Triple Canopy Commissions at New York Public Library Labs
Deadline:
Tue Jun 30, 2015 23:59
For the sixth annual call for proposals, Triple Canopy is pleased to announce a partnership with New York Public Library Labs, which will support two commissions. Triple Canopy invites applicants to propose projects that engage a collection or body of materials, physical or digital, in the NYPL’s holdings. Applicants are asked to consider archival material both critically and imaginatively, in its capacity to evidence past events and practices as well as to form the basis for new creative work. Individuals pursuing research toward an MA or PhD thesis may not apply with a proposal that encompasses or includes their degree-related work.
Recipients of commissions will receive:
* Eight to twelve months of artistic, editorial, and technical support;
* Six months of access to one of the research study rooms at the Stephen A. Schwarzman Building;
* Access to reference librarians for one-on-one consultations;
* An honorarium of $2,000;
* The opportunity to present work related to the commission as a public program hosted by the NYPL;
* Coordination and production of any print publication or live event that results from the recipient’s work;
* The opportunity for inclusion in Triple Canopy’s annual print anthology, Invalid Format;
* Archiving of materials and long-term maintenance of any online version of the project by Triple Canopy in partnership with New York University's Fales Library and Special Collections.
Recipients of commissions will receive:
* Eight to twelve months of artistic, editorial, and technical support;
* Six months of access to one of the research study rooms at the Stephen A. Schwarzman Building;
* Access to reference librarians for one-on-one consultations;
* An honorarium of $2,000;
* The opportunity to present work related to the commission as a public program hosted by the NYPL;
* Coordination and production of any print publication or live event that results from the recipient’s work;
* The opportunity for inclusion in Triple Canopy’s annual print anthology, Invalid Format;
* Archiving of materials and long-term maintenance of any online version of the project by Triple Canopy in partnership with New York University's Fales Library and Special Collections.
The Digitization of the Art World: Are New Media Artists Transforming Art Practice and How We Think About Art Itself?
Dates:
Mon Apr 08, 2013 18:00 - Mon Apr 08, 2013
Location:
New York ,
New York
United States of America
United States of America
Panelists: Artists Marina Zurkow /Wafaa Bilal/ Brad Troemel, Art Law Firm Attorney, Alexandra Darraby. Moderated by Heather Corcoran of Rhizome.
For tickets and information please see the event on ArtTable’s calendar at:
https://www.arttable.org/index.cfm?fuseaction=Calendar.eventDetail&eventId=633
Don’t miss this eye-opening panel, the first in a year-long ArtTable series of panels and workshops exploring the transformative impact of digitization on art practice, museum art interpretation education and exhibition practices, and on traditional art world marketing assumptions, distribution structures and art criticism.
The April 8th panel focuses on artists and new media art practices. Panel artists Marina Zurkow, Wafaa Bilal and Brad Troemel will present a thought-provoking and diverse group of projects that wed digital technological ingenuity with compelling content. Artists have always adopted and adapted new technologies for their art. What’s different about new media art? Is new media art --art created and “born” on digital platforms-- just another evolution in the art historical narrative?
Heather Corcoran opens the panel with a “snap shot” overview of new media’s evolving and ever “emerging” character to contextualize why new media art practice is generating a fundamental rethinking about art making and curatorial practice.
Art lawyer, Alexandra Darraby, Principal of the Art Law Firm, and author of the new Guide to Digital Art & New Media,” will share with artists, curators, galleries and students, how new technology agreements rack the complex intellectual property rights in new media, multimedia platforms. Are there new strategic, economic and legal models for applying protections in digital art without stifling originality?
For tickets and information please see the event on ArtTable’s calendar at:
https://www.arttable.org/index.cfm?fuseaction=Calendar.eventDetail&eventId=633
Don’t miss this eye-opening panel, the first in a year-long ArtTable series of panels and workshops exploring the transformative impact of digitization on art practice, museum art interpretation education and exhibition practices, and on traditional art world marketing assumptions, distribution structures and art criticism.
The April 8th panel focuses on artists and new media art practices. Panel artists Marina Zurkow, Wafaa Bilal and Brad Troemel will present a thought-provoking and diverse group of projects that wed digital technological ingenuity with compelling content. Artists have always adopted and adapted new technologies for their art. What’s different about new media art? Is new media art --art created and “born” on digital platforms-- just another evolution in the art historical narrative?
Heather Corcoran opens the panel with a “snap shot” overview of new media’s evolving and ever “emerging” character to contextualize why new media art practice is generating a fundamental rethinking about art making and curatorial practice.
Art lawyer, Alexandra Darraby, Principal of the Art Law Firm, and author of the new Guide to Digital Art & New Media,” will share with artists, curators, galleries and students, how new technology agreements rack the complex intellectual property rights in new media, multimedia platforms. Are there new strategic, economic and legal models for applying protections in digital art without stifling originality?
Rhizome integrates Creative Commons licenses into ArtBase
Rhizome is proud to announce its integration of Creative Commons licenses into its online archive of art, the Artbase. As of today, artists have the option to license their work under Creative Commons Licenses. This suite of licenses allows creators to shift the terms of copyright from "All Rights Reserved" to "Some Rights Reserved," therefore enabling authors, scientists, educators and artists, amongst others, to mark their creative works with the cultural freedoms they abide by. Rhizome's hope is that through the use of these licenses, artists will have greater access to each others' work in furtherance of their goals.
Rhizome would like to thank Wendy Seltzer, Fellow at the Berkman Center for Internet & Society at Harvard Law School, for her guidance and Fred Benenson, Creative Commons Cultural Fellow and student at New York University's Interactive Telecommunications Program, for his coordination of the project. "By implementing Creative Commons, Rhizome aligns itself with sites like Blip.tv, Flickr and Digg, who nurture not only a community of free creativity, but of free culture," says Benenson. Lauren Cornell, Executive Director of Rhizome, adds that "It's in the spirit of Rhizome to foster collaboration amongst artists. I'm happy that Rhizome is able to make these licenses available, and to support the practice of sharing cultural material within the arts."
About Rhizome
Rhizome is an online platform for the global new media art community. Our programs support the creation, presentation, discussion and preservation of contemporary art that uses new technologies in significant ways.
http://www.rhizome.org
About Creative Commons
Creative Commons is a not-for-profit organization, founded in 2001, that promotes the creative re-use of intellectual and artistic works—whether owned or in the public domain. Creative Commons licences provide a flexible range of protections and freedoms for authors, artists, and educators that build upon the "all rights reserved" concept of traditional copyright to offer a voluntary "some rights reserved" approach.
http://creativecommons.org/
Rhizome would like to thank Wendy Seltzer, Fellow at the Berkman Center for Internet & Society at Harvard Law School, for her guidance and Fred Benenson, Creative Commons Cultural Fellow and student at New York University's Interactive Telecommunications Program, for his coordination of the project. "By implementing Creative Commons, Rhizome aligns itself with sites like Blip.tv, Flickr and Digg, who nurture not only a community of free creativity, but of free culture," says Benenson. Lauren Cornell, Executive Director of Rhizome, adds that "It's in the spirit of Rhizome to foster collaboration amongst artists. I'm happy that Rhizome is able to make these licenses available, and to support the practice of sharing cultural material within the arts."
About Rhizome
Rhizome is an online platform for the global new media art community. Our programs support the creation, presentation, discussion and preservation of contemporary art that uses new technologies in significant ways.
http://www.rhizome.org
About Creative Commons
Creative Commons is a not-for-profit organization, founded in 2001, that promotes the creative re-use of intellectual and artistic works—whether owned or in the public domain. Creative Commons licences provide a flexible range of protections and freedoms for authors, artists, and educators that build upon the "all rights reserved" concept of traditional copyright to offer a voluntary "some rights reserved" approach.
http://creativecommons.org/
