Artists based in the United States who work across an array of media are invited to submit an art piece that expresses an aspirational vision of humanity for The Future Art Awards: Ecosystem X. This open call from MOZAIK Philanthropy asks applicants to consider, from their perspective as a 21st-century artist aiming to catalyze planetary change, what would a brighter future look like?
An independent jury of artists will conduct a blind review to award 10 US artists with a $5,000 cash prize and a showcase in a curated virtual exhibition, which will open free to the public in early 2022. Additionally, the newly created Future Student Art Award, which is part of Ecosystem X, will provide its inaugural student winner with an unrestricted $5,000 academic scholarship/stipend. All student submissions will also be considered in the blind review for the general Future Art Awards prizes. BIPOC and other historically marginalized or underrepresented artists are encouraged to submit their art. All professional, amateur, and student artists are eligible, and all artistic mediums are welcome.
Previous artists featured in the 2020 and 2021 Future Art Awards hosted by MOZAIK Philanthropy have been photographers, painters, sculptors, street artists, muralists, mixed-media artists, visual, multi and interdisciplinary artists, illustrators, animators, 3D artists, cartoonists, technologists, shorts filmmakers, poets, art writers, composers, weavers, dancers, and creative performers.
Ecosystem X Assessment Criteria
- Creativity and innovative thinking
- Overall artistic impression
- Adherence to the theme
- A well-written and insightful commentary
Artists can submit one (1) piece of artwork during the open call. Please include a written statement of 500 words or less — or a video statement — about the work as it relates to the theme. Submit your art file as a high resolution .jpeg/.jpg or .png, .mov or .mp4.
The submission deadline is December 1, 2021.
To learn more and apply, visit mozaikphilanthropy.org.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
Works by Rodolfo Abularach, Mario Bencomo, Denise Carvalho, Pérez Celis, Entes, and Agustín Fernandéz are on view at the NYC gallery through January 7, 2022.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
The Adolph & Esther Gottlieb Foundation is accepting applications for its Individual Support Grants until January 14, 2022.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.