Entry Fee (Non-Member fee): $45.00
Images | Minimum:Min. 1, Maximum:Max. 6
Audio | Minimum:Min. 0, Maximum:Max. 3
Video | Minimum:Min. 0, Maximum:Max. 3
Total Samples | Minimum:Min. 1, Maximum:Max. 6
Call For Entries
Rendered Fusion: Clay, Connection, Attention
the 2024 NCECA Annual
Curated by Elizabeth Schlatter and Lauranett Lee
Deadline – Wednesday, August 9, 2023, 11:59 pm MOUNTAIN
(Please note time zone - late entries will not be accepted)
If you encounter problems and require technical assistance, contact CaFÉ™ support staff at email@example.com.
EXHIBITION DATES: January 31 - May 4, 2024
ABOUT THE NCECA ANNUAL
The NCECA Annual blends impactful attributes of invitational and open juried models of exhibition development. Exhibition co-curators Elizabeth Schlatter and Lauranett Lee's organizing concept is brought to life through the work of five invited artists. The co-curators will select additional works and artists for the exhibition through an open call for submissions.
Schlatter and Lee share the following about their vision for the exhibition:
Rendered Fusion: Clay, Connection, Attention
2024 NCECA Annual
What catches the eye as time carries us back into the past and forward into the future? Glimpses of fragments are fused into memories with the tumult of emotions that link humanity across time and space. Our attention becomes riveted on the possibilities of clay rendering pathways that deepen our present moment.
The conference’s host city, Richmond, Virginia, has been the location of countless fusions throughout history, some violent, some subtle, many ignored, while others celebrated. Clay is an ideal medium in which to render fusions of time and place via form, technique, and symbolism. Clay has witnessed, recorded, and even influenced alliances and separations throughout history, and its material resilience ensures this role in the future.
The cross-disciplinary team of co-curators of Rendered Fusion: Clay, Connection, Attention is interested in the diverse ways that artists work with clay to explore and give form to experiences of time and place as concept, material investigation, and creative expression. Creation with clay engages our mindful and physical capacities. The material’s tactile and dynamic nature grounds us in the present moment and records traces of physical contact. The work often connects us with resonances of the near and distant past as well as meditations on the future. Vessels, sculptures, and conceptual works have the capacity to render evidence of time and place through physical and visual presence. All genres of work incorporating clay as a principal medium will be considered.
N. Elizabeth Schlatter is an independent curator based in Richmond, VA, and most recently served as Interim Executive Director as well as Deputy Director and Curator of Exhibitions at the University of Richmond Museums, Virginia. A museum administrator, curator, and writer, she focuses on modern and contemporary art and topics related to leadership, curating, and issues specific to university museums. She is a past president of the College Art Association (CAA, from 2020-2022), the 110-year-old learned society for visual art and art history.
Dr. Lauranett Lee is a public historian specializing in teaching, collaborating, and working with diverse community and academic audiences. She received a BA in Communications from Mundelein College (now a part of Loyola University, Chicago), an MA in American History from Virginia State University, and a PhD. in American History from the University of Virginia. From 2001 to 2016, she was the founding curator of African American History at the Virginia Historical Society (now the Virginia Museum of History and Culture). Her book, Making the American Dream Work: A Cultural History of African Americans in Hopewell, Virginia, was commissioned by the Hopewell City Council in 2008. Lee has taught at Old Dominion University, Virginia Commonwealth University, Virginia Union University, John Tyler Community College, and the University of Richmond (UR). In 2020 she directed UR’s inclusive history research project investigating slavery, race, and segregation in the institution’s history. contacting
Lee has served on the Mayor’s Monument Avenue Commission, the State Review Board of the Department of Historic Resources, and the Virginia Humanities Board. She serves on the Capitol Square Preservation Council; the Executive Mansion; the Dr. Martin Luther King Commission, Roslyn Conference and Retreat Center, and Virginia Africana Associates. She is the sole proprietor of L.L. Lee & Associates and consults with museums, design firms, community and faith groups, and education entities.
ABOUT THE MUSEUM
University of Richmond Museums comprises the Joel and Lila Harnett Museum of Art, the Joel and Lila Harnett Print Study Center, and the Lora Robins Gallery of Design from Nature. The museums are home to diverse and fascinating collections and exhibitions of art, artifacts, and natural history specimens. Admission to all museums is free and open to the public. The museums regularly present exhibitions, lectures, openings, gallery talks, workshops, concerts, symposia, and other programs. Guided tours can be arranged to accommodate school groups or special interest groups.
Submission of works for consideration is open to the broad field of ceramic art. Artists must be over 18 years of age and not matriculating for a degree in higher education. (NCECA provides a platform for student artists in the NCECA Juried Student Exhibition which will take place at the Visual Art Center of Richmond.
NCECA membership is not a requirement of eligibility; however, NCECA members receive complimentary entry to NCECA exhibition calls.
NCECA will verify membership. Please check your NCECA Membership status and expiration date by logging into your NCECA Account at this LINK or contact firstname.lastname@example.org To renew or become a member of NCECA, go to https://nceca.net/members
Membership in NCECA is paid on an annual basis and is not included in conference registration. NCECA membership runs 12 months from the date of joining or renewal.
All works must be …
… primarily ceramic. Mixed media works will be accepted only when clay is the dominant material. Video featuring clay or ceramics will also be accepted.
... able to fit through the venue’s entryways and safely install on the premises. Floor and pedestal works must be self-supporting. NCECA and exhibition venue staff reserve the right to exclude from exhibition works that arrive at the venue in unstable conditions. The co-curators will make final determinations;
...should be responsive to the theme of the exhibition. Works shown in previous NCECA exhibitions are not eligible. Please do not enter the same work in more than one NCECA exhibition call.
Please consider the size/weight of your work, as these factors will impact your shipping decisions and costs.
NUMBER OF WORKS -3-
Interested artists may submit up to three (3) distinct works with no more than two (2) media files (images, video, or audio) per work, not to exceed six total media files. (for example: Full view and detail view)
(See media files details at https://www.callforentry.org/artist-help-cafe/uploading-media/
NCECA reserves the right to exclude from the review/selection process any submissions that include more than three (3) works and more than two (2) media files per work.
Additionally, NCECA reserves the right to exclude any submissions made with incorrect fees from the review/selection process. The artist’s responsible for verifying and updating member status before submitting their work and paying the entry fee. NCECA will not process refunds to those who submit incorrect fees.
APPLICATION PREPARATION & ENTRY PROCEDURES
Jurying will be conducted from images of actual works available for the exhibition.
- Uploaded media files will be stored in your CaFE Portfolio as a repository of images to be accessed while completing the submission.
- Media file submissions must comply with specifications found at CaFÉ https://www.callforentry.org/artist-help-cafe/uploading-media/
For complete specifications, tutorials, and resources, please visit the CaFE website at https://www.callforentry.org/artist-help-cafe/
Deadline – Wednesday, August 9, 2023, 11:59pm MOUNTAIN
(Please note time zone - late entries will not be accepted)
All submissions must include a declaration of a monetary value for insurance purposes.
This value may not be altered at a later date.
BEFORE beginning submission, applicants must be prepared to provide the following, as well as images and image details. It is recommended to save all text to your local computer for future reference. Please proof carefully and submit as print ready.
- Work statement (limit 1000 characters with spaces = approximately 165 words) This is a general statement about your work. This statement might describe research, creation, and artistic goals rather than a biographical statement, as we do ask for that below.
- Artwork Statements - (TOTAL for all three pieces- limit 2000 characters with spaces) Provide a short statement about EACH piece being submitted that discusses the connection of how the piece relates to the exhibition concept/call title. If the work involves multimedia elements, please explain in detail the process used to create the work. For example:
Piece 1 (include title) relates to the exhibition concept because... AND (if applicable) the processes used for this multimedia work include...
Piece 2 (include title) relates to the exhibition concept because... AND (if applicable) the process/s used for this multi-media work included...
Piece 3 (include title) relates to the exhibition concept because... AND (if applicable) the process/s used for this multi-media work included…
Solitude relates to the exhibition concept because it relates to containment and the vessel in relation to the architectural unit of a brick. Made of six slotting parts, it references the module by its construction and shape. The post-and-lintel construction also references sacred architecture in temples and the well-known holy site, Mecca.
- Brief biographical statement (limit 1000 characters with spaces) Providing biographical text written in the third person will help to restrain editing that might be necessary to support the creation of publishable content. If selected, the short bio may be printed in the catalog. Please proof carefully, and submit print ready.
- A two-page resume of ‘highlights’ … max 2mb…to be uploaded as a pdf or Word doc.
- Pronouns (Optional)
- Headshot: Please submit an image focusing on your head and shoulders on a clean neutral background. JPG format only. If selected may be used for a catalog.
Each work image submitted must include the following details:
- Medium (60-character limit with spaces)
- Height/Width/Depth (in inches)
- Artwork for Sale? (Yes/No)
- Retail Value - This value may not be altered later. (Retail value must be reported even for works included in the exhibition that are unavailable for purchase.) The insurance value will be calculated as 50% of the retail value. All submissions must include a declaration of a monetary value for insurance purposes.
- Year completed
- Primary Discipline (ceramics)
- Description - any additional information you would like the jurors to know about this work. (Example: “This work explores the nature of communication in interpersonal relationships. It seems that we communicate with each other so poorly that it is hopeless we can improve and unite again.”)
NO CHANGES will be allowed once an entry has been submitted. Once data is entered into the CaFE system, it cannot be altered. Please PROOFREAD your data carefully, as this information may be used to generate the insurance value, publicity information, exhibition labels, and catalog.
Co-curators Elizabeth Schlatter and Lauranett Lee will make selections from digital images and work statements to develop the exhibition. All artists will be notified in early September 2023 and may be asked to provide high-resolution images.
SHIPPING AND DELIVERY OF ARTWORK:
- It is the responsibility of artists to securely pack their works for the exhibition, arrange and pay for shipping the exhibition venue, and insure their artworks while in transit.
- When paying to ship your work to the venue, the artist must also purchase RETURN-SHIPPING.
- The pre-paid return-shipping label must be included in your box to ensure your work's timely and safe return.
- Proof of return shipping and a copy of the return label must be emailed to email@example.com before the exhibition opens.
- NCECA will reimburse shipping/transport not to exceed $400.00. Reimbursement is eligible only on ground shipping except where unavoidable due to shipments to/from overseas.
- Please retain all hard copy receipts and/or digital receipts to be submitted for reimbursement after the exhibition closes.
- If personally delivering or picking up work, NCECA will reimburse round-trip mileage with a cap of $400.
- Shipping of purchased works will be the responsibility of collectors.
Again, consider the size/weight of your work, as these factors will impact your shipping decisions and costs.
University of Richmond Museums shall maintain insurance coverage for all works included in the exhibition only while they are on its premises.
- The artists are responsible for providing insurance coverage for their work while in transit TO/FROM Richmond.
- The gallery insurance will cover up to 50% of the works' reported retail value.
- The retail value must be reported even for works included in the exhibition that are unavailable for purchase.
- If damages occur to works in the exhibition, artists may be required to demonstrate that the value(s) declared are established fair market values.
Works to arrive at the University of Richmond Museums between January 2-12, 2024.
For self-delivery or installation, an appointment must be made in advance; contact Stephen Duggins at firstname.lastname@example.org at the University of Richmond Museums.
DOCUMENTING PACKING PROCESS:
- It is the responsibility of artists to securely pack their works for the exhibition and arrange and pay for shipping and insurance TO and FROM the exhibition venue.
- NCECA recommends that all artists document their packaging process using digital images and text descriptions before closing all crates and /or boxes for shipment. This documentation may provide critical information to support claims against carriers for damage in transit.
Works to be offered for purchase at the discretion of artists included in the exhibition. Artists will receive 50% of the purchase value of works sold, and 50% will be retained as a commission by NCECA and the exhibition venue.
CONFERENCE PASS AND MEMBERSHIP:
Selected artists will receive membership and a complimentary conference pass for the 2024 conference.
- If the artist is a current member, they will receive an extension to their current membership expiration date for up to one calendar year.
- The 2024 conference pass and the membership are not transferable to others.
The complimentary conference pass is limited to the 2024 conference and cannot be used at future conferences.
Participating artists must agree to allow NCECA, the exhibition venue, and gallery visitors to photograph work while on display for educational and publicity purposes. Images of accepted works will be retained by NCECA for promotional purposes, posted on the NCECA website, and shared with media-related publications.
NCECA reserves the right to produce a color print, print-on-demand, and/or web-based catalog for the exhibition featuring an essay by the curator, along with statements and images of artwork by all participating artists. Should a print or print-on-demand catalog be produced, each participating artist will receive one complimentary copy, with additional copies available for purchase online.
Deadline – Wednesday, August 9, 2023, 11:59 pm11:59 pm MOUNTAIN
(Please note time zone - late entries will not be accepted)
Artist’s notification - early September 2023
Signed loan agreements due by - mid-September 2023
Shipped and hand-delivered works to arrive: January 2-12, 2024.
Installation: Jan 15-26, 2024
Exhibition Dates: January 31 - May 4, 2024
Coalescence, 58th Annual NCECA Conference in Richmond, Virginia, March 20-23, 2024
Reception: 6 pm- 9 pm Thursday, March 21, 2024, during conference
De-Install: May 6-18, 2024
Return Shipping: May 18-25, 2024
Damage Claim: Upon return, please immediately open the box/crate and inspect the work.
If you encounter problems and require technical assistance, contact CaFÉ™ support staff at email@example.com. The CaFÉ™ website is best viewed with most major desktop web browsers. The following desktop browsers are recommended:
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If you have questions about eligibility or submission rules not answered in the CaFÉ™ listing description, contact firstname.lastname@example.org.
If you encounter problems and require technical assistance (for instance, inability to upload images), contact CaFÉ™ support staff at email@example.com.
All works must be primarily ceramic. Mixed media works will be accepted only when clay is the dominant material. Video featuring clay or ceramics will also be accepted.
NUMBER OF WORKS: -3- Please consider the size/weight of your work, as these factors will impact your shipping decisions and costs.
Interested artists may submit up to three (3) distinct works with no more than two (2) media files (images, video, or audio) per work, not to exceed six total media files. (Full view and detail view)
Submission of works for consideration is open to the broad field of ceramic art. Artists must be over 18 years of age and not matriculating for a degree in higher education. (NCECA provides a platform for student artists in the NCECA Juried Student Exhibition which will take place at Visual Art Center of Richmond.)
NCECA membership is not a requirement of eligibility, however, NCECA members receive complimentary entry to NCECA exhibitions.