Bridgestone APAC India, China (BSAPIC), the group company of Bridgestone Corporation, is showcasing the driving performance of its tyres through beautiful art forms in a new regional campaign.

The campaign, titled ‘Master the Art of Ultra Performance’, was done in collaboration with a diverse group of artists, creative technologists, precision drivers and motorsport enthusiasts to express the different benefits of its ultra-high-performance tyres.

Don’t miss: Under Armour’s AI-powered commercial stirs up debate on creative accreditation

By harnessing spatial and speed data that was captured by AI-enhanced sensors installed on a high-performance sports cars during intense driving scenarios, four art pieces in static and motion forms were created.

The artwork includes ‘High Speed’, ‘Precision’, ‘Grip’ and ‘Control’ along with a campaign film that takes viewers behind the scenes to witness a sports car create strokes and gallery viewers get intrigued by the artwork.

For example, the ‘High Speed’ artwork uses bold and sweeping strokes to reflect the rapid manoeuvres of a skilled driver while also translating the thrill and exhilaration into a visual experience.

Similarly, the ‘Precision’ artwork showcases geometric patterns revealing a blend of order and creativity to highlight the deliberate swerving strokes produced by the tyre.

“What is fast is indeed beautiful,” said Lennard Kwek, director, brand marketing and communications, BSAPIC.

“Just as motorsports has captivated fans with the visual excitement of races, we wanted to convey our tyres’ mastery of these thrilling performances through artistic expressions,” he added.

As more and more brand experiment with AI to create campaigns, they must be wary about creative accreditation. This comes shortly after sportswear company Under Armour’s new AI-powered commercial with boxer Anthony Joshua came under fire for allegedly reusing the work of others without proper credit.

The monochrome commercial takes audiences on a journey through Joshua’s mind and features the desert landscapes of Saudi Arabia inspired by the poem “Ozymandias”, according to director Wes Walker, who posted the ad on his Instagram page. 

Netizens are divided on the commercial. While some are in favour of it because they are fans of Anthony Joshua, others have pointed out that the commercial appears to be a quick cashgrab.

“A fully AI commercial that robs the talent of actual videographers and editors just for the sake of money? Barf,” said one user in a comment under Under Armour’s post.

Join us this coming 24 – 25 April for #Content360, a two-day extravaganza centered around four core thematic pillars: Explore with AI; Insight-powered strategies; Content as an experience; and Embrace the future. Immerse yourself in learning to curate content with creativity, critical thinking, and confidence with us at Content360!

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Psychedelic flowers, a breakfast buffet, and a sprawling array of cheeses are just a few of the delightful spreads composed by San Francisco-based artist Casey Gray. Using acrylic spray paint and meticulous masking techniques, he builds up layers of color and contrast so that snacks, desserts, and blooms boldly “pop” as if illuminated by a spotlight against a dark background.

Gray’s forthcoming solo exhibition Sweet Bountiful Life at Hashimoto Contemporary welcomes viewers to a delectable presentation that celebrates food and togetherness. He describes his compositions as “potluck-style arrays of complementary dishes, each with their own attitude and significance.” The artist calls on the tradition of European still life painting to emphasizing the timelessness of gathering around a table flush with food, occasionally adding playful geometric patterns or abstraction that play with perceptions of reality.

Sweet Bountiful Life runs April 6 to 27 at Hashimoto Contemporary’s San Francisco location. Find more on the artist’s website and Instagram.

“Still Life with Mostly Cheeses” (2023)

“Lucky Catch with Peaches Plums” (2024)

“Still Life with Just Desserts” (2023)

“Prosciutto, Peaches, Peace” (2024)

“Still Life with a Big Breakfast” (2024)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Delectable Treats and Wild Blooms Radiate from Casey Gray’s Bountiful Still Life Paintings appeared first on Colossal.

With her background solidified in Art History and Finance, Sara Berner Bengtsson finds managing the Market Art Fair the perfect amalgamation of her interests and expertise. Bengtsson’s impressive career includes pivotal roles at renowned art institutions such as Christie’s and White Cube. Bengtsson also held the position of director at Galerie Forsblom in Stockholm. Now, as the Managing Director of the Stockholm Market Art Fair, Bengtsson leads this premier destination for Nordic art.

Under Bengtsson’s stewardship, the fair has become a hub for art enthusiasts and collectors, showcasing the vibrancy of Nordic expression. Bengtsson’s blend of financial acumen and artistic insight has been instrumental in elevating the fair’s status on the international art scene.

Our aim is to strengthen the Nordic art scene and the selection criteria ensures the fair is the go to place for Nordic art

Sara Berner Bengtsson

Market Art Fair represents the Nordic countries: Denmark, Finland, Iceland, Norway, and Sweden. Having become a trusted meeting point and marketplace at the heart of the Nordic art industry, the fair, initiated by galleries, opened its doors in 2006 and is now the leading contemporary art fair in the Nordic region.

Nestled in the heart of Sweden, Stockholm stands as the epicentre of the nation’s cultural, media, political, and economic activities. This bustling city is renowned for its prestigious academic institutions and the annual Nobel Prize ceremonies. It is also home to the Vasa Museum, Scandinavia’s most frequented museum, and boasts a metro system celebrated as the world’s longest art gallery.

The Stockholm art scene embraces an array of artistic expressions, ranging from classical to modern and contemporary. Art lovers and buyers in the city have an eclectic range of options from a variety of galleries, each offering an outstanding collection of artists and styles. Examples include Galleri Stockholm and Wetterling Gallery, both known for showcasing emerging and established Swedish talent.

Stockholm’s commitment to art seamlessly flows into its public spaces, where sculptures and installations enhance the city’s urban landscape. Neighbourhoods like Södermalm have emerged as hubs for street art, reflecting the city’s ongoing artistic growth and energy. The Market Art Fair, which opens on May 17 and runs until May 19, 2024, features 47 galleries showcasing over 100 artists at Liljevalchs and Spritmuseum, with a strong focus on Nordic artists. We spoke with Bengtsson to learn more about the Market Art Fair’s offerings and the Nordic art scene.

Hi Sara, How are you doing? Can you share your journey into the arts and more about your role as the Managing Director of Market Art Fair?

Sara Berner Bengtsson: Hi! Great, thank you. I come from a background in History of Art and Finance, so managing an art fair is a great combination. Previously, I’ve worked at White Cube and Christie’s in London, and I was the Director of Galerie Forsblom in Stockholm for several years. As Managing Director of Market Art Fair, I oversee everything from long-term strategies, contact with our investors, liaise with our venues Liljevalchs and Spritmuseum, contact with current and potential exhibitors, and marketing and press.

I have a great team working with me, which allows me to have a special focus on our collectors and VIP guests. I cannot overvalue the importance of creating a welcoming atmosphere and personal experience for collectors if you wish to have a successful fair, making it one of my most important engagements.

How does this year’s lineup of galleries and artists at the Market Art Fair reflect the current trends and developments in the Nordic art scene?

Sara Berner Bengtsson: With 47 galleries and over 100 artists exhibited, it will be a diverse selection with everything from more traditional paintings to cutting-edge performances. Something that’s been happening for a while on the international art scene, and that we can see at Market Art Fair this year, is the spotlight on older, female artists, many of them who have previously been overseen in the art market. Examples of this are presentations of 81-year-old Ursula Reuter Christiansen, 93-year-old Italian artist Isabella Ducrot and 78-year-old Gun Gordillo from Sweden.

Can you share insights into the selection process for the participating galleries and artists? What criteria were used by the international selection committee?

Sara Berner Bengtsson: Unlike most other fairs, Market Art Fairs selection committee consists only of highly experienced Nordic curators and museum directors, and no (biased) gallerists or fair management. The committee is chaired by legendary museum director Lars Nittve, and the exhibitors are chosen based on the artistic quality and relevance of their presentation, with the criteria of “Nordicness”. This means that the artists will have to be Nordic by origin, residency, or working with a Nordic theme. Our aim is to strengthen the Nordic art scene and the selection criteria ensures the fair is the go to place for Nordic art.

The fair includes a mix of long-time participants and first-time galleries. How does this diversity contribute to the overall experience of the fair?

Sara Berner Bengtsson: This is one of the great effects of our selection process. Fairs that have the same participants every year tend to be a bit static, and it can be difficult for new artists and galleries to break into the scene. With an equal opportunity for all applicants to get in, the fair encourages smaller and non-established galleries to apply and for returning major galleries to always bring their best presentations. Even if you are a long-time collector, you can still make new discoveries, and the dynamic between the exhibitors tends to be great.

Could you elaborate on the Market Debut section, which focuses on young galleries and emerging talents? How has it evolved since last year?

Sara Berner Bengtsson: Returning for its second year, Market Debut focuses on up-and-coming talent making waves on the Nordic art scene today. This year marks a shift as the section primarily focuses on young artists, represented by both emerging and established galleries, with the eight featured galleries showcasing a dynamic mix of up-and-coming talents in the Nordic art scene.

With artists like Ursula Reuter Christiansen and Olav Christopher Jensen showcasing their work, what role do experienced artists play at the fair?

Sara Berner Bengtsson: This is something that attracts international and high-profile collectors to the fair, as well as the general public, due to the recognition of household names. Many Nordic artists have international representation with major galleries but at Market Art Fair you will get a much more personal opportunity to interact, as they are, so to say, on their “home ground”. This creates an intimate and exclusive setting for collectors, making it a preferable choice for experiencing Nordic art.

See also

The fair has a notable focus on craft-based art and experimental approaches. What inspired this focus, and how is it reflected in this year’s presentations?

Sara Berner Bengtsson: There is a great craft tradition in the Nordic countries, which reflects in many artists’ works at the fair. Exhibited artists are selected based on the quality of their presentations, regardless of media, allowing for a wide array of expressions. The division between fine art and crafts is something I believe to be outdated and also discriminating towards practices traditionally performed by women and marginalised groups.

How do the talks and conversations scheduled for the fair aim to complement and enhance the artistic experience for visitors?

Sara Berner Bengtsson: The talks program is carefully curated to reflect the most significant trends shaping this year’s fair. Textile art takes centre stage with an array of talented artists, prompting us to dedicate a session solely to their remarkable work in weaving and textiles.

Sustainability lies at the heart of our fair’s mission, and we’re constantly exploring new avenues to strive towards eco-friendly practices. As part of this commitment, one of our talks will delve into the innovative approaches of artists who repurpose materials in their practice. It’s not just about showcasing art; it’s about inspiring change and embracing creativity in harmony with our environment.

More info about the talks programme will be released closer to the fair.

Market Art Fair has several collaborations, including with SEB and BMW. How do these partnerships support the development of the Nordic art scene?

Sara Berner Bengtsson: Our partners are integral to the fair’s success, and we always aim to include them as much as possible in our mission. Having SEB with us as a Lead partner for a three-year period is an opportunity to create lasting relationships between their customers and our network, to create waves and positive synergies on the art scene. Together with BMW, we move the artworks from the fair out in the city for all to enjoy, with BMW cars striped with the winning artwork from the BMW Art Commission.

Can you discuss the challenges and rewards of organizing such a diverse and comprehensive art fair, especially in the current global context?

Sara Berner Bengtsson: It is important to find what sets us apart from other fairs and work on these strengths instead of trying to be Art Basel. Our focus is the Nordic art scene, and we are constantly aiming towards being the go-to place for Nordic art. With everything accessible online at all times, it is also important to create something more than just a generic fair. Being a smaller event and organisation, we have the possibility to have personal relationships with our galleries and collectors, which is just as rewarding for us as it makes for a unique and memorable fair for our guests.

Lastly, what can visitors expect in terms of unique experiences or highlights at this year’s Market Art Fair that set it apart from previous years?

Sara Berner Bengtsson: All visitors should take time to explore the galleries at Market Debut at Spritmuseum. Whether you’re a first-time visitor or a seasoned art fair enthusiast, I highly recommend joining one of our curated guided tours. These tours cater to a variety of interests, whether you’re looking to acquire your first piece of art, discover emerging Nordic painters, or simply get an overview of this year’s highlights. They provide a unique opportunity to delve deeper into contemporary art while exploring this edition of Market Art Fair.

©2024 Sara Berner Bengtsson, Market Art Fair

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

Two decades ago, when the mononymous Italian artist Salvo was in his mid-50s, the market for his alluring and vividly colored landscapes was decidedly mediocre, with his average price at auction hovering in the high four figures. Fast forward to today, and his work is in high demand, even at a moment when the contemporary field is experiencing a downturn.

Salvo’s works have been hanging in booths at leading art fairs of late and selling well on the auction block. Last year, his auction record was set at Christie’s Hong Kong, when his large 1994 canvas Il Mattino (The Morning) sold for more than $1.1 million (HK$8.7 million), some 210 percent above its presale estimate.

Even “ten years ago, Salvo was practically unknown outside of Italy,” Manuel Gerber, a partner at the Zurich-based art advisory Gerber & Stauffer Fine Arts, said. “There was only a very small number of dedicated international collectors, many of them in Switzerland. When we showed his work to clients or friends at the time, we’d get blank or puzzled looks back at best, appalled incomprehension at worst.”

Salvo, Il Mattino (The Morning), 1994. Courtesy of Christie’s.

Things began to change after Salvo’s death in 2015, at the age of 68, Gerber noted. The following year, his estate established the Archivio Salvo, a nonprofit to preserve and promote his legacy, and it helped build a solid lineup of institutional and gallery shows in subsequent years. Meanwhile, ultra-contemporary stars like Nicolas Party and Jonathan Monk have incorporated Salvo’s style into their oeuvre. (A 2021 exhibition at the Museo de Arte Contemporáneo in Rome showed works by Salvo side by side with those by Party and Monk.)

“About a year ago, all of these slow-burn factors were fanned into a wildfire by a much younger crowd, very few of whom were potential buyers and much of it happening on social media,” Gerber said. “By now, interest in Salvo’s work has become almost universal.”

An Evolving Practice

Born Salvatore Mangione in Leonforte, on the island of Sicily, in 1947, Salvo relocated to Turin in 1968, making the city became his adoptive home. He explored paintings early on, before getting involved with Arte Povera (“Poor Art”), the avant-garde movement that emerged in the country in the 1960s, emphasizing conceptual and sculptural approaches. (He is said to have shared a studio with Alighiero Boetti, one of Arte Povera’s key figures.) Salvo’s work was predominantly conceptual until 1973, when he returned to painting.

“Salvo was quoted in an interview with Il Giornale dell’Arte in 1988 saying, ‘I don’t trust artists whose works don’t reflect something of their life and where they come from,’” said Luigi Mazzoleni, the owner of the London- and Turin-based gallery Mazzoleni. “This reflection of his life can be seen throughout his works, with Salvo’s Italian heritage playing a significant role in the development of his landscapes, especially those featuring ruins, with many of his works taking direct inspiration from Old Masters.”

Salvo, Tre Colonne (1990). Oil on canvas. © Archivio Salvo. Courtesy of the artist and Gladstone Gallery.

The artist’s extensive travel experience also influenced his painting, particularly his use of light, “which plays an instrumental role in creating serene and contemplative atmospheres, transporting viewer to a specific moment in time,” said Mazzoleni. (The gallery’s founder, Giovanni Mazzoleni, Luigi’s father, was good friends with the artist.)

The most-sought-after Salvo paintings are those dreamy landscapes—a “pretty day scene of sunrise or sunset, with palm trees, beautiful sunshine, in strong yellow or pastel colors,” the London art advisor Federica Bonacasa said.

Art Market Phenomenon

It is difficult to overstate just how obscure Salvo was outside of Italy until recently. The average sale price of his work at auction was under $8,000 in 2003, when only $52,000 of his art was sold on the block.

Last year, the average sale price of his work was more than 10 times higher, at about $85,000, and his auction total was a robust $11.6 million. That is more than 220 times the 2003 sum—and nearly 10 times even the 2022 total.

The core buyers of Salvo’s works are between their mid-30s and mid-50s, and they have traditionally been European and American. However, Mazzoleni said, the artist now also has a strong following among Asian collectors.

“The market is still very focused on paintings from the late 1990s and later, the ones most easily associated with Nicolas Party,” Gerber said. “The most active buyers at the moment are contemporary art collectors. The postwar crowd is a little less visible, but private sales of the most historical paintings by Salvo from the mid-1970s to the ’90s exhibit the same price trajectory.”

Works by Salvo on view at Mazzoleni’s gallery booth at Art Basel Hong Kong 2024. Credits Mark Blower. Courtesy of Mazzoleni.

Galleries’ Effort

While Salvo is now an auction phenomenon, “Salvo mania” began quietly, four years ago, according to Bonacasa. The staggering price surge “is hard to believe for those who know the market,” she said.

The spike in prices could to be attributed to a number of prestigious exhibitions in recent years, such as “Boetti/Salvo” at the Museo d’Arte della Svizzera Italiana in Lugano, Switzerland, in 2017, and Gladstone Gallery’s 2020 solo exhibition in New York, which was credited with reintroducing Salvo to the U.S.

Simone Battisti, a Gladstone partner who works with the Archivio Salvo, noted that the gallery staged one of Salvo’s first shows in the U.S. in 1986, long before the artist’s market beyond Italy had matured. Following the explosion in interest in the artist, in the wake of its New York outing, Gladstone has staged shows at its locations in Rome and Brussels.

Salvos have also alighted at recent big-ticket fairs. Mazzoleni brought several works by the artist to Art Basel Hong Kong, which closed on Saturday. During the First Choice VIP hours on the first day, the gallery sold one Salvo work for $90,000 and another for $240,000. Gladstone, for its part, sold at least three Salvo paintings in Hong Kong at prices from $175,000 to $375,000. At Phillips in Hong Kong last week, a 2009 Salvo made $137,960 (with fees included), almost double its $76,900 high estimate.

Will the momentum continue? Bonacasa advised buyers not to get carried away, especially when bidding at auctions. “I don’t see if it can be sustainable at this level,” she said. “There’s still an appetite, but the market may soften later this year.”

Gerber also urged caution. “The price trajectory we’ve seen recently can obviously not continue forever,” he said. “Salvo’s market, like any great artist’s, will mature and pricing will become more differentiated. But you definitely won’t get important Salvo’s works at bargain prices anymore.”

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In the Western Ghats of Tamil Nadu, India, scientists have discovered two new gecko species, and one in particular has inspired an art historical name. The research team, consisting of Akshay Khandekar, Tejas Thackeray, Swapnil Pawar, Ishan Agarwal, Satpal Gangalmale, and Vivek Waghe, landed on the name Cnemaspis vangoghi because the blue coloration evoked Vincent van Gogh’s iconic “Starry Night” (1889).

As a result of sexual dimorphism, only the males resemble the Post-Impressionist painting and are largely blue except for a faded brown collar and upper body. Especially on the specimen’s head, light blue stripes appear to swirl through darker areas, evocative of the way van Gogh painted light emanating from stars and the moon. The females are entirely brown in color with cream, black, and deep sepia spots.

Learn more about Cnemaspis vangoghi, along with another painted gecko called Cnemaspis sathuragiriensisf, named for the Sathuragiri Hills where it was discovered, in the report published on ZooKeys. You may also enjoy other remarkable dispatches from Tamil Nadu, like billions of synchronous fireflires or the epic flamingo migration.

Left: Vincent van Gogh, “Starry Night” (1889), oil on canvas, 29 x 36 1/4 inches. Image via Wikimedia Commons. Right: Cnemaspis vangoghi’s colorful patterns

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Vincent van Gecko: Researchers Dub a Newly-Discovered Reptile After the Artist of ‘Starry Night’ appeared first on Colossal.

The irony of the mannequin as “everywoman” is that the inanimate form doesn’t have much in common with real women at all. But for photographer Patty Carroll, that’s the point. “The mannequin is the ‘ideal woman’ who does not age, have wrinkles, fat, or any other human quality,” the Chicago-based artist says.

In her ongoing Anonymous Woman series (previously), Carroll captures scenes of domestic dismay and disaster, like a woman hiding from a bug infestation in the bedroom or falling from her office chair, still gripping a phone. “(The mannequin) stands in for all of us who are obsessed with our homes, whether it is the décor or activities inside that make us ‘homemakers,’” the artist says. And the domestic scenes in which they sprawl are meticulously crafted with the help of her assistant Andie Meadows.

It takes a long time to conceive of the concept and gather materials to construct each image. Carroll has increasingly gravitated to using puns or idioms from which she composes literal images like “Underdog,” in which a woman is trapped under a dog seated on a chair cushion, or “Bamboozled,” wherein the figure disappears into bamboo-themed furnishings. Sometimes a specific prop, like a brown donut-shaped phone or the black panther sculptures popularized in the early 20th century, forms the basis for an elaborate scene.

“Bedbugged”

Carroll’s images often reflect domestic trends of the Atomic Age and the subsequent decades when post-war American society experienced a renewed optimism, privileging traditional family values and the “nuclear family.” The era is also marked by an explosion of marketing trends selling the fantasy of the “happy housewife,” replete with her scratch-cooked meals and effortlessly efficient, clean, and inviting home.

In contrast, Carroll’s Anonymous Woman is often swallowed by her surroundings, simultaneously clumsy and completely overwhelmed. “I grew up in a place where one’s drapes matched the sofa or bedspreads, and life was supposed to be ideal with 2.5 perfect children, a beautiful mother, and a rich father,” Carroll says. “Of course, none of this was true, but it was the myth of the perfect life. I have continued to satirize this illusion with humor, color, and beauty in my pictures.”

“Panther” was recently purchased for the 21C Museum Hotels collection and inspired an artist-designed suite at the Kansas City hotel, which opens this year. And “Smokin’” will soon be on view at ALMA Art and Interiors in Chicago. See more on the artist’s website.

“Underdog”

“Dishwasher Dull”

“Fruity”

“Hawaiian Hangover”

“WFH”

“Panther”

“Smokin’”

“Sour Grapes”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Patty Carroll’s Satirical ‘Anonymous Woman’ Is Overwhelmed by Her Own Domestic Perfectionism appeared first on Colossal.

When speaking to art dealers about Dallas, the refrain is that Dallas buyers can’t be rushed into making purchases like collectors on the coasts, true to the idea that Texas and the American South move at a slower pace than the rest of the country.

“They like to take a little bit more time. In Los Angeles at Frieze, you’re sort of closing deals on the spot. In Dallas, people are more likely to ask for some more information to be sent to them. They want to sort of ruminate and do some research. It’s a little bit of a slower burn,” says Adrian Zuñiga, the director of Various Small Fires’s Dallas outpost, which opened in 2022.

That’s not to say Dallas is a sleepy, regional art market. The 16th edition of the Dallas Art Fair (4-7 April) will bring in 91 galleries to downtown Dallas, up from 88 last year. The number is beginning to approach the typical number of participating spaces just before the Covid-19 pandemic, when the fair would feature nearly 100 exhibitors. And Dallas is home to a number of serious, world-class art collectors.

Local galleries returning to the Dallas Art Fair this year include 12.26, Erin Cluley Gallery, Conduit Gallery, Cris Worley Fine Arts, Galleri Urbane, Keijsers Koning, Sputnik Modern and Valley House Gallery and Sculpture. Dallas galleries Tureen and Pencil on Paper will mark their first years taking part in the fair. Anat Ebgi, Patel Brown, Perrotin, Sulamit Nazarian and The Hole will also participate.

Austin gallery Martha’s is returning to the fair and doubling-down on its Texas-based artists. Owner and director Ricky Morales says the gallery will fill its stand with works by Conner O’Leary and RF. Alvarez, both based in Austin.

“Dallas is a really interesting city and fair because it’s a lot more laid back,” says Morales. “Those Miami and New York fairs are really intense, and there’s a lot of other fairs kind of going around at the same time. There’s the Dallas Invitational now, but it’s just across the street. I think the Dallas Art Fair kind of stands on its own. It’s a much more laid-back, Texas kind of fair.”

The Dallas Invitational (4-6 April), which was launched last year by James Cope, the owner of Dallas gallery And Now, is also gaining traction. It’s being held at the the Fairmont Hotel across the street from Dallas’s Fashion Industry Gallery, the venue that hosts the Dallas Art Fair, during the same week. Dallas’s ability to accommodate two separate fairs is evidence of the growing importance of the city’s art market, according to art advisor Adam Green, who splits his time between Dallas and New York.

“Dallas is one of the few art scenes to have two fairs occurring simultaneously,” Green said. “It’s the result of a lot of demand from galleries wanting to get their foot in the door of the Dallas art scene. It’s also a testament to just the growing collector base here and the fair serving as a good time for galleries to check in with existing clients and expose their artists to the community.”

The 14 galleries taking part in the Dallas invitational include Various Small Fires, James Fuentes, Hannah Hoffman, Lomex and Night Gallery. Various Small Fires previously took part in the Dallas Art Fair for several years before opting to switch to the invitational.

“I don’t really see it as a sort of competition,” says Zuñiga, the gallery’s director in Dallas. “It’s just more just like a reflection of Dallas’s growing market importance.” He adds that the smaller scale of the Invitational was a significant factor in the gallery’s decision.

“We found that we might be able to have some more intimate conversations. It’s a much smaller scale,” Zuñiga said. “More people are starting to pick up on it, and the quality of the galleries that are there are in line with our approach and with our programming. We also had a busy season of fairs, so the scale of it really worked as well in terms of our overall programming.”

This year’s Dallas fairs back up to the Great American Eclipse on 8 April, the last total solar eclipse to be visible in the contiguous US until 2044. Dallas is the largest city in the eclipse’s path of totality, where the full scope of the eclipse can be seen. The city said it projects a 35% bump in the number of visitors during the week of the eclipse, which some Texas dealers say they hope will translate into extra foot traffic for art events in the area, though it has caused flights, rental car and hotel prices in the area to soar.

Dallas Art Fair, 4-7 April, Fashion Industry Gallery, Dallas
Dallas Invitational, 4-6 April, Fairmont Hotel, Dallas

Lost to science for more than six decades until it was photographed in 2010, the Santa Marta Sabrewing is one of the rarest hummingbirds in the world. Another sighting wasn’t documented until Yurgen Vega spotted one in 2022 and embarked on a joint study with researchers from the American Bird Conservancy, Universidad Nacional de Colombia, SELVA, ProCAT Colombia, and World Parrot Trust to trace the creature’s habitat and behavior.

Named for its home region in the Sierra Nevada de Santa Marta mountains of northern Colombia, the iridescent sabrewing is exceedingly difficult to spot in part because of its limited range. In biology, when an animal’s established habitat is contained in a small area, it is known as endemism, and this particular specimen’s home orbit is so finite that it is known as micro-endemic.

The Santa Marta Sabrewring was among the top ten most sought-after specimens in the Search for Lost Birds, so when professors Carlos Esteban Lara and Andrés M. Cuervo of Universidad Nacional de Colombia independently found others within the same area, their find spurred a collaborative effort to monitor and study the extremely rare population. Since then, stunning photographs have captured the bird’s magnificent, jewel-like sheen.

Read more about the study’s findings on the American Bird Conservancy website.

Photo by Carole Turek

Photo by John C. Mittermeier

Photo by Carole Turek

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article One of the World’s Rarest Hummingbirds Makes a Dazzling Appearance in Colombia appeared first on Colossal.

Every month, Colossal shares a selection of opportunities for artists and designers, including open calls, grants, fellowships, and residencies. If you’d like to list an opportunity here, please get in touch at hello@colossal.art. You can also join our monthly Opportunities Newsletter.

ReadyLaunch GrantFeatured
Geared toward empowering female and non-binary designers, the ReadyLaunch Grant supports myriad projects, including newsletters, zines, YouTube channels, and podcasts. Four grantees will receive $2,000, one-year access to a Female Design Council membership, enrollment in the Female Design Council Mentor Match Program, and assistance in securing media coverage. Funds can be used for team payments, space rentals, production costs, project resources, or participation in training programs.
Deadline: 23:59 p.m. CET on May 8, 2024.

Open Calls

The Shed Open Call (New York City)
Open to early-career artists in any discipline, this program commissions projects of up to $15,000 to be produced at The Shed.
Deadline: 6 p.m. ET on April 4, 2024.

Passepartout Photo Prize (International)
Open to any style, process, or subject matter, this annual prize offers €1,000, an exhibition in Rome, and a publication. The entry fee starts at €25 for three images.
Deadline: April 4, 2024.

Future Lions 2024 (International)
Future Lions is a global competition with AKQA and Cannes Lions International Festival, this year in partnership with Spotify and The Wall Street Journal. Applicants are encouraged to submit ideas that answer the following question: “How can Spotify spread positivity by using technology to bring listeners closer to the communities and creatives they love?”
Deadline: April 12, 2024.

Prisma Art Prize (International)
The Prisma Art Prize will award one artist working in painting, drawing, and engraving €500. There are additional chances to win solo and group shows and a two-week residency at Dar Meso in Tunis, Tunisia. There is a €29 submission fee.
Deadline: April 22, 2024.

City of Burbank Call for Artists (International)
This open call invites artists to create a public artwork that also serves as a shade structure in Johnny Carson Park. The total budget is $400,000, and applications must be submitted via mail.
Deadline: 5 p.m. PT on April 26, 2024.

ArteAlta (International)
This annual competition organized by Alina Art Foundation, Inarttendu, and the Council of the Region Valle d’Aosta invites artists to submit work across painting, sculpture, photography, mixed media, textiles, paper, and video related to the theme of Fear. Three prizes with cash, an exhibition opportunity, and a residency will be awarded.
Deadline: May 1, 2024.

2024 International Photography Competition (International)
In its 13th year, the International Photography Competition is hosting an open call. Hosted by the Florida Museum of Photographic Arts, the contest will award one winner $1,000, and several photographers will be featured in an exhibition.
Deadline: May 5, 2024.

Art in Odd Places 2024: Care (International)
The iconic public visual and performance art festival in Manhattan will take place October 18 to 20, 2024, under the theme of Care. Artists, performers, agitators, and caretakers are eligible to submit projects that invite the public to stop, to rest, to consider, and, above all, to care.
Deadline: 11:59 p.m. EST on May 26, 2024.

2025 Vilcek Prizes for Creative Promise in Visual Arts and Curatorial Work (International)
Open to artists and curators born outside the U.S. to non-American parents, the Vilcek Prize will grant six $50,000 awards to immigrants under 38.
Deadline: June 10, 2024.

Grants

Artadia Awards (U.S.)
Artadia Awards annually grants three artists $15,000 in unrestricted funds in Atlanta, Boston, Chicago, Houston, Los Angeles, New York City, and the San Francisco Bay Area. There is also a roving partnership with 21c Museum Hotels, where one award is presented in a different city each year where 21c Museum Hotels are located.
New York City deadline: April 1, 2024. 

Creative Capital Open Call (U.S.)
Creative Capital is seeking innovative and original new project proposals in visual arts, performing arts, film/moving image, technology, literature, multidisciplinary, and socially engaged forms. These unrestricted grants can cover a multi-year period and offer professional development and community-building opportunities.
Deadline: 4 p.m. ET on April 4, 2024.

The Dexter Jones Award (U.S.)
One artist born between 1984 and 2005 will receive $5,000 for an outstanding sculpture in bas-relief. Figurative, realist, and nature-inspired works are of greatest interest.
Deadline: April 15, 2024.

Anonymous Was A Woman Environmental Art Grants (U.S.)
This program will distribute $300,000 in funding—up to $20,000 per project—to support environmental art projects led by women-identifying artists.
Deadline: 5 p.m. ET on April 16, 2024.

Prix Viviane Esders (Europe)
The Viviane Esders Endowment Fund welcomes applications for the third edition of the Prix Viviane Esders, recognizing European photographers over 60 years old who have developed photographic careers over several decades. One established photographer receives €50,000, and two finalists receive €5,000 each.
Deadline: April 29, 2024.

2024 Robert Giard Grant for Emerging LGBTQ+ Photographers (International)
Queer|Art’s first international grant provides $10,000 to one winner and $1,250 to finalists to support the creation of projects addressing issues of sexuality, gender, or LGBTQ+ identity.
Deadline: June 30, 2024.

2024 Illuminations Grant for Black Trans Women Visual Artists (International)
In its fifth year, this grant supports visual artists who are self-identified Black trans women and awards $10,000 to one winner and $1,250 to finalists.
Deadline: June 30, 2024.

The Adolf and Esther Gottlieb Emergency Grant (International)
The Adolph and Esther Gottlieb Emergency Grant program provides one-time interim financial assistance to qualified painters, printmakers, and sculptors whose needs resulted from an unforeseen catastrophic incident and who lack the resources to meet that situation. Awardees typically receive $5,000, up to $15,000.
Deadline: Rolling.

Adobe Creative Residency Community Fund (Ukraine)
Adobe’s Creative Residency Community Fund commissions visual artists to create company projects on a rolling basis. Awardees will receive between $500 and $5,000.
Deadline: Rolling.

Pollock-Krasner Foundation Grant (International)
The foundation welcomes applications from actively exhibiting visual artists who are painters, sculptors, and artists who work on paper, including printmakers. Grants are intended for one year and range up to $50,000. The individual circumstances of the artist determine the size of the grant, and professional exhibition history will be considered.
Deadline: Rolling.

Residencies, Fellowships, & More

Bemis Center Artist-in-Residence Program (International)
Artists receive access to private live/work studios, a $1,250 monthly stipend, and a $750 travel stipend. Residents also have 24-hour access to extensive installation and production spaces and the Okada Sculpture & Ceramics Facility, a 9,000-square-foot industrial space used for large-scale sculpture fabrication, plus a sound studio for rehearsing and recording. There is a $40 application fee.
Deadline: 11:59 p.m. CT on April 1, 2024.

Self as Universe: Mending Our Collective Ecosystem Residencies (International)
Open to artists across disciplines with an established interest in environmental and cultural issues, this six-week residency offers $5,000, accommodations, studio space, and funding for local field trips and research.
Deadline: April 3, 2024.

The Erin Donohue and Family Ceramics Artist Residency (International)
Hosted by the Artists Association of Nantucket, this ceramics residency will bring one artist to Nantucket to teach two five-week classes, one introductory course for the community and a more intermediate one for students and professionals. The program offers lodging, studio space, a $500 travel stipend, and a $2,000 stipend for living expenses and materials.
Deadline: April 5, 2024.

The Dome House Al & Mickey Quinlan Artist Residency (Midwest)
One artist working in drawing, painting, printmaking, photography, and other mediums will receive a $500 stipend and accommodations to create a new work in partnership with the Miller Art Museum.
Deadline: April 5, 2024.

KWBS Residency (New York)
From NOoSPHERE Arts in Brooklyn, this annual open call seeks unique, site-specific installations created by local artists for the Kingsland Wildflowers green rooftop. The theme for 2024 is “A Vibrant Tapestry” and the chosen artist receives $1,500.
Deadline: April 10, 2024.

Fondation Fiminco Residency Fabrique (International)
Open to artists of any age and discipline, this 11-month residency offers accommodation, workspace, a 5,000 Euro production budget, and travel funding.
Deadline: Midnight CET on April 15, 2024.

Lycée Français de Chicago Artist-in-Residence Program (International)
For the 2024-2025 residency, LFC is particularly interested in a collaboration with a musician/lyricist but will consider projects in architecture, visual arts, performing arts, digital arts, comics, film/animation, design, graphic design, literature, photography, murals/street art, etc. One artist will receive a $15,000 stipend to complete a work.
Deadline: April 15, 2024.

Artist in Residence at The Latinx Project (U.S.)
Open to emerging and mid-career artists, this residency offers a $10,000 honorarium and $5,000 production budget to produce a solo exhibition at NYU that engages with larger contemporary or historic dialogues in Latinx Studies.
Deadline: April 15, 2024.

Diriyah Art Futures Emerging New Media Artists Program (International)
Diriyah Art Futures launches a concept-driven digital and technology-led creative production and training program for emerging artists working in new media and digital arts. This one-year scholarship supports emerging artists by providing access to cutting-edge professional equipment, a production budget, and a range of multidisciplinary learning opportunities, including personal mentorship by prominent international digital artists.
Deadline: April 29, 2024.

Lillstreet Art Center Artist in Residence (International)
Lillstreet offers year-long residencies in ceramics and metalsmithing and nine-month residencies in drawing, painting, printmaking, book arts, and textiles. Artists have 24-hour access to facilities, free classes, paid teaching opportunities, participation in a group exhibition, and a monthly stipend. There is a $20 application fee.
Deadline: May 1, 2024.

The Farm Margaret River Residency (International)
This residency tasks artists with creating a site-specific artwork informed by the environment. Spanning eight weeks, the program offers studios, accommodation, support for travel, and a $7,500 grant.
Deadline: 5 p.m. AWST on June 2, 2024.

The Hodder Fellowship (International)
Open across disciplines, this fellowship provides $90,000 to artists who spend ten months at Princeton University. No formal teaching is required.
Deadline: Mid-September 2024.

Hunter Moon Homestead Artist Residency (International)
Artists and arts educators working across disciplines are invited to apply to this program in Palouse. Residents receive one- to three-week stays, with lodging and studio space included.
Deadline: Rolling.

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Analogous to pixels, the tight grid of cross-stitch serves as a fitting canvas for translating digital footage to a handcrafted form. New York City-based artist Francine LeClercq’s embroideries of surveillance imagery capture the tell-tale date and time stamps and grainy black-and-white pictures in intricately detailed, monochrome compositions.

Embroidery has long been linked to domesticity, usually created at home for the home as embellished handkerchiefs, tablecloths, wall decorations, or gifts. Cross-stitch is often associated with samplers, which makers—historically women—would create to demonstrate their needlework skill by stitching motifs like the alphabet, figures, their own names, and decorative borders.

LeClercq abruptly challenges this affiliation with comfort and home by using imagery from CCTV cameras, measures that businesses and law enforcement—and increasingly homeowners—employ under the guise of crime reduction.The artist is fascinated by the pervasive monitoring that is ostensibly marketed as a security measure, yet instills its own brand of anxiety or hyper-awareness.

Through hand-stitched scenes that portray wide-angle overviews of city streets, LeClerqc captures innocuous instances of people crossing the street or standing next to a parked car. She often weaves long threads throughout the composition that imitate the crackled pattern of a frozen video feed. Tens of thousands of stitches go into each piece, distilling 1/24-second clips into meticulously crafted meditations on society’s growing obsession with observation.

Find more on the artist’s website and Instagram.

Detail of “Bike”

“DC8,” cross-stitch embroidery, 24 x 48 inches

Detail of “DC8”

“SIKKEMA,” cross-stitch embroidery, 24 x 48 inches

Detail of “SIKKEMA”

Detail of “SIKKEMA”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Francine LeClercq Stitches Thousands of Pixels from Digital Surveillance Footage in Meticulous Embroideries appeared first on Colossal.