How to get Scholarship abroad, a workshop with some scholar from BKCAC

SOLO SHOW by Helen Brahma @ Regional Centre Gallery

The good news is that the art world is one place where anyone who shows talent and promise, marketable or otherwise, can get help in a variety of ways

Generating income from art in the form of either cash or cash equivalents is always challenging, especially for artists with unconventional ideas or for those who create art that may not be commercially viable. The good news is that the art world is one place where anyone who shows talent and promise, marketable or otherwise, can get help in a variety of ways including cash grants, residencies, employment or internships, allowances, free or low-cost studio space, art supplies, exhibition space, and so on. Receiving these types of assistance is not easy; application processes can be rigorous and competition is often intense. So in the interest of giving you a bit of an edge in situations where you're contending for a bequest, here's a brief tutorial on procedural matters.

To begin with, be clear and directed about your intentions and goals, not only in terms of where you want to go with your art, but how you propose to get there, and know what you're trying to accomplish. Having a plan as to how you want your artistic life, career, and objectives to play out enables you to clarify exactly what's required to materialize that vision. If you need time to work, you might apply for a residency. If you need cash for living expenses while you're making art, an unrestricted grant may be the best way to go. Perhaps you require studio space, or maybe travel is involved. In other words, quantifying your needs enables you to focus more precisely on which opportunities to pursue, which to avoid (those that may sound good but don't really serve your purposes), and to target organizations, nonprofits, and foundations whose missions match with your art and intentions (See the list of resources for locating opportunities at the end of the article).

Assuming you've got your agenda in order and have identified potential opportunities, the most important aspect of any request for assistance is the application process. For starters, read the instructions thoroughly. Not only is it critical to understand and complete all forms according to instructions, but just as essential is knowing how that application will be assessed once the person, persons, or panel who reviews it has it in their hands. Whenever possible-- in addition to reading instructions and before filling anything out-- speak with someone at the organization and ask a few basic questions about their decision-making process. For example, find out how they'll be looking at your art. Will your images be projected onto a large screen, viewed on a computer, studied one-by-one, or will they be seen in groups. Knowing this, you can test-view your images according to what they tell you and make sure they look their best. In general, the more procedural specifics you're aware of in advance, the better you can maximize the effectiveness of your presentation, the point here being that not every application and review process is identical, and being able to customize your approach to the organization offering the assistance is always advantageous to a favorable outcome.

Returning to the subject of images for a moment, make sure you can fill an application's slide requirement with strong professional looking work. If for example you have one painting and the application asks for eight, hold off until you paint the other seven. In fact, before applying for anything at all, you should have at least one strong cohesive completed body of work (preferably more) that you can clearly explain and tie in to whatever form of assistance you're looking for. This work should demonstrate your focus, your intentions, and show where you're going. Simply put, a completed body of work demonstrates that you're capable of materializing an idea and accomplishing a task.

Good visual documentation, written descriptions, and other relevant details concerning all significant works of your art are equally important to have on hand. Video is also good if, for example, there's a participatory or moving element to your art. Generally, you should have whatever ancillary materials best represent and clarify the nature of your work. Again, every application requires different information about your art and the more you've taken the time to prepare in advance, the better.

Be aware that you can sometimes apply for a grant or other form of assistance based only on an idea. In fact, certain organizations prefer supporting innovative concepts to art that already exists, but at the same time, they require that whatever you propose to do be either based on or supported by the merits of previous work. In general, an organization financing an idea has to have trust in the artist based on some sort of track record, which in addition to completed work, may include a resume, list of shows or exhibitions, previous awards or grants, and so on-- assuming they're relevant to whatever is being applied for.

As for filling out the application itself, spelling, neatness, good grammar, and thoroughness all count and all demonstrate the seriousness with which you're taking the opportunity. Be aware that you're likely one of hundreds or even thousands of applicants and that at the very least, you want to appear professional. Reviewers are typically inundated with applications and use the smallest mistakes to eliminate potential candidates from contention. You're being assessed in terms of whether someone wants to invest in you and your talents-- in your career and your future-- according to whether they think these investments will pay off. And nobody invests in carelessness or slop.

Of course we all know that art is a visual medium so please oh please make sure your photographs look professional. If you're shooting your paintings against a concrete surface, for example, don't include the concrete. Avoid glare or reflection from flash bulbs or daylight, nuance your lighting to eliminate uneven dark or light areas, and make sure everything's in focus, colors are accurate, nothing's crooked, and so on. In short, your photographs should look as finished as your art. You might also shoot your work in a gallery setting, not only for purposes of scaling it against an interior, but more importantly, because art just plain looks better in a gallery. You see, sometimes reviewers look at your art first without even reading the application, and in some cases that decides whether the application ever gets read at all or who advances to the second round of consideration. So stack the odds in your favor and make sure your art looks its best.

Another important point is to always customize your application to the requirements of the organization, nonprofit, or foundation. All application processes are different; never assume otherwise. If they want eight copies, submit eight copies. If they want no name on your statement, have no name on your statement. Minor details are so basic but so important; these little things are often what trip artists up. So double-check and proofread everything before you send it on, and be sure to include whatever additional materials they ask for. Better yet, have friends or acquaintances review your application as well, not only in terms of mechanics, but also to see whether your answers make sense and whether you successfully get your main points across.

Additional pointers:

* You should have some sort of track record or exhibition history before applying for grants or assistance. If you're just starting out, hold off on the application process for now. In the meantime, get involved in the local community, help out at an arts organization, nonprofit or gallery, and get some experience showing art, even if only with your friends. You'll eventually meet people sympathetic to your art or projects, build a fan base, and become more knowledgeable about what opportunities make sense and are within your reach.

* Apply for as many opportunities as you're eligible for every year. Don't get discouraged. Be aware that the people or panels who review applications change, and what gets turned down one year may well be accepted the next. Plus the more you apply for, the better you get at applying.

* If you've never applied for anything like this before, attend grant-writing workshops. Read other artists' proposals, preferably winning ones, to see what good applications look like. Ask artists you know who have gotten assistance whether you can see their applications or offer pointers on how best to proceed.

* Be clear and concise in all your answers. Avoid density-- arcane convoluted artspeak. The quicker and cleaner you get your points across, the greater your chances for success. Reviewers don't like getting bogged down in jargon.

* Don't include information about every piece of art you've ever produced or are currently working on. If you're involved in multiple projects, narrow your focus to the one or two most relevant to the application, and keep the look uniform. Think of this process as branding yourself, as becoming the artist who all the reviewers identify as "the figurative painter," for example.

* Make sure whatever you're applying for is a fit, and that you have a good well-thought-out justification for applying. For instance, if you're a painter, then it's probably not a good idea to apply for an architecture grant-- even though your work might be influenced by architecture.

* Thoroughly research your project in advance and know what's required to complete it. Reviewers can tell when you don't know what you're talking about-- especially with respect to details like how much will things cost, how you'll account for your time, or what you'll need in terms of supplies, equipment, or studio space. In other words, be able to say, "Here is exactly what I need to make this happen."

* References are important-- particularly ones you can rely on, particularly people who have some sort of profile in the art community and who are solidly behind you and your work. Make sure you talk to whomever you list as references before you list them though to be sure they genuinely support you.

A few don'ts:

* "I need money" or "I need studio space" are not good reasons to apply for assistance.

* Don't write one paragraph when the application provides two pages. Skimping on information makes you look lazy.

* Avoid discussing or showing random work samples that don't relate to your project or proposal.

* Avoid vague descriptions of what you need to accomplish your goals. For example, "I need $10,000 because that's how much I think this will cost" is not adequate.

* Do not submit template applications. Reviewers can tell when you're sending out the same answers or packet of information over and over again. Always customize to the specifics of the organization.

* Don't list people as references unless they know you're listing them.

* Don't add superfluous materials that are outside the parameters of the instructions. Include only what you're asked to include. Reviewers are overwhelmed enough already without having to sift through irrelevancies.

***

Resources for locating and applying for grants and other forms of assistance:

NYFA Source (New York Foundation for the Arts)

Creative Capital

Alliance of Artists Communities

Res Artis Network

Foundation Center

AlumniBKCAC is going to Organise ONELOVE and Art Talk by Jacqueline Lima

Jagannath Panda: “Metropolis of Mirage”

SOLO SHOW by Jagannath Panda: “Metropolis of Mirage”

Opening on Sunday, August 28th, 2011 from 4 to 8 pm.
Exhibition continues to Saturday, September 3rd.


Nature Morte is pleased to present a solo exhibition of new works by the New Delhi-based artist Jagannath Panda. This is a preview of his new works that will be included in his solo show at our Berlin gallery (Sept 24 – Oct 22). For this reason, the works will only be on view in our New Delhi gallery for one week.

Panda’s works continue with his characteristic collage technique, in which the surface of the canvas or sculpture is built up with the addition of brocade fabrics, blended together to create the skins of beasts and feathers of birds, to mimic foliage or approximate man-made surfaces. This hybridized surface treatment corresponds with many of the artist’s themes, which focus on moments, locations and icons that are in a state of flux, caught between oppositions that are being reconciled only with both anxiety and confusion. Panda’s portraits of the burgeoning new city of Gurgaon (where he lives and works) illustrate the tensions to be found there, as over-development threatens natural habitats and infrastructures prove to be inadequate even before they are completed. Likewise, Panda’s mix of the mythological and the realistic points to the disoriented nature of Indian identity today, as it hopes to synthesize the traditional and the contemporary, the indigenous and the international, the imaginary and the actual.

In addition to the works travelling to Berlin, one new large sculpture will be on display. This has been created for a group show on the subject of spirituality in contemporary art to be held at the Asian Art Museum in San Francisco in May 2012. And two major paintings that were previously seen in group shows at the Lalit Kala Akademie in New Delhi (Common Wealth Games exhibition, October 2010 and “Tolstoy Farm” curated by Gayatri Sinha, April 2011) will also be included in this show at Nature Morte.

Jagannath Panda was born in Bhubaneswar in 1970 and received his BFA in sculpture from the BK College of Art & Crafts, Bhubaneswar in 1991 and his MFA in sculpture from the MS University, Baroda in 1994. Subsequent studies took him to the Fukuoka University in Japan (1997) and the Royal College of Art in London, where he received an MA degree in sculpture in 2002. Solo exhibitions of his work have been held at Nature Morte in New Delhi (2009, 2005, 2000); the Chemould Gallery in Mumbai (2007, 2000); and the Alexia Goethe Gallery in London (2009). He has been included in a wide number of important group shows including “Indian Highway IV” at the Lyons Museum of Contemporary Art, France; “Indian Highway V” at the MAXXI Museum in Rome (upcoming); “Transformation” at the Museum of Contemporary Art, Tokyo; “Chalo! India” at the Mori Art Museum, Tokyo; “Where in the World,” the Devi Art Foundation, Gurgaon; and “Midnight’s Children,” Studio la Citta, Verona, Italy (among many others).


Nature Morte is open Monday through Saturday, from 10am to 6pm, and closed on Sundays. For more information and press photographs please contact Geeta Bajaj at (011) 4174-0215 or Rajeev Dhawan at (011) 2956-1596.

Proceeding of the Executive body meeting held on dt. 01.08.2011 at Alumni BKCAC Office at Bibhuti Kanungo College of Art and Crafts, Khandagiri, BBSR

Members Present:

1-Sri Adwait Prasad Gadanayak President,

2-Sri Jagannath Panda Vice-President,

3-Sri Subrat Kumar Mullick, Secretary,

4-Sri Anjan Kumar Sahoo, Jt. Secretary,

5-Sri Tarakanta Parida, Tresurer,

6-Sri Prabir Kumar Dalai, Executive member,

7-Sri Nigamananda Swain, Executive member,

8-Sri Pratap Kumar Jena, Executive member,

9-Sri M Sovan Kumar, Executive member,

10-Sri Sangram Maharana, Executive member,

11-Sri Ashok Kumar Nayak, Executive member,

12-Miss Priyadarsini Mohanty, Executive member,

13-Sri Manas Ranjan Jena,member

14-Sri Meenaketan Pattanaik,member.

Meeting was held at the AllumniBKCAC Office , on dated 01.08.11 at 12 noon in the chairman ship of vice-president sj Jagannath Panda. The following matters has been discussed and taken decisions for smooth running of the AlumniBKCAC.

1. Any Programme proposed by the members should be approved by the Executive Body & Programme should followed with requirement and resource of fund.

2. All the members should work together to raise funds by devoting their time & effort.

3. Regarding organization of a seminar/workshop of outsider artists as proposed by our member Sri Pradosh Kumar Mishra, it is decided that , Sri Mishra hereby requested to sent a detailed report for taking necessary action at this end.

4. Seminars will be organized time to time and Sri Anjan Ku. Sahoo and Prabir Kumar Dalai members are hereby requested to take necessary steps for successful organization of the said programme

5. Meet the Artist’s a programme namely “Sampark” to relate present students of B.K.College of Art and Crafts, with Alumnis for better acceptance.In this connection the executive committee decided that Sri Ashok Nayak, Sri M. Sovan Kumar and Sri Meenaketan Pattnaik will decide the programme and artist.

6. Proposals and representations should be sent to Central Lalit Kala Akademy, New Delhi for the betterment of the Odia art and artists.

7. A Newsletter and programme will be made to aware the Alumnies regarding activities.

8. A financial review committee has formed by the executive body to streamline the financial matter and records of Account. In this committee Sri N.Swain , A. Sahoo, P. Dalai and Sri Subrat Mullick are the members.

9. A proposal is coming for consideration to set-up a library for keeping of books and catalogues.

10. Members present strongly recommended for smooth running of AlumniBKCAC.

11. Proposal came from Sj Jagannath Panda, he proposed poster/leaflet regarding programme conducted by Alumni should be put in the Notice board in sufficient before commencement of the Programme as promo.

12. As per previous decision of the executive body regarding publication of a Monograph of Sri Byomakesh Mohanty (Ex Lect. In Painting) is seems to postponed further an Exhibition ‘A Tribute to Byomokesh Mohany” with a publication namely Shradhanjali have been published in association with Artist’s Association of Orissa (AAO) at Rastriya Lalitkala Kendra, Bhubaneswar, to mark his 1^st death anniversary.

The above matters have been discussed and unanimously decided for the smooth running of the AlumniBKCAC,

The meeting was over after thanks to the president (Sri Adwait Prasad Gadanayak) .

Sd/-

Signature

President, AlumniBKCAC

AlumniBKCAC welcome Mr Baladev Maharatha as now Principal

Workshop on Drawings as a process of Art Making by Jagannath Panda

AlumniBKCAC celebrated Baladev Maharatha sir's Odisha Icon felicitation

The Times of India Odisha Icon 2011 Awards (Art & Culture) conferred on Baladev Maharatha. Hon’ble MP (Rajya Sabha) Shri Pyarimohan Mohapatra gave away The Times of India Odisha Icon 2011 Awards to 16 personalities at a glittering function held in Bhubaneswar. Each category had a popular choice and a jury's choice awards. Cine Artist Jharana Das was the Guest of Honour.
AlumniBKCAC has celebrated it in college campus with Principal, all the staffs and students .

A Lecture on Temple Architecture of Odisha at College Campus

AlumniBKCAC is going to organize a lecture on Temple architecture of Odisha at College campus on 4th march 2011. Dr Bijaya Kumar Rath, former superintendent of Odisha archaeology will speak on this occasion at 11.30 A.M.
You are all cordially invited
Subrat Mullick
Secretary, AlumniBKCAC

SOLO Show by Ajay Mohanty at New Delhi

Started at Ashok Art Gallery, It will be on vew till 6th of february

little about: The art tradition in India is so very strong that artists adapt the visual elements with subtle changes to suit contemporary makeover. In the case of Ajay Mohanty, one could easily consider these remains. They have emerged with subtle aesthetic layers with focus on the compositional patter. Stylistically different though but the gestures and colour have strong reference points. The only deviation perhaps is that of the space treatment and that make it visual strong and appealing.His works hover on the verge of resolve, oscillating between fragile spaces and painterly surfaces arrived at by a variety of means. While his interest in painting's history is visible, each painting is treated as an open ended exploration. The work functions with its own internal logic yet is firmly rooted in the world of experience, displaying a gentle but insistent emotional undertow.

Each of the works on display require time and scrutiny to reveal their quiet intelligence and strong determination to capture the poetic capabilities of the artists' chosen medium. In this technology driven era, it is easy to forget the role of the handmade object and the importance it plays in a contemporary context. Not overly pretentious or garishly imposing, Ajay the artist in this exhibition force the viewer to look beneath what is literally seen to reveal questions about their mediums' historical burden.

Ajay Mohanty received his BFA from Utkal University at B.K. College of Art and Crafts, Bhubaneswar, Odisha, 1996, He was awarded by Lalitkala Academy as best child artists at his age 11, after his fine art education he shifted to Delhi and working on creative field, over the past five years, participated in numerous group shows.His works has been showcased in both the Indian Art Fair, India Art Summit, New Delhi and Art Expo India, Mumbai by Ashok Art Gallery.


INNOCENT DIVINE

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, we became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India 2008, 09 Mumbai and India Art Summit 2008 New Delhi.