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.

ON::View Artist Residency Program, Fall 2023Featured
Applications are now open for the On::View Artist Residency Program in Savannah, Georgia. The residency supports artists from across the globe, working in all media, for periods of one to three months. Selected artists gain access to a high-visibility studio space to complete a new project, continue an in-progress endeavor, or to conduct research exploring conceptual, material, performative, and social practices.
Deadline: June 1, 2023.

Spring Open Call for the Hopper Prize GrantsFeatured
The Hopper Prize is now accepting entries for Spring 2023 artist grants. The program offers two awards of $3,500 and four of $1,000. Submissions will be juried by Emily Edwards, assistant curator at Dallas Contemporary, and Inês Costa, curator at Focal Point Gallery, Southend-on-Sea. This is an international open call, and all visual media is eligible.
Deadline: 11:59 p.m. PDT on May 16, 2023.

Open Calls

Art in Odd Places (AiOP) 2023: DRESS (International)
Running from October 13 to 15, 2023, and curated by Brooklyn-based artist Gretchen Vitamvas, Art in Odd Places invites artists who are using dress as a medium to apply for its 18th annual festival taking place along 14th Street in Manhattan. Works may take the form of garments, textiles, fashion design, costume, performance, sculpture, and installation.
Deadline: 11:59 p.m. EDT on May 14, 2023.

A.I.R.’s CURRENTS 2024 Curatorial Open Call (International)
A.I.R. Gallery invites curators to submit proposals for the next CURRENTS exhibition, which will run from January 6 to February 4, 2024. The chosen applicant will receive a $1,500 curatorial fee, WAGE-certified artist fees, a $3,000 artwork shipping budget, and a $500 production budget. There is a $10 to $30 application fee.
Deadline: 11:00 p.m. on May 15, 2023.

Abandoned Open Call (International)
Abandoned is an international juried group exhibition at The Chateau Gallery exploring abandoned and rediscovered objects, spaces, and structures. All two-dimensional, conventional, and nontraditional images with a subjective analog or digital photographic base are eligible for submission.
Deadline: 11:59 PST on May 15, 2023.

Descanso Gardens Open Call (International)
Curators, artists, collectives, cultural producers, and thinkers of all kinds are encouraged to submit preliminary proposals for exhibitions and programs at Descanso Gardens. Curatorial proposals will be considered for Descanso’s Sturt Haaga Gallery, the Boddy House, and satellite locations throughout the botanical gardens.
Deadline: May 15, 2023.

Meantime, Institute of Contemporary Art San Francisco (Bay Area)
This open call is for Bay Area artists, performers, activists, collectives, and others making new work and focused on public engagement and activation of the space. The ICA is looking for pop-ups—performances, workshops, events, and one-time activations—and artist residency projects using the museum as a studio space. Project budgets are $1,500.
Deadline: May 21, 2023.

All About Photo Solo Exhibition (International)
Photographers of any level are encouraged to submit six to 14 cohesive works for this open call. There is a $45 submission fee.
Deadline: May 23, 2023.

Vilcek Prizes for Creative Promise (U.S.)
The Vilcek Prizes support emerging to mid-career immigrant designers who have demonstrated exceptional achievements early in their careers. Three winners working in digital design, graphic design, product design, or social design will receive $50,000.
Deadline: 5 p.m. EDT on June 12, 2023.

SaveArtSpace This Place Meant Open Call (International)
Curated by Sadaf Padder, This Place Meant is an open call for third-culture artists and descendants of mass displacement. Artists of all ages are eligible, and chosen projects will be displayed on a billboard in New York City. There is a $10 application fee.
Deadline: June 19, 2023.

CUE Open Call for Solo Exhibitions and Curatorial Projects (U.S.)
CUE’s annual open call provides emerging and underrepresented artists and curators the opportunity and necessary resources to realize an exhibition at CUE’s storefront gallery space on West 25th Street in Manhattan. Artists receive a $5,000 honorarium and curators $2,500, and there is a $10 application fee.
Deadline: 11:59 p.m. EDT on June 30, 2023.

Grants

California Arts Council Individual Artists Fellowship Program (California)
Artists living in central California are eligible for awards in three categories: Emerging Artist Fellows receive $5,000, Established Artist Fellows receive $10,000, and Legacy Artist Fellows receive $50,000.
Deadline: 5 p.m. PDT on May 5, 2023.

Fundación Botín Art Grants (International)
Fundación Botín will award six grants worth € 23,000 to support individual projects that may consist of training (academic or not), research (non-academic), and production.
Deadline: May 5, 2023.

New Hampshire State Council on the Arts Arts in Health Project Grants (New Hampshire)
These project grants for nonprofits are designed to aid the elderly, people with disabilities, people in recovery, incarcerated individuals, and people with mental health diagnoses. Awards range from $1,000 to $6,000.
Deadline: May 5, 2023.

New Hampshire State Council on the Arts Artist Entrepreneurial Grants (New Hampshire)
Open to artists, performers, crafters, creatives, and art teachers, these grants range from $250 to $1,000 and support awardees’ careers.
Deadline: May 5, 2023.

The Tournesol Award (Bay Area)
One emerging Bay Area painter will receive a $10,000 stipend, a private studio, and a culminating exhibition or project.
Deadline: May 8, 2023.

Grants Fundación Ama Amoedo (International)
Ten $10,000 grants will be awarded in four categories: four grants for artists, two grants for art and social engagement, two grants for organizations, and two grants for publications. Awards are intended for artists, artistic collectives, nonprofits, associations, institutions, and foundations with a significant connection to Latin America, either by nationality, cultural heritage, and/or the site where the project will be carried out.
Deadline: May 15, 2023.

Jerome Foundation Arts Organization Grants (New York City and Minnesota)
These two-year flexible grants are designed to support Minnesota and New York City-based arts organizations that offer ongoing programs, services, and/or opportunities for multiple early career generative artists.
Deadline: 4 p.m. CDT on May 18, 2023.

VIA Art Fund Artistic Production Grant (International)
These grants, ranging from $25,000 to $100,000, commission new works exhibited beyond museum walls and in public spaces.
Deadline: May 18, 2023.

Rauschenberg Medical Emergency Grants (U.S.)
One-time grants of up to $5,000 are available for artists with recent unexpected medical, dental, and mental health emergencies.
Deadline: 5 p.m. EDT on May 19, 2023.

Artadia San Francisco (San Francisco)
The Artadia Awards provide $15,000 unrestricted awards, exposure, and recognition to artists in partner cities each year.
Deadline: May 31, 2023.

NYSCA/NYFA Artists with Disabilities Grant (New York)
The program will distribute $1,000 to visual, media, music, performing, literary, and multidisciplinary artists living in New York State with a disability who have experienced financial hardship due to COVID-19.
Deadline: 5 p.m. EDT on June 6, 2023.

Laura Patricia Calle Grant (U.S.)
This $20,000 grant awards an artist or collective the opportunity to paint a mural in the Metro Atlanta region. The work should inform and promote awareness of social equality, feminism, immigrants’ rights, LGBTQIA+ rights, and cultural diversity.
Deadline: 11:59 p.m. on June 30, 2023.

Illuminations Grant for Black Trans Women Visual Artists (U.S.)
Now in its fourth year, this annual $10,000 grant draws attention to early-career Black trans women visual artists, highlighting an existing body of work and providing critical support for their practice. The winning artist will complete a studio visit with our rotating panel of judges, and four distinguished finalists will receive $1,250 awards.
Deadline: July 12, 2023.

Adobe Creative Residency Community Fund (Ukraine or refugee)
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.

Residencies, Fellowships, & More

Lillstreet Art Center Artist-in-Residence Program (International)
Lillstreet Art Center in Chicago offers residencies in ceramics, metalsmithing, textiles, drawing & painting, and printmaking & book arts beginning in September every year. Residents receive a $400 monthly stipend, studio space, access to the center’s facilities, an exhibition, and paid teaching opportunities.
Deadline: 11:59 p.m. CDT on May 1, 2023.

Irene Yamamoto Arts Writers Fellowship for Emerging Writers of Color (U.S.)
Two writers of color with under five years of experience who are focused on art criticism and/or reporting about the visual, performing, or media arts are eligible for this fellowship. Chosen applicants will receive $5,000 unrestricted awards.
Deadline: May 7, 2023.

BRIClab Residency (International)
A multi-disciplinary residency divided into four tracks (Contemporary Art, Film + TV, Performing Arts, and Video Art), BRIClab offers emerging to mid-career artists $2,500 stipends, studio space, mentorship, professional development, and documentation of their work.
Deadline: May 8, 2023.

Triangle Arts Residency (International)
Triangle offers studio space and a community for artists participating in its three-month residencies in Brooklyn. There is a $20 application fee.
Deadline: 11:59 p.m. EDT on May 11, 2023.

Velvetpark LGBTQ+ Visual Artists Residency (International)
Artists at any point in their careers are welcome to apply for this six-month residency in Crown Heights, Brooklyn.
Deadline: 11:59 p.m. on May 12, 2023.

Women’s Studio Workshop Studio Workspace Residency (International)
The Studio Workspace Residency is an opportunity for artists working in intaglio, letterpress, paper making, screen printing, darkroom photography, or ceramics. Housing and studio space are provided.
Deadline: 11:59 p.m. EDT on May 15, 2023.

Women’s Studio Workshop Art-in-Education Workspace Residency (International)
The Art-in-Education program operates in conjunction with the Kingston, New York School District, and residents must be able to teach intaglio, silkscreen, or hand paper making. This is an opportunity for artists with a range of teaching experience, from seasoned teachers and professors to those with minimal experience and an interest in gaining skills and knowledge.
Deadline: 11:59 p.m. EDT on May 15, 2023.

Mandel Institute Cultural Leadership Program (International)
This two-year fellowship is designed to support artists and cultural producers working in Jewish communities. Fellows receive a $20,000 yearly stipend to support their time in the fellowship’s educational program and independent work on a creative project.
Deadline: May 17, 2023.

Peyton Evans Artist Residency Program (International)
The Studios of Key West invites nearly 35 visual artists, writers, composers, musicians, media artists, performers, and interdisciplinary artists to its residency each year. Studio space and lodging are provided. There is a $45 application fee.
Deadline: May 17, 2023.

McKnight Fellowship for Ceramic Artists (Minnesota)
Minnesota-based mid-career ceramic artists working in functional, sculptural, and other techniques are eligible for this fellowship, which offers two $25,000 grants and a culminating exhibition.
Deadline: 5 p.m. CDT on May 19, 2023.

Cavendish Arts Science Fellowship at Girton College (International)
Artists whose practice resonates with the Cavendish Arts Science ethos of questioning, collective imagining, and decentering are encouraged to apply for this one-year fellowship in Cambridge. One fellow receives a £10,000 stipend, lodging and meals, a £10,000 production budget, and £3,000 for travel.
Deadline: 11:59 p.m. BST on May 21, 2023.

Studio Museum in Harlem Artist-in-Residence (International)
For this 11-month residency, three artists working in any media will receive institutional guidance and professional development, research support, private studio space, and a $37,500 stipend. The residency culminates with a group exhibition.
Deadline: May 22, 2023.

McColl Center Artist in Residence (International)
Emerging and mid-career artists are encouraged to apply for this McColl Center residency. Chosen applicants receive a $6,000 stipend, housing, studio space, and access to a 30,000-square-foot facility with a woodshop, ceramics and sculpture studio, and printmaking, media, and 3D labs. There is a $35 application fee.
Deadline: May 26, 2023.

Residencies at Marble House Project (International)
Marble House Project is a multidisciplinary artist residency that integrates sustainable practices, including small-scale organic food production and waste conservation. Open across disciplines, this program accommodates eight artists each cycle who live and work communally. There is a $35 application fee.
Deadline: May 30, 2023.

Eliza Moore Fellowship for Artistic Excellence (International)
The fellowship is open to early-career artists, writers, dancers, and musicians developing new works that address plants, gardens, or landscapes. One fellow will receive $10,000 and a two-to-five-week stay at Oak Spring.
Deadline: 11 p.m. on May 31, 2023.

PLAYA Residency (International)
PLAYA’s residencies are open to naturalists, biologists, musicians, designers, sustainability leaders, social practitioners, musicians, visual artists, writers, and performing artists whose work promotes dialogue and positive change in the environment. There is a $40 application fee.
Deadline: 11:59 p.m. PDT on May 31, 2023.

New York Foundation for the Arts JGS Fellowship for Photography (New York)
This fellowship awards $7,000 to five New York State photography artists living and working outside New York City.
Deadline: 5 p.m. EDT on June 14, 2023.

ICCI Art Valley Program (International)
The USC-SJTU Institute of Cultural and Creative of Shanghai Jiao Tong University is recruiting five international artists and scholars to participate in the ICCI ART VALLEY PROGRAM from November 1 to December 15. Visiting artists will hold exhibitions, lectures, workshops, and/or other public programs and will receive accommodations, airfare, and a stipend of at least 10,000 RMB.
Deadline: July 15, 2023.

The Farm Margaret River (International)
Open to all disciplines and individuals and collectives, this residency focuses on site-specific projects created during eight weeks at The Farm Margaret River in Australia. Chosen applicant(s) will receive lodging, studio space, and a $7,500 grant.
Deadline: August 1, 2023.

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 May 2023 Opportunities: Open Calls, Residencies, and Grants for Artists appeared first on Colossal.

A variety of landscapes set the scene for Barry Underwood’s vivid sculptures (previously), illuminating sites of human interference and destruction. Utilizing LED lights and reflective materials, he challenges perceptions of flatness and depth and invites us to consider the significance of our surroundings. “Our understanding of landscape is a construct based upon what we want from the land and what we have experienced,” he says.

Underwood’s latest series Linear Construction—to which many of these images belong—“focuses on visual illusions that reflect the land conservation paradoxes created by humans’ deep augmentation of the natural world,” he tells Colossal. While some images contain clear signs of intervention, such as a mown field or a stone wall, others require a closer look at a treeless river bank or a cleared meadow. The artist explores civilization’s impact on nature by superimposing geometric shapes onto landscapes, nodding to the precise angles of built structures and bright lights we might associate with warning flares or neon signs.

To achieve the images, Underwood experiments with what he calls “a catalog of visual devices. I try to find locations that I’m either shooting downhill or uphill to make the space look like it’s torqued,” playing with perception and taking multiple frames that are later stitched together in Photoshop to create what he describes as a “disruptive mood.”

Find more of Underwood’s work on his website, and learn more about his process on Instagram.

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 Barry Underwood Illuminates Human Presence in the Landscape in Geometric Light Sculptures appeared first on Colossal.

Emerging Web3 technologies are emboldening old school artists to experiment with creative media in unique ways and distribute digital art through global, decentralized networks.

The creative economy represented 4.4 % of GDP, according to data published in 2021 by the National Endowment for the Arts and the Bureau of Economic Analysis, just over $1 trillion. And now the creative economy is also a fundamental cornerstone of the crypto economy. Countless Ethereum
ETH
-friendly art collectives, in particular, are still growing their communities despite the bear market.

The CryptoArt Footprint Of Female Founders

One such community is DADA, an ecosystem of over 175,000 participants that was created by two female founders, Beatriz Ramos and Judy Mam. Far from being a crypto fad, DADA is an old school art community that will commemorate its ten year anniversary next year. The jubilee kicks off this May in Milan with a special exhibit – The “DADA Perspective” – curated by Web3 artist Eleonora Brizi at the iconic MEET Digital Culture Center in Italy.

The exhibit will draw from the collective’s rich history of work and add new dimensions. For example, DADA collaborated with roboticist Alex Reben to program an Artificial Intelligence bot back in 2019, using DADA’s 115,000 portfolio of works. DADAGAN, is being rebooted as an autonomous artist-in-residence just in time for the Italian exhibit, and will have its own unique social media presence.

Artists Ramos and Mam first launched the DADA digital platform in 2014, then infused blockchain technology into their work starting in 2017. The New York based entity was one of the first art projects to code royalties into Ethereum smart contracts, enabling creators to profit from secondary market sales. Long before the NFT craze attracted mainstream attention with CryptoKitties, DADA’s “Creeps & Weirdos” collection was issued on Ethereum for Halloween 2017.

DADA is fashioned in the style of the Dadaism artistic movement of the early 20th century, which sought to disrupt the bourgeois, capitalist art society that profited an elite few. In an interview with me, Mam describes the platform as an “giant open canvas” where artists speak through drawings. Adding Web3 technology to the mix can only enhance the open collaborations between artists exploring this genre.

The Invisible Economy

As early crypto adopters, the DADA founders were determined not to create a space that “replicated the dynamics of the traditional art market,” says Mam. She added that today’s centralized art business is a rat race that picks winners and losers based on trends, competition and access. Instead, the DADA Collective aims to use Web3 tools to venture “beyond the prospect of simply transacting in digital assets.” The art itself should subvert or question power dynamics in the creative economy.

These founders are seasoned Latina artists who have worked with Fortune 500 companies, Ramos as a commercial illustrator and Mam as a published writer. Yet they wanted DADA to be anything but commercial. Instead, Mam says they are exploring an “invisible economy” that uses non-business models for promoting art in ways that minimize inequity while fostering audience participation. That’s where Web3 tools come in.

The DADA collective aims to launch a token later this year that may help quantify “intangible value, that is beyond simple economic value,” Ramos said during a Blockchain Small Business Week Forum in May 2021. Rather than focusing mainly on the token price, Mam told me the token will enable community governance for an unconventional digital art marketplace. However, the DADA Collective is not a decentralized autonomous organization. They’ll experiment with voting structures that allow for optimal participation.

Fusing New Technologies

This experiment is already influencing the art world. The newly published book, “The Story of NFTs: Artists, Technology, and Democracy,” by Amy Whitaker and Nora Burnett Abrams, pays homage to DADA’s impact and documents their early journey to harness Blockchain technology to empower and build community. Still, Mam and Ramos are certainly not alone in their innovative approach to fusing artistic experiences with new technologies.

There’s also Spatial Labs, where CEO Iddris Sandu is designing infrastructure to power Web3, melding physical products with digital utility. Their state of the art technology enables creatives to tap digital assets to curate immersive user interfaces to maximize revenue generation.

And Lady PheOnix, a new media and culture artist, blazed new trails in 2021 when she unveiled “PROOF OF SOVEREIGNTY” for Christie’s Auction House. In addition to smart contracts, she blended metadata, storage, and legal standards to architect the crypto art and NFT extravaganza. In describing the Christie’s event in a press release, Lady PheOnix said, “PROOF OF SOVEREIGNTY places the sovereignty and legacy of the artist at the center of the conversation—and has established a new standard for artists, collectors, and institutions…These practices rarely get implemented outside of museums and academia, but are essential for the long-term preservation and storage of digital art.”

As traditional creative industries continue to be disrupted, the upcoming DADA exhibit in Italy, which opens on May 10, is a timely retrospective celebrating the crypto art culture the two female founders have built over almost a decade. Artists like Beatriz Ramos and Judy Mam, as well as female founders like Lady PheOnix and other crypto-savvy art collectives, are showing how digital models can transform the creative economy.

Travelers at O’Hare Airport’s Multi-Modal Facility in Chicago—an expansive parking structure that connects all of the airport’s ground transportation—are now treated to a large-scale, collaborative artwork by Hank Willis Thomas (previously) and Coby Kennedy as they move through a lofty atrium. Emerging from the walls of an escalator hall and measuring approximately 27 and 31 feet long, enormous arms extend across the space as if just about to clasp hands. Titled “REACH,” the piece takes cues from its site in a busy transportation hub, reframing a transitory space into a reminder of togetherness and connectivity.

“‘REACH’ is a connection point and large-scale gesture that inspires us to come together,” says Thomas, whose sculptures have often incorporated hands and arms in symbolic positons such as embraces, the Black Power fist, or hands-up defensive signals that evoke historical events and activism. The work is the newest of O’Hare’s major public art installations, which among many others includes “Palimpsest,” Nick Cave’s multi-story beaded tapestry installed in 2019 in another part of the same building.

See more of Thomas’ work on his website, and follow on Instagram for updates.

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 Hank Willis Thomas and Coby Kennedy Extend a Monumental Welcome to Travelers Transiting Through O’Hare appeared first on Colossal.

ARTIFICIAL INTELLIGENCE IS changing the way we think about authorship, art, and white collar work. It may be changing how we think, full stop.

As artificial intelligence, or machine learning, becomes more integrated into people’s everyday lives, it runs the risk of “replacing moral judgments, or by replacing practical judgments, or replacing everyday judgments,” Nir Eisikovits, professor of philosophy at the University of Massachusetts Boston, said this week on The Codcast. 

Decisions as minor as what to watch on a streaming service or as major as whether to approve someone for a mortgage are being gently, or not so gently, automated. 

“The basic point is making a judgment like, ‘Should somebody get a promotion? Should somebody get a mortgage?’ used to be something that a human being decided by weighing all kinds of particulars using their spidey sense or whatever,” Eisikovits said. “Increasingly, they’re made by machines, and if using your judgment is a little bit like going to the gym – it’s like a muscle … use it or lose it – then more and more we’re, in more and more contexts, not using it.”

Eisikovits founded the Applied Ethics Center at UMass Boston. Since the center opened in 2017, Eisikovits and his colleagues have been thinking about the impact of artificial intelligence on moral decision-making and its unique relationship to work and creativity. 

Flashy fears about artificial intelligence are probably not the best targets for human hypervigilance, Eisikovits notes. “One important misconception is that we’re moving closer and closer to a sentient kind of Skynet AI that’s capable of generating its own intentions and finally becoming a robot overlord,” he said. “I think that’s not in the cards for the near future.”

A risk of increased reliance on artificial intelligence is, instead, about short-cutting many of the basic moral and creative decisions that people make. If a machine can suggest possible song samples for aspiring musicians, or go further and create a music video from a popular artist nearly indistinguishable from the real thing, the relationship between artist and artistic product can get confusing.

“We admire great performances, because they represent the kind of giftedness that awes us,” Eisikovits said. “And in the case of technologically generated performance, our admiration moves from the giftedness to an engineer or to a pharmacist or to a lab person. And it’s not clear what art can still do for you under those conditions.”

There are some upsides to better machine learning, in theory. A person’s “spidey sense” could boil down to personal bias that a more fair machine learning system could counteract. On the other hand, the bias of a programmer or the pools of data that machines are trained to sort through could fundamentally taint the outcome. 

Famously, Eisikovits recalled, facial recognition technologies were better at recognizing light-skinned faces than dark-skinned faces because the data used to train the programs used more White people. 

“Importantly, if there’s enough political will, and commercial pressure, and both, then those biases can be fixed, just like Microsoft fixed its facial recognition software in response to pressure,” he said. “So in some way, I think the extension-of-bias question is a big question. It’s important. But it can be addressed. What I think can’t be addressed, or is much harder to address, has to do with the loss of capacity from this replacing us in some basic functions.”

Every new technology is met with a level of agonized fretting about replacing human beings in some essential way, Eisikovits said. The invention of writing displaced oral storytelling traditions in much of the world. Industrial machinery could accomplish intense physical tasks beyond the human body’s potential. 

Artificial intelligence’s capacity to replace workers is similar to industrial machinery in that it can perform labor-intensive, low-skill work more efficiently – reviewing large amounts of documents in legal or medical fields, for instance. 

It ties into a broader conversation about the nature of work and fulfillment. Is there an inherent value to making a human being pore through tens of thousands of pages, or summarize stock briefings, or pull together a basic marketing deck? CommonWealth last month considered the rise of the four-day work week, which proponents assert gives employees more time for their personal lives while counterintuitively getting the same amount of work done as they might in a five-day work week.

“What seems to be happening is rather than jobs being replaced wholesale, parts of jobs are being replaced,” Eisikovits said. “So people’s job definitions are changing. I think there’s no way around that, meaning that sooner or later, you’ll need fewer people to generate the same kind of productivity.”

May 1, 2023

Held on Friday, April 28, Columbus State University’s annual Scholastic Honors Convocation recognizes students and faculty for their academic and service accomplishments at
the program, departmental and university levels.

In all, the university presented more than 120 awards this year—including its top
honors, which for students include the Faculty Cup Award, Academic Recognition Award;
and Phi Kappa Phi Outstanding Student of the Year Award. They also include the faculty
Educator of the Year Award.

Faculty Cup Award: Spencer White, a senior from Knoxville, Tennessee, double-majoring
in music and interdisciplinary studies

The Faculty Cup is the highest student award bestowed by the university, recognizing
a student classified as a senior for their superior academic achievement, student
engagement, leadership, service and potential for future achievement. Nominations
are made by faculty to the Scholastic Honors Committee for consideration.

This year’s honoree, Spencer White, will graduate in May with both a bachelor of science
in interdisciplinary studies and a bachelor of arts in music—along with certificates in international studies, Latin American studies, public musicology, and TESOL (Teaching English to Speakers of Other Languages). He is a member of the Honors College and the CSU Trombone Ensemble, and president of the CSU Model United Nations. White has been a student leader of study abroad trips to Guatemala and Tunisia,
and he participated in internships as a development assistant for the Aspen Music
Festival and a resource development intern for Habitat for Humanity. After graduation,
he plans to serve with the Peace Corps in Guatemala.

Academic Recognition Award: Kaitlyn Shepherd, a senior from Warner Robins, Georgia,
majoring in kinesiology

The Academic Recognition Award is presented in conjunction with the university’s honoree for the University System of
Georgia’s Academic Recognition Day program. Each USG institution’s honoree best represents the system’s highest scholastic ideals,
possesses a high GPA, strives for excellence and has the ability to share knowledge
in various areas of expertise.

This year’s honoree, Kaitlyn Shepherd, will graduate this spring with a degree in
kinesiology and a 4.0 grade point average. She is a member of the Honors College and a fellow in the Undergraduate Servant Leadership Program, the latter based in the William B. Turner Center for Servant Leadership. She is
a volunteer with numerous community, faith-based organizations and campus organizations,
including the Honoris Causa Society and Presidential Envoys. She plans to continue her studies after graduation, eventually earning a doctorate
in physical therapy.

Phi Kappa Phi Outstanding Student of the Year Award: Jae Yu, a graduate of the Master
of Public Administration program and a native of Alexandria, Virginia

The Phi Kappa Phi Outstanding Student of the Year Award is presented annually to a
student member of the Columbus State Chapter of Phi Kappa Phi who wishes to attend graduate school. The student recipient is eligible to represent
the chapter in applying for the national Phi Kappa Phi Fellowship Award, which provides grants ranging from $8,500 to $35,000 to over 50 members entering
their first year of graduate or professional study. These fellowship awards are bestowed
based on applicants’ promise of success in graduate school or professional study as
evidenced by academic achievement, service, leadership and strong recommendations
from others.

This year’s honoree, Jae Yu, is an officer in the U.S. Army Reserves and serves as
a new senior division director for the National Defense Industrial Association. The
NDIA is a nonprofit, nonpartisan and educational organization that serves more than
66,000 individual and corporate military, government, industry and academic members
who focus on or specialize in national security matters. Before graduating from Columbus
State with a master’s in public administration with a 4.0 grade point average, he
earned a bachelor’s in physics from the United States Military Academy at West Point.
He is now pursuing a master of business administration from the Wharton School of
Business at the University of Pennsylvania. He served as an Army officer for over
a decade, during which time he deployed to Afghanistan and earned a Bronze Star. Yu
is also a published researcher studying the impact of immigrants and non-citizens
in the U.S. military.  

Educator of the Year Award: Dr. Jonathan Meyers, an associate professor of chemistry
in the Department of Chemistry

The Educator of the Year Award is presented annually by the Student Government Association to recognize and promote teaching excellence among the university’s faculty. Awardees
are nominated by students and evaluated on the basis of knowledge, consistency, dependability
and creativity.

This year’s honoree, Dr. Jonathan Meyers, is an associate professor in the Department of Chemistry. His academic and research focus has included chemical biology—especially eliminating
the carcinogenic potential of insulin-based therapies used to treat Diabetes mellitus.
His research has resulted in a patent that was licensed to an international pharmaceutical
company, and his insulin analogs are currently being tested in animal models. A member
of the Columbus State faculty since 2014, he holds a bachelor of science with an American
Chemical Society certification from the University of West Georgia, and a Ph.D. in
biological chemistry from Indiana University.

STUDENT OF EXCELLENCE AWARDS

Student of Excellence Awards are bestowed by academic departments and programs upon
the advice of the department chair and department faculty. This year’s recipients
include:

College of the Arts

Department of Art, Art Ian Dooley; Department of Communication, Elizabeth Nesbitt; Schwob School of Music, Spencer White; Department of Theatre & Dance, Storm Cole

D. Abbott Turner College of Business & Technology

Department of Accounting & Finance, Brodey Goebel; Department of Marketing & Management, Edwin Johns; TSYS School of Computer Science, Eriq Robicheaux

College of Education & Health Professions

Department of Teacher Education, Leadership & Counseling, Kimberly Apple; Graduate Health & Physical Education, Derrick Sands; Masters of Public Health, Michael Lambert; School of Nursing, Anna Fugh; Undergraduate Health Science, Dominique Webb; Undergraduate Kinesiology: Josie Williams

College of Letters & Sciences

Department of Chemistry, Kristina Armstrong; Criminology, Melissa Stokes-Martinez; Department of Earth & Space Sciences, Sabrina Fisher; Department of English, Destinee Williams; Department of History & Geography (Geography focus), Bailey Melton; Department of History & Geography (History focus), Lucy Clarke; Department of Mathematics, Thomas Merino; Department of Modern & Classical Languages, Raquel Aponte; Department of Politics, Philosophy & Public Administration, Joanelys Lamberty; M.S. Natural Sciences-Biology Track, Edison Rea; M.S. Natural Sciences-Environmental Science Track, Sarah Tash; M.S. Natural Sciences-Geoscience Track, Brendon O’Keeffee; Mathematics-Applied Mathematics, Brady Hampel; Mathematics-Data Science, Justin Ludwig; Psychology, Youbin Park; Sociology, Wendy Brundage.

DEPARTMENTAL AWARDS

Departmental Awards are bestowed by academic departments to students upon the advice
of the department’s chair and its faculty. This year’s recipients include:

College of the Arts

Department of Art: Art Education Undergraduate Award, Noah Shedd; Art Education Graduate Award, Kayla
Whitmire; Art History Award, Kennedy Williams; B.A. Studio Art Award, Ava Jenkins;
B.F.A. Studio Art Award, Campbell Eubanks.

Department of Communication: Communication Student of the Year Award, Rae Palmer.

Schwob School of Music: Outstanding Freshman Music Major Award, Cole Zelman; Presser Scholar Award, Austin
Murray; Senior Music Major Award, Spencer White.

Department of Theatre & Dance: Theatre Arts Award, Ian Rossin; Theatre Arts: Design & Technical Award, Sun Lindstrom;
Theatre Arts: Education Award, Storm Cole; Theatre Arts: Performance Award, Keenan
Pasqua.

D. Abbott Turner College of Business & Technology

Department of Accounting & Finance: Accounting Award, Carley Canzoneri; Finance Award, George Ryker Singer.

Department of Marketing & Management: General Business Award, Joseph Borchardt; Management Award, Edwin Johns; Marketing
Award, Taylor Parker; Master of Business Administration Award, McKenzie Doran; Master
of Science in Organizational Leadership Award, Sara Ramirez Goncalves.

TSYS School of Computer Science: Management Information Systems Award, Zeanne Janine Abano; B.S. in Computer Science-Software
Systems Track Award, Donghyeon Park; B.S. in Computer Science-Web Development Track
Award, Austin Lee; B.S. in Computer Science-Games Programming Track Award, Eriq Robicheaux;
B.S in Information Technology Award, Peyton Daniel; B.S. in Computer Science-Cybersecurity
Track Award, Noah Neundorfer; B.S in Computer Science-Enterprise Computing Track Award,
Tashema Johnson; B.S in Cybersecurity Award, Eboni Franklin; M.S.in Applied Computer
Science-A.I. & Machine Learning Track Award, Mayank Gaba; M.S. in Applied Computer
Science-Software Development Track Award, Harika Bhemidi; M.S. in Applied Computer
Science-Traditional Track Award, Vamsi Krishna Bhagavathula; M.S. in Applied Computer
Science-Cybersecurity Track Award, Itorobong Udo; M.S in Cybersecurity Management
Award, Joel Frimpong.

College of Education & Health Professions

Department of Teacher Education, Leadership & Counseling: Clinical Mental Health Counseling Graduate Award, Samantha Twaddell; Curriculum &
Instruction in Accomplished Teaching Graduate Award, Daphne Snowden; Doctor of Education-Curriculum
Track Award, Bridget Smith; Doctor of Education – Educational Leadership Track Award,
Gloria Bernal-Askew; Doctor of Education-Higher Education Administration Award, Kendall
Forde; Educational Leadership-Higher Education Graduate Award, Sasshay Tremble; Educational
Leadership Graduate Award, Heather Melton; Elementary Education Graduate Award, Robert
Tumpalan; Elementary Education Undergraduate Award, Chloe Torres; English Education
Graduate Award, Rebecca Winterling; English Education Undergraduate Award, Lydia Strueker;
History Education Undergraduate Award, Jacklyn Brasher; Middle Grades Education Graduate
Award, Timetrice Thomas; Middle Grades Education Undergraduate Award, Abigail Lewis;
School Counseling Graduate Award, Allyn Jones; Secondary Mathematics Education Graduate
Award, Cynthia Scheuermann; Secondary Science Education Graduate Award, Thomas Johnson;
Social Science Education Graduate Award, Wesley Daniel; Spanish Education Undergraduate
Award,Esmima Vital-Vences; Special Education Graduate Award, Caroline Walker; Special
Education Undergraduate Award, Curtissia Penamon; Teacher Leadership Graduate Award,
Amber Terrell; UTeach Mathematics Education Undergraduate Award, Danelle Spalla; UTeach
Science Education Undergraduate Award, Ashleigh Drew.

School of Nursing: Outstanding Nursing BSN Award, Kaila Rogers; Outstanding Nursing FNP Award, Myranda
Harbuck; Outstanding Nursing MSN Award, Megan Lawrence; Outstanding Nursing RN-BSN
Award, Pamela Zasucha

College of Letters & Sciences

Department of Biology: Biology Education Award, Lizbeth Medrano; Cellular & Molecular Biology Award, Zoe
Vazquez; Ecological & Evolutionary Biology Award, Elizabeth Lambert; George Stanton
Biology Award, Andrew Holmes; Organismic Biology Award, Ryan Page.

Department of Chemistry: Excellence in Chemistry Research Award, Imani Rogers; Outstanding Freshman Chemistry
Major Award, Gabriela Hernandez.

Department of Earth & Space Sciences: Astronomy Award, A’naja Houston; Environmental Science Award, Rashalyn Smith; Geology
Award, James Mills; Physics Award, Kayleen Linge.

Department of English: Creative Writing Award, Molly Foster; Literature Award, Jaycee Morrison; Professional
Writing Award, Naomi Masuoka.

Department of Modern & Classical Languages: Outstanding Literature & Culture Track Award, Kayah Young; Outstanding Senior Teacher
Education Track Award, Esmima Vital-Vences.

Department of Mathematics: Calculus Award, Rohan Patel; Outstanding Mathematics Student Award, Nicholas Dunn.

Department of Politics, Philosophy & Public Administration: Mario Mion Political Science Honors Scholarship Award, Kaylee Wyatt; Master of Public
Administration Award, Meagan Santana Peters; Outstanding Political Science Major Award,
Timothy Sabau; Philosophy Award, William Blake Lowry.

Department of Psychology: Psychology Academic Achievement Award, Alaysia Brown; Psychology Undergraduate Research
Award, Taneshia Wakefield.

Honors College: Interdisciplinary Studies Award, Sonya Mahon; Scholarly Activities in Fine & Performing
Arts Award, Keenan Pasqua; Scholarly Activities in Humanities Award, Destinee Williams;
Scholarly Activities in Professional Studies Award, Kaylee Day; Scholarly Activities
in Science Award, Sabrina Fisher; Scholarly Activities in Social Science Award, Timothy
Sabau.

Media contact:
Michael Tullier, APR, Executive Director of Strategic Communication + Marketing, 706.507.8729,
mtullier@columbusstate.edu 

Chairman and CEO Mark Penn, Code and Theory Network Executive Chairman Dan Gardner to Speak at Web Summit Rio

Penn to Visit Stagwell Brazil Headquarters in São Paulo for Regional Summit

RIO DE JANEIRO and SÃO PAULO, May 1, 2023 /PRNewswire/ — Stagwell (NASDAQ: STGW), the challenger network built to transform marketing, is coming together in Latin America for several events as it reaffirms its commitment to the region and its planned investment in global expansion efforts, following the launch of Stagwell Brazil in 2022. Network leaders, including Chairman and CEO Mark Penn, will deliver presentations at the inaugural Web Summit Rio, slated to be the largest tech event in Brazil. Stagwell leaders including Mark Penn; Julia Hammond, president, Global Solutions; and Vinicius Reis, president, Stagwell Brazil, will discuss the company’s vision and ambition for the region. Futurist and professor Leticia Setembro will attend Stagwell’s Client Summit as a guest speaker on the frontiers of marketing innovation. 

“A year ago we announced our commitment to the Latin American market and, thanks to the groundwork laid by our agencies, combined with the incredible collaboration with our affiliate partners, Stagwell Brazil is growing into a regional force,” said Stagwell Chairman and CEO Mark Penn. “I’m excited to share more about the technology we’ve been building – from SaaS tools to AI and AR platforms – that modern marketers can embrace to drive business, along with our vision for continued expansion in this burgeoning market.”

Web Summit Rio

Wednesday, May 3

• 14:30-14:45: Marketers need to have their heads in the cloud: Building on the momentum within the Stagwell Marketing Cloud, Penn will deliver a keynote on the SaaS Monster track on why the marketing cloud solutions will be 2023’s unsung hero of business transformation, helping brands across the spectrum of capabilities solve gaps in their ability to activate across media, insights, and specialty digital formats with DIY and scalable SaaS tools.

Thursday, May 4
Dan Gardner, co-founder of Code and Theory, and executive chairman of Stagwell’s Code and Theory Network, will speak on two sessions:

• 11:35-11:55AM: Facing the future: A guide to design transformation: Dan will explore a new paradigm of design transformation that addresses today’s challenges, increasing an organization’s readiness for change.
• 14:40-15:00PM: A design for life: Exploring the latest design trends: Dan joins COLLINS Co-founder and Chief Creative Officer Brian Collins in conversation with Axios Senior Media Reporter Sara Fischer, as they discuss the key ingredients for creating a seamless, intuitive customer experience, and explore anticipated UI and UX trends for 2023 and beyond.

CP+B Brazil and Stagwell Host Inaugural Client Summit

Thursday, May 4
Hosting executive leaders, brands and journalists for breakfast, those invited will be included in thought leadership discussions and hear insights from Mark Penn on how brands can embrace SaaS tools, digital transformation, and emerging technologies to their advantage.

Guest Speaker Leticia Setembro: A notable futurist, speaker, and professor at SingularityU Brazil, and founder of Seek Futures, Leticia will present on “Understanding Futurism as a Science, Skill, and Tool, The Major Transformations Leaders Need to Tackle, and an Overview of Marketing Trends with Technology Insights.”

The presentation will be followed by a short panel and Q&A with the collective group. Brands and journalists interested in connecting with Stagwell on the ground should reach out to [email protected].

Stagwell formally established its LATAM headquarters in Brazil last year to foster collaboration between its portfolio agencies and Global Affiliate Partners in the region. Stagwell’s agency network in Brazil, Argentina, Mexico, and Central America includes Allison+Partners, Assembly, Code and Theory’s Truelogic, CP+B, Ink, Locaria, and YML. Additionally, Stagwell has significantly expanded its footprint across LATAM over the past year via affiliate partnerships with recognized content and media agency networks Buentipo, Grupo Garnier and The Lab, with teams distributed across Argentina, Aruba, Chile, Costa Rica, Colombia, Curacao, Mexico, Nicaragua, Panama and Peru.

About Stagwell
Stagwell (NASDAQ: STGW) is the challenger network built to transform marketing. We deliver scaled creative performance for the world’s most ambitious brands, connecting culture-moving creativity with leading-edge technology to harmonize the art and science of marketing. Led by entrepreneurs, our 13,000+ specialists in 34+ countries are unified under a single purpose: to drive effectiveness and improve business results for their clients. Join us at www.stagwellglobal.com.  

Media Contact
Sarah Arvizo
[email protected]

SOURCE Stagwell Inc.

The Other Art Fair returns to Brooklyn Navy Yard from May 18 to 21 with a new roster of more than 100 independent artists showcasing 1,000+ artworks. For the May edition, the fair has added the exhibition 3walls: Re McBride and Reid+Factor, an installation entitled “Backstage at the Drag Show” by artist Nonamey, and interactive art experiences, including tintype portrait sessions with Goodness + Truth and AI-generated tattoos with artist Evan Ishmael.

Presented by Saatchi Art, The Other Art Fair started in 2011 with its first fair in London and has since expanded to include local editions in Los Angeles, New York, Dallas, and Sydney. The fair aims to create an art marketplace for independent artists to sell directly to local communities. Its organizers are on a mission to break down traditional art world barriers and make art affordable and accessible to all.

During the four-day event, The Other Art Fair offers a diverse range of scenes. Opening Night on Thursday attracts industry professionals, collectors, and press while the Friday Late Party draws out Brooklyn creatives and the fashion set for live DJs and a bustling bar scene. The fair gets packed on Saturdays and Sundays, from serious art buyers and interior designers on the hunt for fresh artwork to casual flea market browsers looking for unique finds. With live performances, Instagram-worthy installations, popular local food trucks, and a bar running throughout the weekend, the fair has become popular among NYC experience seekers and art lovers of all levels—from the art-curious to the seasoned collector.

The Other Art Fair Brooklyn returns to Brooklyn Navy Yard from May 18 to 21. Tickets are on sale now.

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 The Other Art Fair Brooklyn Features Over 100 Independent Artists appeared first on Colossal.

When news broke last December that a local artist had been posing as Indigenous — and profiting from those lies — it felt like a betrayal to many in the arts community. To some, media coverage of the controversy seemed to target the very people who were most vulnerable.

“Frustrating for myself, and talking with other Indigenous people … it felt almost like an attack on the community, putting blame on the Indigenous community,” said Dakota Mace, a Diné artist in Madison and 2019 recipient of the Forward Art Prize.

“The media was targeting individuals and not talking to the Indigenous communities that are based here in Wisconsin.”

Mace’s desire to re-center the narrative on supporting Indigenous artists led to the first Native Art Market, organized by Mace and Paige Skenandore, a member of the Oneida Nation and a recent University of Wisconsin-Madison graduate.

The market, featuring 17 artists from nine tribes, will have a preview showcase on Friday night. (This is at the same time as the citywide Gallery Night, though not officially part of that event.) The full market runs Saturday and Sunday, May 6-7, from 10 a.m. to 5 p.m.  

There will be art for sale and demonstrations of beadwork and quill work. All events are at Arts + Literature Laboratory, 111 S. Livingston St.  

“What really inspired this market was to show that Madison can still support the community that we have here,” Mace said. “But also really showcase the importance of our ways of making.

“For myself, it’s always been (about) supporting the community that’s supported me, and to give back … to support these artists and support the work that they create. For many Indigenous people, making is part of sustaining ourselves.”

Beadwork and cultural education

Mace keeps a studio on the third floor of the Arts + Lit Lab and is well-established as an textile artist, photographer and educator in Madison. She earned two master’s of fine arts degrees in photography and textile design from the University of Wisconsin-Madison, where she now works as an object photographer for the Department of Design Studies.

Like many artists, Mace wears many hats. She serves as an MFA mentor and advisor for the School of the Art Institute of Chicago and the Institute of American Indian Arts in Santa Fe. She’s represented by Bruce Silverstein Gallery in New York City.

Mace met Skenandore last fall at an “EcoWell” event funded by the UW-Madison School of Human Ecology, focused on Indigenous beading. That was held at ALL, too.

“We had five artists, from all different tribes in Wisconsin, Menominee, and Little Shell (Chippewa),” said Skenandore, who grew up on the Oneida Reservation and began to learn beadwork in middle school.

“We allowed them to sell stuff if they wanted to, but it wasn’t like we were pushing for them to make a big inventory,” Skenandore said. “We wanted to just be in community and show current projects that they were working on, or how to do different styles.”

Skenandore gave a beading workshop to about 50 people, teaching them how to make medallion earrings and keychains. And Mace, working through Design Studies, taught a workshop on cultural appropriation. It’s a complex topic, she said, so facilitators allow for lots of questions.

“Oftentimes the idea of cultural appropriation gets misinterpreted,” she said.

“People think they can’t wear Native jewelry,” Skenandore added. “You just have to buy from Native artists that are true.”

“Exactly,” Mace said. “That’s our model in the workshop. We allow students to ask questions, to ask themselves about things. Hopefully that leads to a better future in terms of people being inspired by different communities and cultures.”

“Just interacting with Indigenous art, some people don’t know if they can touch it, or take a picture of it, or even use it as inspiration,” Skenandore said. “It’s very dependent on the artist.”

Skenandore has spent time since her graduation continuing to make art, teaching when she has the opportunity in spaces like the Madison Public Library and the school district in Tomah, and developing her business, a collective called Moody Indian (moodyndn.com).

Among the artists who are scheduled to set up at the market are members of the Ho-Chunk nation, Oneida, Cherokee, Menomonee and Taos Pueblo artists. Mace, who grew up in Albuquerque, New Mexico, is organizing a shared table of work by Southwest artists.

Skenandore is looking forward to the variety that will be on display.

“It’s all different for every tribe — beadwork and pottery and paintings and photography,” she said. “There are a lot of non-Native people who really want to support Indigenous artists.

“At a lot of Native art markets, when you buy something, they give you a story with that piece, why they did that design or those colors.”

The first of many

There is already a second Native Art Market planned for this fall, and Mace hopes it will become a regular event. She wants to address the most exploitative practices of art markets, which “historically have not been very supportive of artists,” charging “absurd fees” and requiring expensive travel with no guarantee of sales.

The Native Art Market, by contrast, has provided support in the form of stipends (an assist from UW-Madison) and free or reduced housing for participants.

“Indigenous art markets have really taken advantage of Indigenous people,” Mace said. “I’m hoping that we continue to build even more support for this market … not only from the Madison community, but Wisconsin.”

That’s the goal, she said — “showcasing the importance of Indigenous arts, and how much it’s deeply connected to not only our identity, but also this larger conversation about community.”