Ink & Clay 46 Call for Entry
Established in 1971, Ink & Clay is a juried competition of printmaking, ink drawing, ceramic ware, clay sculpture, mixed media and installation, utilizing any variety of “ink” or “clay”, or combination, as material. The competition results in its highly-regarded exhibition sponsored by the W. Keith & Janet Kellogg University Art Gallery of CalPoly University, Pomona and underwritten by the generosity and support of the late Col. James Jones, the late Mr. Bruce Jewett, and Office of the University President, Soraya Coley.
The Ink & Clay annual competition is open to artists working throughout the US, making it a nationwide competition. The exhibition is documented through an on-line printable catalog. Unique among juried exhibitions, Ink & Clay is annually celebrated and recognized by artists and collectors for its quality and diversity.
Ink & Clay 46 uses an “on-line only” submission platform through the Western States Arts Federation’s (WESTAF) Call for Entry (CaFE) platform. All submissions are entered, and juried, on-line through the CaFE site: www.callforentry.org (Search for "Ink & Clay 46") 2024 Theme Announcement - Ink & Clay 46: Art & Science Collide
In 2021 and 2022, for the first time a theme was developed to celebrate the 45th anniversary of Ink & Clay with The Art of Type. This year, we are exploring the theme announced by the Getty Museum as part of their 2024 PST Art Initiative: Art & Science Collide. When it debuts in Fall 2024, Pacific Standard Time (PST) Art —a coordination of exhibitions from more than 50 cultural, scientific, and educational
organizations across Southern California— will explore the intersection of art with biotechnology, cosmology, sustainable agriculture, the climate crisis and environmental justice and myriad other areas of art and science —whether historically, in the present, or in the future.
This year, Ink & Clay’s theme simultaneously explores this theme of Art & Science and how the twain may meet. Defined by the primary use, or inclusion, of “ink” or “clay”, or both, in combination, as the media to create artwork, thematic topics and subject matter may range from anything science related, to art and science in combination: projects about climate change and environmental justice, to the future of artificial intelligence, virtual and augmented reality, to alternative medicine, or modern to medieval to ancient, alchemy, the uses of ancestral DNA, stem-cell research, drugs and pharmaceuticals, the experimentation with light, optics, movement/kinetics or technology, medieval astrology and space, science and spirituality or religion, gender/ transgender issues, architects/architecture, engineers/urban planning, scientists, explorers and inventors/inventions, doctors and medicine, reproductive health/abortion, biology, chemistry, anthropology and sociology (any of the “-ologies”) and infinite other scientific topics may be explored.
The same techniques that are acceptable each year for Ink & Clay are applicable for Ink & Clay 46: all traditional media (painting, drawing, printmaking, ceramics, sculpture), mixed media, collage, assemblage, book-making, installation, video and any avant-garde artforms are acceptable for submission, as long as "ink" and/or "clay" are featured in some way.
Media / Eligibility
Any artist living or working in the United States may enter this competition. The Jurors make the final decision on which works are acceptable among all the entries received by the posted deadline. Artwork Submissions must have been completed within the last 5 years (2019-2024). Generally, any artwork utilizing any type of ink or clay, in whole, or in part, is acceptable. Artworks must be original —no giclée prints, reproductions/ posters, or solely digitally-based prints. We seek entries that have been created by the artist’s hand in some way, shape or form. There are no size restrictions. Past exhibitions have included non-traditional media including installations (both site-specific and not), freestanding and hanging sculptures, technology-involved media, kinetic or light-based works, mixed media, as well as the more traditional artforms such as printmaking, drawing and painting, sculpture and pottery. All artforms are encouraged for submission.
Fees
In honor of our 46th show of Ink & Clay, entry fee is reduced to $46, for no more than 3 entries. Please note that checks are no longer accepted. All fees must be paid by credit card through the CaFÉ site payment platforms. The entry fee is non-refundable, nor prorated, if less than 3 entries are submitted, or selected.
Sales
All artwork will be considered for sale unless otherwise indicated as NFS (not for sale) in the submission. A 25% commission on all sales will be added to the “Artist’s List (Sale) Price” and retained by the Kellogg University Art Gallery to support programming of future exhibitions. Please price artwork entry accordingly Completed W9 form will be required in the event of any purchase/sale.
Awards
The Kellogg University Art Gallery is pleased to offer $13,000 in cash awards this year. These include: the James H. Jones Memorial Purchase Award(s), generously sponsored by the trusts of the late Mr. Bruce M. Jewett and Col. James Jones; the University President’s Purchase Award(s), sponsored by the Office of the University President, Soraya Coley; as well as Jurors’ Choice and Director’s Choice Purchase Awards sponsored by both the President’s Office and the Jones and Ink & Clay Endowments. Monetary (non-purchase) Awards include Awards and Honorable Mentions totaling up to $3,000.
Jurors
Two of this year’s esteemed jurors are arts professionals specialized in either ceramics (clay), or printmaking/drawing (ink). The third juror, is a renowned multi-media fine artist and curator, from within the fine arts, arts education and museums industry. See below for juror biographies.
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Kim Abeles, Fine Art/Curatorial Juror
Kim Abeles’ art crosses disciplines and media to explore biography, geography and environment. She has received fellowships from the Guggenheim Memorial Foundation, J. Paul Getty Trust Fund for the Visual Arts, California Community Foundation and Pollack-Krasner Foundation. She has created artwork with a unique range of collaborators including California Bureau of Automotive Repair, California Science Center, Department of Mental Health, and natural history museums in California, Colorado and Florida. In 1987, she innovated a method to create images from the smog in the air, and Smog Collectors brought her work to international attention, and were recently exhibited in New York at the United Nations Headquarters. Abeles’ journals and process documents are archived at the Center for Art + Environment, Nevada Museum of Art.
Her work is in public collections including MOCA, LACMA, CAAM, Berkeley Art Museum, and National Geospatial Intelligence Agency. NEA-funded projects involved a residency at the Institute of Forest Genetics; and Valises for Camp Ground with Camp 13, a group of female prison inmates who fight wildfires. Her public art includes Citizen Seeds along the Park to Playa Trail, and Walk a Mile in My Shoes, based on the shoes of Civil Rights marchers and local activists. Abeles most recently guest curated Above & Below: Views from AltaSea’s Blue Hour [Artists] at CPP in partnership with the AltaSea Institute which featured local female artists showcasing work that address the ocean with respect to social and environmental issues. Recent articles about her projects are published in the New York Times, Hyperallergic, and Social Practice: Technologies for Change (Routledge Press).
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Barbara A. Thomason, Ink Juror
Born in San Diego, Barbara A. Thomason received her Master’s Degree in printmaking at California State University, Long Beach. After graduation she worked as a master printer in lithography at Gemini G.E.L. in Los Angeles for artists Jasper Johns, Frank Stella, Claus Oldenberg, Ellsworth Kelly, Ed Ruscha, David Hockney, Joe Goode and Robert Rauschenberg.
Thomason has had numerous exhibitions: venues include the Pacific Asia Museum, Space Gallery representing her (70s-80s); Los Angeles County Museum of Art; L.A. Municipal Art Gallery; University of Redlands; Laguna Art Museum; Cal Poly Pomona; Oceanside Museum of Art; the Armory Center for the Arts; and LA Artcore and Los Angeles City Hall. Thomason has completed site-specific public art pieces such as the Gates of Los Angeles, etched stainless steel elevator doors, for the State Office Building in Downtown Los Angeles; the Noho Mask Mural in North Hollywood; an interior mural for the Los Angeles Children’s Museum; and banners for the Oceanside Museum and for CSU Summer Arts at Cal State Fresno.
Thomason has taught Painting, Drawing and Printmaking extensively and has participated in several academic projects. She has been on the faculty of Otis College of Art and Design, University of California Santa Cruz, University of Redlands, Ryman Arts at USC, University of Alaska, and taught at Cal Poly Pomona for twenty-two years. She has coordinated courses for the CSU Summer Arts in both Sculpture and Printmaking and was the gallery director at the University of Redlands Peppers Art Gallery for five years.
Prospect Park Books published a book of her paintings and writing, One Hundred Not So Famous Views of L.A. (2014).
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Alison Ragguette, Clay Juror
Working for over twenty years, Alison Ragguette has developed an expansive approach to making sculptural objects in porcelain, glass, and rubber. She has studied at Goldsmiths’ College, University of London (England), received her BFA from Concordia University (Montreal), and MFA from the California College of the Arts (San Francisco). She is currently a Professor of Art and Graduate Coordinator at California State University, San Bernardino.
Ragguette’s work has been included in national and international exhibitions, including her most recent solo exhibitions at Diana Berger Gallery (Walnut), the American Museum of Ceramic Art (Pomona), the International Museum of Surgical Science (Chicago), Robert and Frances Fullerton Museum of Art (San Bernardino) and Launch LA (Los Angeles). She has exhibited at venues including Durden and Ray (Los Angeles), the Architecture and Design Museum (Los Angeles), The Contemporary (Austin), and international venues including the Galleria De Los Oficios (Santiago de Cuba), Shanghai University Art Gallery (China), and Harbor Front Center (Toronto). She has also been commissioned for multiple public artworks.
Alison has been a resident artist at the Taller Cultural in Santiago de Cuba, Jingdehzen Pottery Workshop in China, and the Purosil Rubber Company in Corona, California. Her work has been highlighted in several art publications and textbooks, including Ceramics Monthly, LA Art Week and Artillery Magazine. Alison has been supported by grants from the Canada Council for the Arts, the British Columbia Arts Council, and the
Durfee Foundation in Los Angeles. Most recently, she has launched A-Ware Studio where they produce commissioned ceramics for public and private spaces.
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Accepted Works
Jurying will be completed by end of June 2024. Acceptance and Non-Acceptance notification letters will be emailed by the second week of July 2024, by July 8. Applicants may contact Kellogg Univ Art Gallery after July 8 through the Cafe site if a notification letter is not received prior. Acceptance letters will include instructions to selected participants for completion of an "Exhibition & Loan Agreement" which will need to be completed and returned by no later than July 12, 2024 (prior to shipment/delivery of artwork).
Loan Agreements
All artists selected to participate will be required to complete an "Exhibition & Loan Agreement". Once jurying of all selected entries is complete, selected artists will be notified and required to complete Loan Agreements of the artwork selected, with an authorized signature, to be signed and received prior to shipment or delivery of artwork. Loan agreement forms will be emailed along with shipment/delivery instructions at that time of selection notification by the second week of July 2024, or the week of July 8, 2024.
Artwork not covered by a valid Loan Agreement will not be eligible for exhibition and will be retracted from the exhibition and digital catalog publication, unless the Loan Agreement is completed in its entirety and signed prior to the “physical” receiving deadline.
Insurance, Liability, and Shipping Requirements
All accepted works, once "physically" received and certified under a valid Loan Agreement, will be insured for the duration of the exhibition. Although due care will be taken in handling of all entries, neither the Kellogg University Art Gallery nor Cal Poly Pomona accepts responsibility for the damage of work submitted to the exhibition which is improperly framed or packaged, or without secure hanging devices, or without displaying instructions when needed. Out-of-area artists, or those local artists choosing to ship their work, will be responsible for costs of shipment of art to and from the exhibition venue.
All jury-selected artworks must be available for loan for the duration of the physical exhibition, including delivery and return/retrieval dates, as specified in this Prospectus and Important Dates as listed below.
Entrants, if selected, must agree to physical delivery/shipment, and retrieval/return dates as specified in this Prospectus. Out-of-area artists, or local artists, who choose to ship their selected work, will be responsible for costs of shipment of the art to-and-from the exhibition venue.
Return shipment arrangements with PRE-PAID shipping labels will be REQUIRED upon receipt of item(s).
Insurance coverage for artworks will be in place once Loan Agreements are finalized after selection notification, and while artworks are under the Gallery's care.
Insurance Replacement Value v. Price
Insurance Replacement Value (IRV) is the cost of materials and expenses involved in the reproduction or replacement of a work. It is necessary for proper insurance coverage, even if the artwork is “not for sale”. Artist’s Sale Price is the price at which artwork sells, based on the marketplace used, and the strength or weakness of the market at the time of sale. In other words, Sale Price (to cover artist’s expenses + time + profit) is not the same as Insurance Replacement Value (to cover costs to “replace” artwork in order to recreate the work again).
In your artist’s submission entry indicate the Sale Price as indicated through CaFE. The Gallery will automatically add 25% to any Artist’s Sale Price provided. Local Sales Tax will also be added to the Final Retail Price.
Insurance Replacement Value (IRV) will need to be clearly stated on the Loan Agreement. Loan Agreement with further shipment/delivery instructions will be provided to all selected entrants by the second week of July 2024, or July 8, 2024.
Ink & Clay 46 - Call for Entry Prospectus Deadline Dates:
Final Prospectus goes public May 1, 2024 when call for entry opens. Deadline for Call ends on May 27, 2024 at 11:59:59pm (Mountain Time) / 10:59:29pm (Pacific Time) / 01:59:59am on 5/28/24 (Eastern Time). No exceptions.
Please note: This Prospectus has been updated for May 1, 2024 and will be different from any prior year's Prospectus postings. Please disregard any previous Prospectus posting prior to this year's (2022 and prior).
Fall 2024 Ink & Clay 46 Exhibition & Call for Entry Important Dates:
Call for Entry Submissions Opens: Wed. May 1, 2024
Call for Entry Period: Wed. May 1, 2024 - Mon. May 27, 2024
Deadline for Entries: Mon. May 27, 11:59:59pm (Mountain Time Zone)
Notification Letters/Loan Agreements Emailed:
June 24 - July 8, 2024 (revised)
Completed Loan Agreements Required Prior to:
July 12, 2024 (prior to shipment/delivery of artwork)
Local Hand-Delivery of Works to Gallery (for local-area participants only):
July 20, 2024, 10am-12pm and 1-4pm (lunchtime closure: 12-1pm)
Postmark Deadlines for Shipped Artwork (for out-of-area participants only):
Earliest Postmark for Shipped Artwork: July 12, 2024 (revised)
Latest Postmark for Shipped Artwork: July 20, 2024
Artwork to be Received No Later than: July 25, 2024
Installation Art and Site-Specific Installation Drop-off and Installation Day
(Artist-Led): Sat. August 3, 2024
Exhibition Dates: Mon. August 26, 2024 through Thurs. November 14, 2024
Opening Reception: Sat. September 14, 2-5pm
Awards Announced: 4pm
Retrieval of Hand-Delivered and De-Installation of Site-Specific
Installation Works (for local-area participants only):
Sat. November 16, 2024, 10am-12pm and 1-4pm (lunchtime closure: 12-1pm)
Return Shipments of Work: (for out-of-area participants only)
Weeks of November 18 through December 6, 2024
Please allow for up to 10 days after the end of the last week, or December 16, 2024, for return shipments to be re-received by participant, depending on your choice of shipping method provided upon delivery.
Additional Details
Special requests or changes to any of the above deadlines and dates will not be allowed unless changed for all applicants.
All artwork shipping costs (delivery and return) are to be incurred by the participant in order to participate. Jury selected entries will receive instructions on how to supply shipping return labels and hand-delivery instructions.
This prospectus may be copied, emailed and distributed as needed to any and all professional artists, or students completing MFAs, but all submissions must be entered on-line through the CaFE site: www.callforentry.org.
For prospectus updates or to see prior Ink & Clay exhibitions and award winners check any of the options below. Also follow us on the following social media platforms:
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