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Calls for Proposals, Papers, Submissions, Entries, and Volunteers

SECAC posts academic and studio calls of potential interest to our members. To add a call, please forward a description in a Word document without special graphics to SECAC administrator Christine Tate at

  • Call for Gallery Proposals: Furman University, Greenville, SC (2/15/20)
  • Call for Participants: Integrative Teaching International (ITI): ThinkTank 11 (1/31/20)
  • Call for Entries: Painting at Night – Artist/Mother Community Group, TN (1/3/20)
  • Call for Proposals: The Routledge Companion to Art and Disability (1/1/20)
  • Call for Graduate Papers: VCU Art History Graduate Student Conference (1/13/20)
  • Call for Exhibition Proposals: Hall Gallery, Millsaps College, Jackson, MS (2/1/20)
  • Call for Entries: 31st National Drawing and Print Competitive Exhibition, MD (1/15/20)
  • Call for Exhibition Entries, Political Button Designs, WVU Libraries (12/31/19)
  • Call for Exhibition Submissions, Marshall University Galleries, WV (2/1/20)


Call for Gallery Proposals, Solo Exhibitions for Established Artists: Thompson Art Gallery, Furman University, Greenville, SC
Application Deadline: February 15, 2020

The Thompson Art Gallery invites established artists to submit a proposal for solo exhibitions during the 2020-22 academic years. The exhibition space is approximately 900 square feet with solo exhibitions typically running for 4-6 week periods. The gallery committee will consider all media. The university will insure artwork while it is on display in the Thompson Art Gallery. Shipping costs will be the responsibility of the artist. Small stipends available for artists willing to give a gallery talk at a closing or opening reception.

A complete proposal file should include:
• Artist statement (Word or PDF) labeled with last name.
• CV (Word or PDF) labeled with last name.
• 15-20 images presented in Powerpoint or PDF file. Include information (title, size, medium, year) for each image. File name should include artist name.
• A $20 processing fee should be mailed and made payable to the, Furman University Art Department 3300 Poinsett Hwy Greenville SC 29613, for each completed application.

About the School:
Furman University is a small liberal arts university located in Greenville, SC. We have 2,700 students on campus from all over the country. The art department has about 45 students majoring in art history or studio art, 6 full-time faculty, and classes that range in size from 12-24 students. The art department offers classes in drawing, painting, photography, ceramics, graphic design, sculpture, printmaking, and art history. The upstate South Carolina area has a rich history that is rooted in the textile industry. The New York Times recently ranked Greenville #12 on their 52 Places to Go in 2017 list. Greenville has a vibrant and creative atmosphere, which is why so many creative industries have moved to the Greenville area.


Integrative Teaching International (ITI): ThinkTank 11: Arts and Humanities Education in the “Tech Hungry” Era
Delaware College of Art and Design, Wilmington, DE, June 24 – 28, 2020
Learn more at:
Applications will be reviewed at intervals and notified of acceptance.
Application Review dates: December 1, 2019 & January 31, 2020.  

ThinkTank is a biennial event that includes facilitated discussions and intensive workshop forums that are designed to engage participants in interactive discussions and investigations that address issues in the arts, pedagogy, and teaching. We bring together emerging educators, master educators, and administrators from around the country to expand the theory and improve the practice of teaching art in the 21st century. ITI also provides an Emerging Educator Fellowship.

Break-Out Session Topics
1. Bottom Line / Front Line: Recruitment, Retention and the Impact of Workforce Needs and Enrollment Pressures on Classrooms and Curricula
2. A Green New Deal Art? What are the implications and demands of Climate Change on the Education and Practice of Art and Design?
3. The “Socially” Constructed Self: Expression in the Dis- and Hyper-Connected Era
4. Traditional” Foundations with a Twist? Revisiting, Revising and Reimagining Foundations in the Ever-Evolving Digital Era

The registration fee for TT11 will be $375. This fee will cover all event costs, some meals, and light refreshments. Participants will need to arrange for transportation and lodging. ITI secures a block of rooms at our event hotel which are available to participants at a discount.

Call for Entries: Painting at Night – Artist/Mother Community Group Exhibition
Location: Fort Houston Gallery, Nashville, Tennessee, USA
Submission Deadline: January 3, 2020
Exhibitors Notified: January 21, 2020
Work Received: February 21,2020
Show Opening: March 7, 2020
Show Closing: March 28, 2020
For Information and to Submit:

Call to artists: As part of the Artist/Mother Podcast Community’s ongoing work to bring exposure to and provide opportunities for artists who are also mothers, the A/MP is now seeking submissions for their very first group show! The theme for this show was accumulated during episode 28 of the A/M Podcast, a conversation between host, Kaylan Buteyn, and artist Allison Reimus. In the episode, Allison recalls the time she read a statement in a New York Times article about how “You can’t paint at night in your kitchen and hope to be a good artist. It doesn’t work that way.”

In true Artist/Mother fashion, this seemed like a great statement to respond to for a group show, as an act of resistance and rejection. To imply that good art cannot be made in domestic spaces, or that a person cannot claim the title of artist without meeting arbitrary requirements is a patriarchal myth, one that artists who are mothers have been resisting for decades. For this show, we would like you to offer a response, addressing the ways you are making excellent and inspiring work while also navigating your role as a mother. The work may respond to thematic obstacles such as domestic duties, lack of childcare, restraints on time, limited support, lack of space or resources. Show us, through the work, how you are “Painting at Night”- making art as an Artist/Mother.

The exhibition has no defined expectation for type or style of work that will be considered or selected. Kaylan will be considering all submissions to the group show for artists to feature on the A/MP social media feed and for future podcast interviews. She will also be publishing a show catalogue, which your work will appear in. Link to the episode: This concept was further explored in a conversation Allison Reiumus had with Erika Hess on the I Like Your Work Podcast at The New York Times article Allison references can be found at:

Juror: Allison Reimus – Allison Reimus’s paintings explore her relationship with motherhood, femininity and domesticity through abstraction. Her work has been featured in numerous exhibitions in the U.S. and abroad. Recent solo and two-person exhibitions include Tiger Strikes Asteroid (Chicago, IL), Knox College (Galesburg, IL), and The Mission (Chicago, IL). Recent group exhibitions include Yellow Door Gallery (Des Moines, IA), Kirk Hopper Fine Art (Dallas, TX), No Place Gallery (Columbus, OH) and Left Field (Los Osos, CA). Her work has been included in ArtMaze Magazine, Maake Magazine and New American Paintings (#88, #113, #125), where she was highlighted as both an “Editor’s Selection” and a “Noteworthy Artist”. Reviews include The Boston Globe, The Washington Post and NPR. Her next exhibition opens December 6th at Massey Klein Gallery in New York City, with artists Kevin Francis and Matthew Larson. Reimus lives with her husband and three kids in northern New Jersey by way of Brooklyn, Chicago, Washington, D.C., and Michigan. She earned her BFA from Michigan State University in 2005 and her MFA from American University in 2009.


Call for Proposals: The Routledge Companion to Art and Disability

Proposal Deadline: January 1, 2020
Contacts: Keri Watson at and Timothy W. Hiles at 

The editors of The Routledge Companion to Art and Disability seek proposals for a peer-reviewed volume of essays that approach art from a critical disability studies perspective. From Pieter Bruegel the Elder, Matthias Grünewald, and Diego Velázquez to Francisco Goya, Vincent Van Gogh, and Frida Kahlo, to Marc Quinn, Alison Lapper, and the Chapman brothers, many artists either had disabilities themselves, included representations of disability in their work, or explored an aesthetics of disability, but the construction of dis/ability in the history of art has not received the attention it deserves. By employing critical disability studies as a methodology, art historians can provide valuable insight into how disability was understood in divergent historical and cultural epochs, contribute to our understanding of artistic traditions and stylistic developments, and demonstrate a new model for the understanding of both art and disability.

The Routledge Companion to Art and Disability, part of Routledge’s Art and Visual Culture Series, will be organized chronologically to correspond to the historical and stylistic subcategories that have traditionally been used to structure the discipline of art history; however, we would like to cast a wide net to engage with diverse issues such as:

     • How are people with disabilities represented in art?
     • How are notions of disability articulated in relation to ideas of normality, hybridity, and anomaly?
     • How do artists use visual culture to affirm or subvert notions of the normative body?
     • What is the changing role of disability in visual culture?
     • What is the place of disability representation in particular societies?
     • How do art history and disability studies engage with and critique intersectional notions of
             gender, race, ethnicity, class, and sexuality?

Interested scholars should submit an abstract of 300 words and a CV to Keri Watson and Timothy W. Hiles by January 1, 2020. Selected authors will be notified by February 15, 2020, and will contribute a full-length essay of approximately 6,000 words by July 30, 2020.


Call for Graduate Papers: Materializing Memory: Revision, Revival, and Recuperation, Virginia Commonwealth University Art History Graduate Student Conference
Conference: Saturday, April 11, 2020 at VCU’s James Cabell Library, Richmond, VA
Deadline to Submit: Monday, January 13th, 2020

Virginia Commonwealth University’s Art History Graduate Student Association is pleased to announce its 24th graduate student conference, Materializing Memory: Revision, Revival, and Recuperation.

The themes of this conference can be introduced by the visual signifier of the Sankofa, an image of a bird that carries an egg in its beak while its head turns backwards and its feet face forward. Sankofa, which traditionally translates to “go back and fetch it,” functions as a visual reminder that as the forward march of time continues, moments and lessons from the past must be picked up and carried with us. Visual artists deal with this contemplation and reconsideration of the past in myriad ways. For example, Kehinde Wiley’s 2019 monumental sculpture, Rumors of War, which will be installed at the Virginia Museum of Fine Arts this December, will enact a dialogue with Richmond’s Monument Avenue by appropriating, revising, and problematizing the visual language of the controversial historical monument of Confederate general J.E.B Stuart. By exploring such visual signifiers of memory and critical dialogues, the conference will address themes of revival, revision, and recuperation, tackling questions of how artists and institutions alike have reimagined and reengaged with the past. Whether contemplating individual or larger historical memory, examining the ways in which memory comes to be materialized, tangible, or recorded provides insight into how history has been written and subsequently re-written, what remains to be done, and the value of personal and historical moments and memories to humanity.

Anticipated paper topics include but are not limited to:
• Revisions of the past and visions of alternate futures
• Redefining and/or broadening the art historical canon
• Addressing historical omission (recuperation)
• Reclaiming memory
• Art as social critique
• Materiality of memory (materiality as evoking memory)
• Stylistic/thematic revival
• Monumentalizing and memorializing
• Visual signifiers of memory
• Persistence of troubling histories

We are honored to host Dr. Evie Terrono, Professor of Art History at Randolph-Macon College, and author of “Performance, Political Discourse, and the Problematics of the Confederate Flag in Contemporary Art” as our keynote speaker this year.

This call for papers is open to graduate students studying art history, museum studies, and visual studies. Conference attendance is open to all students, VCU staff and faculty,VMFA staff, as well as the friends and relatives of presenters. There will be no registration fee. This event is entirely student-generated and organized by VCU’s Art History Graduate Student Association.

We invite abstracts between 300-500 words, for 20 minute presentations. Please email an abstract and a CV to by Monday, January 13, 2020. Successful applicants will be notified of selection by Monday, February 3, 2020. Selected participants will need to provide full drafts of papers and accompanying slideshows by Monday, March 23, 2020.

Call for Exhibition Proposals: Hall Gallery, Millsaps College, Jackson, MS
Proposal Deadline: February 1, 2020
For more information, contact Gallery Director Matthew Holl at

The Hall Gallery seeks solo and group exhibition proposals from artists working in all disciplines. The Millsaps College Art Department seeks proposals for solo and group exhibitions for the Hall Gallery to be displayed during the 2020-21 academic year. Any individual, collective, or group of artists located regionally, nationally, or internationally (ages 18+) may apply. All media and themes will be considered for exhibition. We give preference to artists outside Mississippi in order to bring new, varied voices to the greater Jackson area. We're interested in all types of work that address contemporary issues and concerns, use traditional materials in unusual ways, and/or challenge our community’s point of view in addition to connecting to our curriculum as the gallery is used primarily as a teaching space. We also seek artists exploring alternative forms of participation and engagement.

The facilities include an expansive gallery with natural and artificial track lighting as well as a smaller enclosed space for work such as video and installation. The works included in your submission should be the majority of the works you exhibit in the gallery. We understand that newer, related works may be included, but for advertising and curricular planning, please plan on having the majority of your submitted portfolio be included in the final exhibition. Artists are responsible for shipping costs to and from the gallery if their work is accepted. If available, artists are encouraged to visit campus for a gallery talk, workshop or presentation, as well as meetings with our art students for informal critiques and feedback on their developing work. Small stipends will be given for artists who give an artist talk in conjunction with their exhibition. Funding is limited; therefore, artists may be asked to cover travel and lodging costs when visiting. If accepted, the Millsaps College Art Department will provide a formal letter of acceptance for artist’s records, as well as copies of promotional materials.

• 8-10 digital images labeled with artist name and accompanying image list with artwork
title, media, dimensions, and date created (images should be at least 300dpi and should
not exceed 2000 pixels in any direction).
•  Artist statement for proposed exhibition including what spaces you will use (the main
gallery and/or the smaller installation space) and whether you’d be able to travel to
campus for an artist talk/studio visits.
•  Short biography
•  Résumé and/or CV (may not exceed 3 pages) including links to artist website
•  Preferred months in the fall or spring and title for the proposed exhibition

To submit a proposal, send all materials to:

Call for Entries: 31st National Drawing and Print Competitive Exhibition, Gormley Gallery, Notre Dame of Maryland University, Baltimore
Exhibition dates: March 23 through April 24, 2020
Submission deadline: January 15, 2020

Gormley Gallery at Notre Dame of Maryland University invites artists to submit drawings and prints (not photography) in any medium for our annual juried exhibition. This year’s juror is Doreen Bolger, Former Director of the Baltimore Museum of Art. A minimum of $1,500 is available in purchase prize awards.

Eligibility and Media: Drawing and prints (not photography) in any medium up to 60" high (framed) are eligible, with no limitations as to color, surface, or materials. All drawings and prints must be original works of art. Each artist may submit up to 3 works online only. No mailed or emailed entries will be accepted.

Entry Fee: A nonrefundable entry fee of $36.00 entitles the artist to submit up to three entries.

Selection process: Initial jury will be of online submissions received by January 15, 2020. Notification will be by email on January 31, 2020. Accepted drawings and prints received by March 2 will be juried for purchase prize awards at the value set by the artist. Works selected for purchase prize awards will become the property of Notre Dame of Maryland University.
Submit online here:

More information:


Submission Deadline: December 31, 2019
Committee selections: January 1-February 1, 2020
Response to artists: February 28, 2020
Work sent by: June 1, 2020
Exhibition dates: August 1, 2020-June 1, 2021
Details at
Lead Curator: Sally Brown Deskins, MA, Exhibits Coordinator, WVU Libraries,

On the occasion of the 100th anniversary of the ratification of the 19th amendment to the U. S. Constitution (granting women the right to vote), and the 55th anniversary of the Voting Rights Act of 1965 (enforcing voting rights for racial minorities), the WVU Libraries are planning a major art exhibition for fall 2020 at the Downtown Campus Library around the political process with special attention to efforts to suppress the votes of women and minorities since 1920. [Voter suppression is a strategy used to influence the outcome of an election by discouraging or preventing specific groups of people from voting. It is distinguished from political campaigning in that campaigning attempts to change likely voting behavior by changing the opinions of potential voters through persuasion and organization. Voter suppression, instead, attempts to reduce the number of voters who might vote against a candidate or proposition.]

An advisory committee consisting of regional scholars, creatives and professionals are collaborating to curate the educational content and select the artwork organized in themes:

Information/Disinformation: Technology, hacking, (undermining) confidence in elections, Kobach commission (state rolls); Language, discourse, propaganda; Lies, trolling, truth-checking
Access/intimidation: How it's relevant to college students; Voter intimidation; Disenfranchisement
Legislation/legal questions: Voter ID laws; Gerrymandering; Jim Crow
Voter Fraud: Chicago Voting Fraud, Voting fraud statistics/how real is voting fraud
Advocacy/Action: What is being done? What can I do?

The artwork will play a main role, as artwork, advertising and photography played and continues to play a large role in suffrage, voting and policy. The exhibit will use the template of the campaign button as individual canvas. Artists will be asked to respond to the themes and encourage viewers to consider issues that don't get a lot of attention, in this mass media format of a button design. The button design at or around 20" diameter can be of any media, from anyone across the nation.

Button Design Specs
Design your button inspired by or in relation to any of the topics or more, via graphic design, collage, painting, drawing, 3-dimensions, whatever you imagine. Base material/canvas/paper of choice.

Diameter: 20" diameter* Canvas panel can be provided at request.
Must be hang-able with command strips (16 lbs max).

Include artist name, short bio (200 words max) and statement with relation to exhibition theme (200 words max) with submission.

Digital designs can be sent as a digital photo jpeg at 300dpi or high quality pdf at 20" diameter circle.

Artist must cover shipping if shipping original work. Designs will be open for photography and used in Library promotional material. The artwork should anticipate being legible at a 2 1/4" circle reduction for use as actual wearable buttons, if chosen.

Questions: Contact Sally Brown Deskins, WVU Libraries Exhibits Coordinator, 304.293.0369,


Call for Exhibition Submissions: Marshall University Galleries

The deadline for submissions is February 1, 2020.
Notifications will be sent by late Spring 2020.
For more information please contact Jamie Platt, Gallery Director, at

Marshall University’s School of Art & Design is seeking submissions from emerging to professional artists for solo and group shows in the fall of 2020 and spring of 2021. We have two galleries of varying sizes: The Carroll Gallery and the Birke Art Gallery located in Huntington WV. All visual arts media are eligible for consideration.

Please note that artist(s) are responsible for the cost of delivery and return shipping for their work and their travel expenses. Some gallery installation and promotional expenses are covered by the Marshall University School of Art & Design depending on the needs of the artist(s).

Electronic submissions are preferred. Please submit a brief exhibition proposal, an artist’s statement, biography, CV and a sample of 10 images representative of those you intend to display and an accompanying image list.