ENTRANTS: ENTRIES ARE NOW CLOSED FOR THIS EXHIBITION. JUROR NOTIFICATIONS OF THE RESULTS WERE EMAILED TO THE EMAIL ADDRESS PROVIDED ON THE ENTRY FORM ON JUNE 23. A LISTING OF THE ACCEPTED ARTISTS HAS BEEN POSTED TO OUR WEBSITE. THANK YOU FOR YOUR ENTRIES, AND CONGRATULATIONS TO ALL ACCEPTED ARTISTS.
ADDITIONAL INSTRUCTIONS HAVE BEEN EMAILED BY US DIRECTLY TO THE ACCEPTED ARTISTS. PLEASE CHECK YOUR INBOX & SPAM FOLDERS FOR THIS EMAIL, YOUR RESPONSE IS DUE BY JUNE 30.
THEME
Global Warming is REAL. As nations and economies shut down due to the COVID-19 pandemic, pollution levels and human patterns change in ways that were detectable by satellites. As all types of social, economic, industrial and urban activity suddenly shut off, nature took advantage and showed improvement in the quality of air, rivers, less noise pollution, and undisturbed and calm wildlife. COVID-19 may have temporarily lessened our carbon footprint, giving us a view in to what our individual affect on Global Warming constitutes. At the same time, Climate Change is becoming more visible and tangible through increased fires, glacier melting, and warming oceans.
The theme of the exhibit is particularly timely – and urgent – as evidenced in the Time magazine April/May cover story.
A creative interpretation of your thoughts and feelings on this subject as expressed through art will be the heart of this exhibition. There are no parameters to your expression, only that your artwork be current.
The juror will make her selections based on the interpretation of the Global Warming is REAL theme, as well as the quality of the submitted artwork.
Scroll down for eligibility/conditions, important dates/deadlines.
JUROR: SHANNON AMIDON
The juror for the 5th Annual Global Warming is REAL exhibition is artist Shannon Amidon. Shannon Amidon’s artwork explores the cycles of life, calling attention to its transitory and fragile nature. By interlacing science, nature, and memories Amidon strives to create pensive and familiar images that transport the viewer to another time and place, evocative of a moment filled with exploration, wonder, and discovery.
In her art career spanning 20 years, Amidon has been featured in solo and group exhibitions worldwide, curated group exhibits, garnered press, and participated in artist residencies all over the world, focusing on both art-making and ecological research. She has collaborated with other artists, scientists, activists, and researchers.
Her current venture, The Verdancy Project marks the realization of a long-standing dream. The Verdancy Project encompasses multiple undertakings including an artist residency, workshops, a living laboratory to explore, research, create and so much more. A place where creatives who have a connection to nature, ecology, and the environment can come together to learn, share, and be part of something bigger.
Amidon describes her studio practice: As an encaustic artist, I am keenly attuned to the bond between art and nature; honeybees produce the wax I use for my encaustic paint. But there are other reasons that I explore natural history and environmental issues through my artwork: my formative years involved a substantial amount of time surrounded by and exploring nature.
Those childhood roots in the natural world stimulated my personal, political, and aesthetic concern with our current ecological challenges. Concerned about all aspects of the environment, I find myself responding with increasing alarm to intensive farming and urbanization, pesticide use, introduced species, and other triggers of climate change. Consequently, my artwork places a particular focus on the decline of pollinators and other insects due to the loss and destruction of their habitats. Insects serve very important roles to humans and our environment, supporting the food web, pollinating plants, disposing of waste, and cycling nutrients.
I use my curiosity about these ecological interconnections to create paintings and installations that draw attention to our environmental crises. Through images of bees, honeycombs, dragonflies, moths, and other flora and fauna, I put my encaustic materials to emphatic use—these pieces not only portray a threatened world, but they also call attention to the fact that the very medium of encaustic cannot exist without the survival of bees. By portraying the cycles of life, death, and impermanence in my work, I hope to raise awareness about environmental issues, inviting my audience to see nature not as a backdrop but as a vital element of our existence.
Click here and here to see Amidon’s work. Click here to read her CV. And, to find out more about the Verdancy Project, click here.
ELIGIBILITY/CONDITIONS
This online exhibition is a National Exhibition open to all encaustic/wax artists whether they are a member of the Encaustic Art Institute or not. Also, any artist who is a member of the Encaustic Art Institute and resides outside of the USA is eligible to enter. Artists may enter work using any form of encaustic/wax – including cold wax, 3-d sculpture, and mixed media encaustic – we only ask that wax be one of the main ingredients of the submitted work.
The application fee is: $25 for current Encaustic Art Institute members
$35 for non-EAI members
Artists may enter up to three images per entry for review.
No size limitations for online work – size is up to you, please take shipping costs into account, and we’ve found that smaller (24 x 24 inches and under) works sell best online.
Entrants will be also be required to submit a short statement (530 words or less) describing how their submitted work applies to the theme of Global Warming. Please note, entrythingy will only allow a maximum of 530 characters for a statement – so, if your statement exceeds that, please save your statement as a PDF file or Word document using only the entry number provided in EntryThingy as the identifier – do not include your name in the statement, as entries submitted to the juror are anonymous. Email your statement and entry number (provided to you when you begin your entry on entrythingy), to eainm.info@gmail.com. We will submit each statement with the matching entry number to the juror with the entries.
All accepted artwork must be for sale. You will need to notify us of the price when you submit your entry. For Juried Exhibitions, all work submitted must be available for sale from the time you submit the work until the juror notifications have been sent. If your work is accepted into the exhibition, it must be available for sale through the close of the exhibition.
The Institute in accordance with the vote of its Board of Directors will retain a 50% commission/ 50% Going Back To the Artist for work sold in national juried exhibitions. Please take this into account when pricing your work.
All image caption information should be included when you submit your entry – including Title, the medium used (including substrate the piece is on), dimensions (h x w – with height listed as the first dimension) x depth if your work is 3D, and retail sales price.
Artists will be responsible for shipping work when sold. Buyers will pay for an additional $40 above retail for shipping costs. If you are uncomfortable shipping encaustic artwork, click here for shipping tips.
Application is done through the EntryThingy portal. Entrants will create an account, fill out their entry, and submit their image(s) and statement for the juror’s consideration. Detailed instructions will be found in the Call for Art posted in EntryThingy once you log in to begin the entry process. For any entrant who would like to read those instructions/details prior to beginning their entry, click the link below to read or download them.
IMPORTANT DATES
Applications open: MARCH 20
Deadline for applications: JUNE 6
Notification of Juror results: Wednesday, JUNE 23
Notification emails will be coming from alerts@entrythingy.com. Please add this email address to the safe list of your email program to ensure you will receive the notification.
Exhibition Launches ONLINE: Saturday, JULY 10
Online Exhibition runs: Saturday, JULY 10 — Friday, August 27
PROMOTION
The Museum of Encaustic Art will advertise the exhibition on the MoEA website, the online Encaustic Arts Magazine, as well as the Encaustic Art Institute website, blog, Instagram, and EAI Facebook page. Promotion will include saturated email marketing to EAI’s over 6, 000 addresses. Artists are encouraged to advertise their entries on their websites and social media networks.