OPEN CALL FOR SUBMISSIONS
Conveyor Magazine: Spectre // Spectrum
In the forthcoming issue of Conveyor, we will be searching for moments when the properties of a spectre, that which dissolves from our sight, and a spectrum, a continuum or perfection of vision, overlap and counterbalance each other. The trespassing of these apparitions between the material and immaterial worlds can be equally thrilling and terrifying, amorphous and yet revealing.
We’re looking for absorbing and unexpected sights—phantom or prismatic images, atmospheric phenomena, news from a secret admirer or an absent friend—things that remind us of sidelong glances, illusory dreams, primal discoveries, and ghosts in the machine. They can appear abruptly or be gently delivered; they can range from electrified vision to muted whisper, from stark revelations to those that bleed together.
Image by Andrew Kuo, Because We Think He Is Awesome…
HOW TO SUBMIT WRITING AND PHOTOGRAPHS, RESPECTIVELY.
IMAGES
- 10 jpgs (1000 pixels each on the longest side)
- List of Images (include Title, Year, Media, Dimensions for each image)
- Short statement (150 words) + Artist’s CV
-or-
WRITING
- Proposal (350 words) for an article or essay on the theme of Spectre//Spectrum
- CV and Bio
- Writing Sample
SUBMISSION DEADLINE: May 19th, 2013 at Midnight PST
EMAIL SUBMISSION IN A ZIP FILE TO: submissions@conveyormagazine.org
![We are delighted to announce that Conveyor collaborators and featured artists Charlie Rubin and Nathan Bett are included in the exhibition Global Projects: Artists at Home and Abroad, OPENING TONIGHT at the Broadway Gallery NYC.
Charlie Rubin’s image from his latest series “Strange Paradise” was featured on the cover of the most recent issue of Conveyor Magazine Issue No 3. Smoke and Mirrors - [AVAILABLE HERE] - and Nathan Bett’s photograph from the series “Learning to Disappear” was a part of our tightly curated Group Show segment of the publication. Charlie Rubin’s work was also featured in the Group Show in Conveyor Magazine, Issue No. 2 Mapping [Available Here]
Global Projects: Artists at Home and Abroad will be on view from Friday September 28th until Saturday, October 20th 2012. Join the artists for the opening reception on Thursday, October 4th from 6:00 - 8:00pm!
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More About the Exhibition from the Broadway Gallery, New York City
Globalization creates unexpected relationships and contrasts in contemporary art. This series focuses on the significance of exhibiting a variety of works in a pluralistic art world. Inspired by salon-style hanging, most commonly attributed to the Salon de Paris held during the 18th and 19th centuries; Broadway Gallery NYC continues this legacy with a contemporary and fresh outlook. Following a trend of previous exhibitions at Broadway Gallery NYC, this show pays tribute to the format of a salon hanging. It is a tradition that awakens contemporary culture to a dynamic collective consciousness.
A few notable themes in this exhibit that cross cultures are romanticism, spirituality, and humanity. Part of an ongoing series, Artists at Home and Abroad reaches out to the diverse community of New York. In addition to the exhibition on display at Broadway Gallery NYC, are several concurrent Internet projects, and a print catalog. Furthermore, this exhibit offers writers and viewers an exciting opportunity to submit essays and comments on the nature and significance of biennials, fairs and public exposure for new and emerging artists.
This exhibit uses the space as another medium altogether; incorporating the maximum floor-to-ceiling gallery space activates the wall with art works in various media by artists, each of whom offer a unique perspective to the show. These artists have transformed the gallery walls into a compendium of generational takes on figuration, portraiture, and abstraction.
Visitors will be surprised to see the stunning results. The speed of interactions via new media allows for global artistic conversations previously unheard before. In an attempt to integrate the numerous artistic languages, this exhibit was installed in a unique format. Two long parallel walls have been carefully installed to create dialogue in the spatial order. Artists at Home and Abroad allows the viewer access to some of the past and current pivotal artistic ideas while introducing newer talent, to generate fresh creative energy through unexpected juxtapositions.
Included Artists: Giorgio Gost, Carmen Rantzuch-Doll, Waltraud Kunz, Malini Parker, John Christie, Joy Moore, Raymond Quenneville, Kristians Brekte, Tusif Ahmad, Katherine Duclos, Hannah Ward, Sam Heydt, Charlie Rubin, Lauren Tarbel, and Nathan Bett
For More Information, Visit: [ www.broadwaygallerynyc.com ]](https://d33wubrfki0l68.cloudfront.net/0c72131e970e0c303ac37d05712a703a9da920a1/fa85f/tumblr_mba8li4w1y1r2tuzko1_500.jpg)
![Dark Matter is the theoretical composition believed to make up most of the universe; it is the unseen, mysterious structure speculated to hold all other matter together. While its foundations are cosmological, dark matter easily traverses the scientific into the ethereal. It points to macabre narratives, dark humor, mysticism, and ancient myth.
For Issue No. 4 of Conveyor Magazine, we are seeking photographic and print-based projects, which engage the astronomical questions raised by the concept of dark matter. How do we elucidate the unknown? How do we illustrate an existence with properties that are inferred rather than directly observed? What metaphors stand in place for that which lies outside of our spectrum of perception?
One must develop an innovative language in attempting to answer these questions and shed light on our shifting and uncertain understanding of the universe. In doing so, we convey the sheer beauty of man’s inexhaustive quest for discovery and answers, and ultimately the promise of revealing a bigger story.
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SUBMISSION GUIDELINES
1. Maximum of 10 Images for Publication
- 1000px on the Longest Side at 72dpi - Labeled LastName_FirstName_001.jpg
2. Brief Project Description / Relevance toDark Matter3. List of Works [ Title, Year, Media ]4. Artist Resume5. Website [ Optional, but Encouraged ]
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Submit the Above Contents in a ZipFilesubmissions@conveyormagazine.org
Please Note: Submissions that Fail to Follow Guidelines will Not Be Considered.
We Look Forward to Seeing Your Work!](https://d33wubrfki0l68.cloudfront.net/4b953ca10f797b1bb022a6962bc197cd128e76fa/3cc58/tumblr_mba4m2h8221r2tuzko1_500.jpg)
The editors of Conveyor Magazine are very happy, and honored, to announce our participation in the upcoming exhibition Millennium Magazines at the Museum of Modern Art { MoMA } in New York City!
About the Magazine
Conveyor Magazine is a semi-annual publication dedicated to eliminating the hierarchy between emerging and established artists. The magazine includes a series of new photography projects, interviews, articles, and essays by writers and artists who strive to bring new ideas on photography to light. Conveyor is devoted to all aspects of the medium, embracing digital technologies while maintaining the unique dialogue that exists between a printed photograph and its viewer. The publication is lovingly printed and produced in-house at Conveyor Arts.
Founders
Jason Burstein & Christina Labey
Publisher
Jason Burstein
Editor-In-Chief
Christina Labey
Editorial Team
Neima Jahromi, Dominica Paige, Elizabeth Bick, Haley Bueschlen, Maria Sprowls, Alison Chen, Chelsey Morell, and Sylvia Hardy.
About the Exhibition
This survey of experimental art and design magazines published since 2000 explores the various ways in which contemporary artists and designers utilize the magazine format as an experimental space for the presentation of artworks and text. Throughout the 20th century, international avant-garde activities in the visual arts and design were often codified first in the informal context of a magazine or journal. This exhibition, drawn from the holdings of the MoMA Library, follows the practice into the 21st century. The works on view represent a broad array of international titles within this genre, from community-building newspapers to image-only photography magazines to conceptual design projects. The contents illustrate a diverse range of image-making, editing, design, printing, and distribution practices. There are obvious connections to the past lineage of artists’ magazines and little architecture and design magazines of the 20th century, as well as a clear sense of the application of new techniques of image-editing and printing methods. Assembled together, these contemporary magazines provide a first-hand view into these practices and represents the MoMA Library’s sustained effort to document and collect this medium.
Millenium Magazines
Curated by Rachael Morrison and David Senior of the MoMA Library.
Museum of Modern Art
Lewis B. and Dorothy Cullman Education and Research Building
4 West 54th Street
New York, New York
On View: Wednesday, February 22nd - Monday, May 14th
For More Information, please visit: http://www.moma.org
Oh and if you don’t have a copy yet, you should definitely get your hands on one…
Curiosities, Issue No. 1
http://conveyorarts.org/conveyor-magazine-curiosities
Artist, author, and experimental geographer Trevor Paglen uses photography to document what lies beyond the limits of the visible world. In Limit Telephotography, he uses sophisticated optical systems to take long-range photographs of secret government sites, which he calls “black worlds.” Similarly, in The Other Night Sky, he tracks and photographs classified reconnaissance satellites, or “secret moons,” within the Earth’s orbit. The resulting photographs are aesthetically spectacular, and, although they often serve as a by-product of his methodological research practices, the images create an entryway into invisible worlds that often exist in plain sight.
Christina Labey: I think, as you sometimes write, that people misperceive geography. A lot of us understand it as just a collection of maps.
Trevor Paglen: Yes, that is what everyone seems to think geography is, but, in fact, it has nothing to do with [maps]. In general, geography is about trying to understand the ways in which humans sculpt the surface of the earth. For example, when we build institutions, geography looks at how our societies and cultures are sculpted by them. The word that we use for that is production, as in the production of space.
CL: And you’re interested in something called “experimental geography,” which departs from the conventions of geography. What is experimental geography?
TP: Experimental geography is, on the one hand, about formal experimentation within the social sciences and, on the other hand, about creating a way in which people can think of cultural production as a kind of geography. If all human activity is spatial and we are always creating new space, one might look at the space of scholarship and academia and wonder why it mostly involves conferences, written journals, and other very standard forms of thinking. Experimental geography allows you to produce new spaces where experimental forms of scholarship and academia can thrive.
CL: Does that have a relationship with photography?
TP: Absolutely. Instead of thinking about photography as creating images or representations, you can see photography as creating space. Experimental geography suggests that there are a lot of ideas in geography that help articulate productive ways to think about contemporary art. A crucial part of the experimental geography thesis is not to accept the pre-given framework of the art world and to instead create spaces that you want to exist.
CL: Does your work fit into the framework of photography? Are aesthetics important in your work, or are they simply a by-product of the research?
TP: I am interested in the history of aesthetics and, while photography is a part of that, so is painting, sculpture, frescos, filmmaking, and even literature. My relationship with photography is more about seeing with machines, including cameras, computers, web-cams, drones, spy satellites, and so on. I am drawn to how we use machines to generate new types of power or to break up time and space. Since the advent of photography, our capabilities of seeing through these machines has not only dramatically reorganized our political, economic, and social institutions, it has quite literally shaped how we see the world itself. So yes, aesthetics are absolutely important in my work: I am interested in aesthetic tropes and posing questions that address what they mean in the present moment.
CL: You often hike to remote places to capture military spy satellites in the night sky; I imagine it’s quite contemplative. How does the dichotomy between the romanticism of the night sky and the fact that you are looking for secret military satellites toy with your cosmic perspective? And does this type of seeing inform other areas of your practice?
TP: I spend a huge amount of time in very isolated places and there is a certain way of seeing that is very different than how you might see things in a place like New York City. You become attuned to things in the sky that you can’t see in the city. For example, I might notice that Jupiter is rising a littler earlier today than it was yesterday.
There is a certain sensitivity that you develop when working in those kinds of places, and it is not actually that different from the way of seeing that informs some of my other work. For example, right now I am sifting through thousands of documents related to the CIA, searching through this huge amount of material. Identifying what is actually interesting is not that dissimilar from recognizing a spy satellite among millions of other particles of light in the night sky. In both cases, the material being sought after is visible in plain sight—it just involves a particular kind of paying attention.
The full version of this interview can be found in the Mapping Issue of Conveyor Magazine. To get your hands on one, visit: { www.conveyormagazine.org }
Thank you to the backers of Conveyor Magazine’s Kickstarter project! We are so appreciative of the support that we thought we ought to give you , we thought we’d share a small sampling of the images and text included in the upcoming Mapping Issue.
Project Series takes a look at Sarah Anne Johnson’s “Arctic Wonderland” …
Today, the Arctic is a combination of shifting icescapes and a cartography of International laws, which parcel out limited economic zones to five surrounding countries, leaving the middle as an open territory. Johnson explores how these zones define progress, possession, and preservation in a geopolitical world. - CM
Black Box, 2010.
… and the comprehensive “Mason-Dixon Survey” project by Colin Stearns.
The Mason-Dixon Line has held a near mythical place in the American psyche since its charting in the 1760s. While it has grown into an intangible cultural division between North and South, it began as a pragmatic solution to a land dispute and was marked by highly physical traces. - CM
A few from the Group Show - curated from a free & open call for submission:
John Mann
Dierdre Donohue
Mary Mattingly
The Artist Feature looks at the images and writings of Peter Happel Christian…
Many cartographers and photographers aim to produce consumable images that add to our understanding of the world. What exists beyond the borders of a map or the frame of a photograph is absent from the slipstream of pictures and lost to history and recollection.
And a little Lori Nix…
Ok. No more spoilers! The Mapping Issue goes to press in just one week!
We couldn’t be more excited! However, we still have a a ways to go to reach our goal! Help us keep the momentum going, by spreading the word through conversation, blogs, facebook, email and more!
Just 20 Days Left to Back our Kickstarter project! Help us reach our goal :)
{ http://www.kickstarter.com/projects/conveyor/conveyor-magazine }