Artist Organized Art Non-Profit Works With Artists & Institutions To Support Artist Organized Media, Events & Cultural Education By Strategic, Collaborative & Financial Means

Venice Biennale 2013 particpant Transart alumnus Khaled Hafez: “Running Chromosome”
Khaled Hafez: “With this work I stretched myself beyond my personal imagination in my two years at Transart.”

Uniquely international for exchange and connections across cultural boundaries, with intensives in Berlin and New York, Transart’s low-residency PhD, MFA and Certificate programs offer a plethora of input at residencies with dozens of innovative workshops, artist talks, lectures, pecha kuchas, walkshops, seminars, cultural tours to choose from; extensive individual and full group critiques with artists and curators; and performances, pop-up events and exhibitions to participate in. A recent residency program is here.

Offsite choose from an extensive pool of international curators, artists and theorists for advise and critique for your self-directed, independent art projects working in whatever media best expresses your vision.

For New York-based artist Virgil Wong “the community I’ve become a part of through Transart is already much more immersive than what I’ve developed in ten years of living and working as an artist in New York City”. German photographer and performer Angelika Rinnhofer found: “…freedom and flexibility. Since a large number of students are accomplished artists and earn a living, Transart’s concept is ideal to work toward a degree and to expand one’s artistic career in addition to having a job.”

Ongoing connections, critique and support are essential ingredients for a vital artistic practice and successful academic career. Alumni join an international group of emerging and mid-career artists and curators in the Transartist Collective to stay connected and active, continuing to show, curate and perform together internationally.

Transart Institute offers the first and only low-residency PhD program exclusively for practice-based research (creative work). The artwork is the research in this 20-30 hour per week, three year program. Program info can be found on our website. The application process is explained here. A sample proposal can be found online. Proposal support options are available.

Transart faculty will be availabe via chat and video conferencing on November 5, 12:00-5:00 PM EST (New York time) at the Virtual Graduate School Fair.

As always, faculty are happy to discuss programs with you in detail. Please contact Dr. Michael Bowdidge for an appointment: admissions@transart.org

Apply here.

Subscribe to the monthly MFA newsletter.

Subscribe to the occasional PhD newsletter.

Transart Institute – International MFA + Studio PhD
Berlin and New York
Validated by Plymouth University, UK
www.transart.org

Copyright © 2013 Transart, All rights reserved.
www.transart.org

ARTIST ORGANIZED ART

Each Announcement Now Comes With An Inclusion In Our Newsletter Or Social Networks At No Additional Cost

Let people know what you’re doing. Our low cost announcements reach over 75,000 arts professionals and their followers. Get started sending announcements about exhibitions, book launches, crowdfunding campaigns, concerts, broadcasts and more. Our all time high is over 150,000 subscribers. Our qualified list touches the nerve center of the international art world. 44% North America, 33% Europe, 23% Asia+ and beyond. We can help turn your next release into a global fact at a fraction of the cost. We are a 501(c)(3) non-profit supporting artist organized media, events and cultural education. When you sponsor an announcement with us you support artists working in communities everywhere in the world. Learn More.

Thursday, October 24, 2013, 6 pm:
Francis Cape
“What Can We Do About It?”

Francis Cape apprenticed with master carver Dick Reid before receiving his MA from Goldsmiths College, London. In 1993 he moved to New York City. Following a decade or so of architectural interventions that addressed the inseparability of art from its context, he turned to work that confronts issues outside the studio/gallery circuit. One body of work explored the connection between what we saw of our society after Katrina hit New Orleans and what he sees in his own community in upstate New York. More recently, “Utopian Benches” dwelt on the tradition of American communalism, and on values other than those promoted in the mainstream.

What are we talking about when we talk about biography? What does it mean to write about an artist’s life? Is it possible to find words, or in any way grasp, or communicate, the transmutation from life into art? What is the place of biography in the writing and teaching of art?

Shifting themes and riptides in my writing and studio practice—or, negotiating between what you do in the face of what other people think should be done and what you do no matter what anyone says.

Mira Schor is a painter and writer living in New York City. She has had recent solo exhibitions at Marvelli Gallery in New York and CB1 Gallery in Los Angeles. She is the author of A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life and Wet: On Painting, Feminism, and Art, and of the blog “A Year of Positive Thinking.” She edited The Extreme of the Middle: Writings of Jack Tworkov, and is co-editor with Susan Bee of M/E/A/N/I/N/G: A Journal of Contemporary Art Issues, and, currently, M/E/A/N/I/N/G Online. Recent writings have appeared in Artforum and The Brooklyn Rail. She is an associate teaching professor in Fine Arts at Parsons The New School for Design.



“His blazon is pity, his banner is beauty. He stands for everything that is gentle, forlorn, pure, unselfish, and gallant.”
—    Vladimir Nabokov, Lectures on Don Quixote

Journal for Artistic Research
An online, peer-reviewed journal for the publication and discussion of artistic research.

JAR3 is now online with contributions by:
Miriam Ewers (QA), Gert Germeraad (NL/SE), Marc Goodwin (FI), Carolina Goradesky (BR), Simón Granell (GB), Michael Kahr (AT), Neil Mulholland (GB) and Tero Nauha (FI).

Browse the issue here or read the Editorial.

Call for submissions:
Supporting JAR’s publishing activities is the innovative repository for the documentation of artistic research, the Research Catalogue (RC). Through the RC, we welcome submissions to the next issues of JAR. Submit before August 1, 2013 to be considered for JAR4. Please visit our website for further information.

Artistic research is a newly emergent and rapidly evolving field, whose status is still hotly debated. JAR provides an influential voice in this debate, creating a platform for the re-negotiation of the relationship between art and academia, and the role and function of research in artistic practice.

JAR embraces research practices across disciplines, inviting exchange that enhances artistic research methodologies across the arts, sciences and humanities, emphasizing the transdisciplinary character of much artistic research. Unlike the traditional journal article format, JAR offers its contributors a dynamic online canvas where text can be woven together with image, audio and video. This new approach displays research practice in a manner that respects artists’ modes of presentation and incorporates web-enabled possibilities for collaboration, debate and discussion.

Working with an international editorial board and a large panel of peer-reviewers the journal offers a unique reading experience while fulfilling the expectations of scholarly dissemination.

Editor in Chief: Michael Schwab
Editors: Annette Arlander, Henk Borgdorff, Barnaby Drabble, Mika Elo, Julian Klein and Isidro López-Aparicio
Associate Editors: Adam Broinowski, Michel van Dartel, Ana Garcia-Lopez, Rachel Mader, Siobhan Murphy, Joey Orr, Peter Peters and Johan Verbeke
Contact: jar@jar-online.net

JAR is published by the Society for Artistic Research (SAR), an independent, non-profit association. You can support JAR by becoming an individual or institutional member of SAR. More information can be found on our website.

Don’t forget to join our mailing list.

Bring your artistic and academic career to the next level. Enrich your practice and create a major body of work. Exhibit and perform internationally while you study. Qualify at the highest level for the job you really want.

This summer in Berlin: Make a collective stop-motion animation in one day, watch Afroeuropean films for another, sit in on 24 talks in the Trans-what? symposium, take a tour to the outer edges of Berlin from the film “Umland”, explore the politics of place through the ecological metaphors of “The Native and the Invasive”, walk the walk in the workshop “Within Walking Distance”, dare to engage in a voice lab and perform your voice across the thresholds of personal limits, stay up too late, hear Ensemble Xenon’s composers straddle the fence between free and noted music, get lost, cafe hop in “Writing Art/Artist’s Writing”, consider displacement in a mobile discussion group, experiment, critique critiques, see all the nominated films from the Nostalgia filmfest, don’t think about your job once for three weeks, participate in speed crits and slow crits, get new takes on old work, show new work for the first time, learn the basics of psychoacoustics, hear what fifty other artists are up to pecha kucha style, go to openings, galleries, go home with a list of books you can’t put down.

Take it all back to your studio along with your plans and create a body of work like nothing you’ve done before. Be assured of the support, encouragement, feedback and resources you need in order to take all necessary risks and get the attention your work deserves. Do only the research you decide will feed your curiosity and enrich your artwork. Work with two international artists, curators and theorist advisors each year. Build a sustainable practice by creating your own course of study, find a balance between your artwork and other professional obligations while you are in the program. 2 winter sessions in New York, 3 summer intensives in Berlin, 4 semesters off-site.

Low-residency, winter presentations in the US, summer intensives in EU. Creative work or practice-based research only. Your studio work is the research. No separate written thesis required. Integrate your writing and your practice or create new forms. Your advisors are international artists, curators and theorist. Topics of interest: Memory, Forgetting, Trauma and the Archive; Creative Fiction and Experimental Non-fiction; Language/Image; Art and Social Technologies; Land and Sea; International Diaspora and Post-Colonialism; Role of Art in Peace, Meditation, Performance Activism; Liminality, Space/Place, Temporary Architecture; Foreignness, Otherness and the Uncanny. Opportunity to publish in the Transart Journal, exhibit with the Transartist collective, present papers at the Transartfest Symposium, get teaching experience with our MFA students. 3 years min.

Year 1: Experiment, refresh research and writing skills, ground your practice or start in on the PhD
Year 2: Doctoral proposal end of year one (fast-track to PhD) or end of year two (MFA + PhD) Transfer from one program to the other either summer with an accepted proposal.

Either way, become a Transartist and continue as a graduate to flourish in the Transart community of artists and curators taking advantage of fellowships, technical and funding support, micro-financing networks, start-up funding initiatives, studio exchanges, curator and peer critique groups, and special calls. And yes, Transartists are invited back in many capacities. Ongoing connections, critique and support are essential ingredients for a vital artistic practice and successful academic career, equally important to the work if it is to flourish. Join an international group of emerging and mid-career artists and curators. Transartists stay connected and active, continuing to show, curate and perform together internationally.

Transart Institute offers an international low-residency MFA and a practice-based (studio) PhD program for working artists in a highly unique format. The Institute’s programs are geared towards the development of a sustainable artistic praxis rather than training in certain media or genres, challenging students to think conceptually and work creatively in new ways. Students work in any genre including animation, cyberart, choreography, curating, digital media, film, gaming, graphic design, installation, painting, performance, photography, robotics, sculpture, sound, text art, video, virtual reality.

… come to Berlin, meet your colleagues and advisors. Make your plans, refresh your practice with workshops, seminars, pecha kuchas, artist talks, tours, multiple crits, discussion groups and the biennial Transartfest. Find a sustainable balance and remain debt free. Keep working, pay as you go. Work on-site and on-line, winter sessions in New York, summer sessions in Berlin, work wherever you live. Become a Transartist, with a thriving international practice and career. Talk with faculty, alumni, students and advisors by Skype or in person to hear more. But first apply for summer acceptance

MFA program
Studio PhD
Admissions
Berlin Summer 2013
Transartfest
Transartists

Transart Institute – International MFA + Studio PhD
Berlin and New York
Validated by Plymouth University, UK
inquiries@transart.org

Keep working, pay as you go. Scholarships for MFA available, assistantships for the PhD. Two, three and four year payment plans with minimal interest rates (0.25-6.25%) for the MFA. 2013 accepted applicants who complete the MFA receive a 3 year 25% scholarship on the PhD program.

Copyright © 2013 Transart, All rights reserved.
www.transart.org

Organized by GAIA | Arabber Mural Project – KickStarter – This project will be funded on
May 19. Please keep the donations coming.. the more you donate the more they can paint. There are many works rewarded to donors at all levels

Arabber Mural Project
Crowd Commissioned Overnight On KickStarter
BALTIMORE: ARABBER STABLE

Artists Mata Ruda, LNY, Nanook and Gaia will come to Baltimore, Maryland to paint for the Arabber stable on the West Side. The commissioned artists will use the story and experience of Baltimore’s fruit sellers to produce murals that span all of the inside and exterior of the Fremont stables. The paintings are part of a larger plan that will be implemented on behalf of the Arabber Preservation Society in the near future to make the site into a visitor center and provide the necessary renovations to the preexisting stable. Risks and challenges: “Only an act of god could prevent this project from coming to fruition. The artists are poised to paint rain or shine and have worked together extensively in the past. Baltimore is an extremely chill place to produce public art and permits are not necessary to paint publicly, even if one person were seriously injured during the mural painting we could continue with their guidance.”

Why Continue To Donate:
More funds mean more paint, a chance to celebrate with the wider community, the possibility of circulating funds to the community through artist transactions and more commissions for more artists. Please help make crowd commissions a successful alternative for artist organizers by donating to the Arabber Mural Project organized by GAIA.

Visit the KickStarter Page, Learn More, Donate, Browse Rewards