on the final day of the residency. Artists and writers may choose between giving a demonstration, workshop activity, or lecture-style presentation.

All finished pieces are due at the park by Dec. 31 of the calendar year in which a residency takes place.

APPLY TO THIS CALL