| NEWS | february 11, 2005: | |
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re
launching this summer |
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Cracks
in the Pavement: Gifts in the Urban Landscape will
be presented once again in summer 2005. This
year, we hope to expand the project to include works in cities
around the world. |
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 Katherine Bash, 2004 |
Cracks
in the Pavement
seeks proposals for projects in the form
of small, site-specific art works designed to be found, taken and kept by
members of the public in your home city. Images of participating artists’
sites and works will be included in cracksinthepavement.com
beginning in June 2005. Selected proposals will describe works made specifically for sites outside the gallery context, wherein relationships between artwork and environment are carefully considered. Special attention should be given to the experience of the viewer as s/he encounters your piece in the landscape. Participating projects by Austin, Texas-based artists must be ready to install by June 3, 2005. Install dates for projects in other cities TBD. All artists are required to install their own work and provide images of their installed pieces to Cracks in the Pavement for documentation in the web site. Artist statements and links to participants' web sites will also be included in the site. |
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are looking for: • Small, portable works designed to be found, taken and kept by members of the public (under 10 x 10 x 10 cm in size). All media accepted that meet this criteria. • Up to 5 works can be placed in 5 separate public locations of your choosing, in your own home city or town. • The Cracks in the Pavement URL (http://cracksinthepavement.com) must be presented physically on each piece (or on a title label placed near each piece at installation) in order to inform the public about the project. We are not looking for: • Works requiring permanent installation or that will cause significant damage to the environment in which they are placed. • Sites that will encourage the public to trespass on private property, unless permission from the property owner is secured in writing. • Sites that will put members of the public in physical danger when they search for the works. |
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Interested artists should
send the following, postmarked or emailed by
Friday, April 15, 2005 to artists@cracksinthepavement.com
or on a CD via regular mail to: Please direct all inquiries to info@cracksinthepavement.com For more information about Cracks in the Pavement: Gifts in the Urban Landscape, visit http://cracksinthepavement.com
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 Alia Hasan-Khan, 2004 |
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q) Can I participate if I live outside of Austin, Texas? a) YES, ABSOLUTELY! We welcome proposals from artists based around the world who would like to place art works publicly in their own home areas. q) Does Cracks in the Pavement offer funding to participating artists? a) Regretfully, no. So far, Cracks has been developed and paid for by one person in her spare time, and with spare cash earned through a not-so-high-paying day job. Sorry folks! q) When will works need to be ready to install? a) Austin, Texas area artists should be ready to place their works by Saturday, June 4, in time for the web site's initial re-launch on June 5. Launch dates for all other locations will be determined in April after proposals have been received. q) Why do you require images of sites and their locations in the call for proposals? a) The site images and location information you provide will be used to generate maps and other clues on the web site that will help members of the public locate your works. |
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| october 11, 2004: | ||
| Cracks in the Pavement featured in Connect the Dots at Columbia U., NYC
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Cracks in the Pavement: Gifts in the Urban Landscape was featured in Connect the Dots, an exhibition at Columbia University in New York City on view September 7 - 28, 2004. The exhibition was organized by David Dempewolf and Scott Rigby and featured contributions by over 60 international artists and collaborative artist groups. Connect the Dots investigated "models of connectivity" created by artist-curated exhibitions and projects. The participating artists examined their past and current curatorial work as experiments within a social field of vocational relationships. Displayed within a science fair-like setting, the artists' contributions represented a specific art practice through the middle-school equivalent of a science convention where practitioners shared strategies, developments, and distributed information within a community of their immediate peers. This project will culminate in the creation of a printed journal that will help articulate a current set of specific practices, and serve as a list of possibilities for new work by emerging practitioners.
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