Updates, Updates….

Updates, Updates….

January 20 / 18

Updates…AWP (Association of Writers & Writing Program) Conference & Bookfair and Arts Business Institute Summit…

Credit source: AWP


AWP Conference & Bookfair. I’ve posted information about this event and I’m just going to give the key dates. As far as I know, nothing has changed, so is what they have so far…

2018 AWP Conference & Bookfair

Tampa Convention Center 
& Marriott Tampa Waterside
March 7–10, 2018

Key Dates

Materials to View/Download

Social Networking

Conference Queries


Conference Events

Want to know more? Click here to register. You may or may not have time to register, but it’s always safe to check right?






From the Arts Business Institue…..

Go to to get the information you need. Enjoy the rest of your weekend, be blessed.


Image source: Arts Business Institute & unknown

Wednz Scene: Artsy Shark & Art Business Summit

Wednz Scene: Artsy Shark & Art Business Summit

January 3 / 18

One last post, courtesy of Artsy Shark. There will be an art business summit in Boston Massachusetts, April 16 – 17, 2018. Here is what to expect during the summit.

Credit source: Artsy Shark



Boston Arts Business Institute Summit

April 16-17, 2018

Somerville, Massachusetts

Don’t miss this upcoming two-day intensive professional development workshop, taking place in the Boston area next April. Co-sponsored by The Arts Business Institute and Art Specifier, this summit will present practical, step-by-step information focusing on the biggest challenges artists have in launching and growing their creative businesses.

Our program includes the following presentations:

  • The New Marketplace

  • Creative Marketing Strategies

  • How to Work with Art Consultants, Designers, and Stagers

  • Wholesale 101

  • Pricing for Profit

  • Social Media for Artists

  • Sales Strategies

  • How to Sell Art Online

In addition to these interactive lectures (Q&A is encouraged), a panel discussion will be held on the second day of the summit. Personalized consultation appointments are also available, and should be booked at the time of registration.

Speakers for our summit will be:

Wendy Rosen, founder of Best in American Made, The Arts Business Institute, and the American Made Alliance, and publisher of NICHE Magazine for retailers.

Carolyn Edlund, founder of Artsy Shark, Executive Director of The Arts Business Institute, and art business consultant.

Joyce Creiger, founder of Art Specifier, and The Creiger Group, which provide art consultant services and collaborate with hundreds of businesses and collectors.

Regular tuition for this two-day event is $295. Take advantage of early bird registration and save $50 now. Register for only $245.

To learn more about the summit, click here.

You have time to register for the summit. Enjoy the rest of your Wednesday, be always blessed.


Image source: Artsty Shark & unknown


Weeknd Scene: 24PearlStreet Online Writing Program

Weeknd Scene: 24PearlStreet Online Writing Program

June 3 /17

Hello! The first Saturday of the month. Found several workshops that may interest future writers. This is part of the 24PearlStreet Online Writing Program at Fine Arts Work Center in Provincetown.

cred: fine arts work center


June 19 to June 23, 2017
Tuition Cost: $500
Class Size: 12
Session: Summer
Level: 1-Week Intensive

Many of us have had the experience of sensing a poem hovering at the edge of our peripheral vision, drifting in the margins of being heard, trembling on the verge of announcing itself. You know it’s there, waiting to exist, but how do you write it, how do you actually call it into being? How do we place ourselves in the spot from which we can see that yet-to-be poem, or hear its distinctive music? (“Heard melodies are sweet,” as Keats wrote, “but those unheard are sweeter.”) In this course, we will talk about seeing and hearing: envisioning poems, re-visioning poems, opening our eyes and ears to the world that is, after all, the source of all poems (not to mention where we live). And we will discuss ways to resist or manage some of the most common obstacles to writing successful poems: the temptation to try to force a poem to be something it does not want to be; the perceived obligation to imitate someone else’s voice (including, at times, your own former voices); the fear of venturing into the dark places where poems often find their greatest power.

Students will write a poem per day, five poems total, in response to assignments and prompts the instructor will provide. We will read each other’s poems, as well as poetry and writing about poetry (and, in a couple of cases, writing about things other than poetry – like movies!) by poets including Linda Gregerson, Robert Hass, Yusef Komunyakaa, Sharon Olds, Michael Ondaatje, Mary Ruefle, Evie Shockley, C.D. Wright, and Dean Young.  We will generate new work and new ideas. With luck, we will come away changed.

Each student will receive an email from the instructor at the end of the class, outlining strengths in their work and some ideas for moving forward.



Troy Jollimore’s most recent collection of poetry, Syllabus of Errors, was chosen by the New York Times as one of the ten best poetry books of 2015. His other poetry collections are Tom Thomson in Purgatory, which won the 2006 National Book Critics Circle Award for poetry, and At Lake Scugog. His poems have appeared in publications including the New Yorker, Poetry, The Believer, McSweeney’s, and Subtropics. His most recent books of philosophy are Love’s Vision (Princeton, 2011) and On Loyalty (Routledge, 2012). He has been an External Faculty Fellow at the Stanford Humanities Center, the Stanley P. Young Poetry Fellow at the Bread Loaf Writers’ Conference, and a Guggenheim fellow.




June 19 to July 14, 2017
Tuition Cost: $500
Class Size: 12
Session: Summer
Level: 4-Week Workshop

What is the responsibility of the poet in times of public mourning? Why is it that we turn to poetry during periods of tragedy or deep sorrow? In this course, we will be in conversation with how poetry informs our public & private responses to loss & interrogate the poet’s position as empath, archivist, & town crier. If it is that the poet has a unique responsibility in times of crisis, then how do we ensure our poems are wrought to endure? Together, we will look toward our own history—the pastoral, the eulogy, & the elegy in particular—to construct new fusions of form, content, & figurative language as potential access points to contemplate the ways absence creates presence & explores how grief can often look suspiciously like desire. We will read from a diverse collection of poets, including Terrance Hayes, Tarfia Faizullah, Natasha Tretheway, and Natalie Diaz, in order to both build & dismantle our definition of the elegy.

In addition to submitting work, you will be expected to comment on 1-2 of your classmates’ experiments daily. At the end of the course, I will conduct one-on-one conversations with each student via email to discuss further revisions and how to move forward.



Meg Day is the 2015-2016 recipient of the Amy Lowell Poetry Travelling Scholarship, a 2013 recipient of an NEA Fellowship in Poetry, and the author of Last Psalm at Sea Level (Barrow Street 2014), winner of the Barrow Street Poetry Prize and the Publishing Triangle’s Audre Lorde Award. Day is Assistant Professor of English & Creative Writing at Franklin & Marshall College and lives in Lancaster, PA





June 26 to June 30, 2017
Tuition Cost: $500
Class Size: 12
Session: Summer
Level: 1-Week Intensive
What does it mean for literature to be experimental? The great Margaret Atwood defines it as: “Fiction that sets up certain rules for itself …while subverting the conventions according to which readers have understood what constitutes a proper work of literature.” In making its own rules, a lot of the old rules must be tossed out, of course, and so this class provides examples of the most innovative, rule-busting, eclectic works of the postmodern, absurdist, metafictional and transgressive canon. We’ll untangle a wild and gutsy array of passages while examining why a non-experimental writer might actually need to investigate the more lawless avenues of prose. We’ll also generate some experimental writing of our own through exercises and workshops. All genres welcome, only open minds required. Each student will receive a letter from the instructor at the end of the class, outlining some strengths in their work and some ideas for moving forward.


Porochista Khakpour is the author of the forthcoming memoir Sick (Harper Perennial), and the novels The Last Illusion (Bloomsbury, 2014)—a 2014 “Best Book of the Year” according to NPR, Kirkus, Buzzfeed, Popmatters, Electric Literature, and more — and Sons and Other Flammable Objects (Grove, 2007)—the 2007 California Book Award winner in “First Fiction,” one of the Chicago Tribune’s “Fall’s Best,” and a New York Times “Editor’s Choice.” Her writing has appeared in or is forthcoming in Harper’s, The New York Times, The Los Angeles Times, The Wall Street Journal, Al Jazeera America, Bookforum, Slate, Salon, Spin, The Daily Beast, Elle, and many other publications around the world.  She’s had fellowships from the National Endowment for the Arts, the University of Leipzig (Picador Guest Professorship), the Corporation of Yaddo, the Ucross Foundation, and Northwestern University’s Academy for Alternative Journalism, among others. Born in Tehran and raised in Los Angeles, she lives in New York City’s Harlem. She is currently writer-in-residence at Bard College.





June 26 to July 21, 2017
Tuition Cost: $500
Class Size: 15
Session: Summer
Level: 4-Week Workshop
Into the laboratory, we go! In this course, we are going to utilize techniques and strategies to make our poems sing and to embrace the strange in the process. On the one hand, we will examine the craft of extended metaphor by looking at exemplary poems and mapping how metaphors are constructed. On the other, we will experiment and explore strategies for moving the language in our poems away from the common, away from our easy-to-reach or go-to words and phrases. We will embrace strategies like translation, repetition, n+7, and others to create that “defamiliarization” so crucial to the surprise of poetry. These strategies can be used for both the invention and revision of poems.


Lillian-Yvonne Bertram is a 2014 recipient of a National Endowment for the Arts Creative Writing Poetry Fellowship. Her first book, But a Storm is Blowing From Paradise, was selected by Claudia Rankine as the 2010 Benjamin Saltman Award winner and published by Red Hen Press in 2012 and was a 2013 poetry nominee for the Hurston/Wright Foundation Legacy Award for outstanding works of literature published by people of African descent. Her second book, a slice from the cake made of air (Red Hen Press 2016) is available from Red Hen Press and was recently named one of the best poetry books of 2016 by Entropy Magazine. Her third book, personal science, is available from Tupelo Press. Winner of the 2012 Phantom Limb Press chapbook contest, her chapbook cutthroat glamours was published in 2013. She is one-sixth of the poetry collective, Line Assembly. She has been in residence at the Vermont Studio Center, the Montana Artists’ Refuge, has received fellowships from Cave Canem and the Bread Loaf Writers’ and is the recipient of a United States Embassy grant for a writing residency at the Ventspils Writers’ & Translators House in Ventspils, Latvia, in 2014. The 2009-2011 Gaius Charles Bolin Fellow at Williams College, her poetry, prose, photography, and digital stories have received numerous awards and have appeared widely in journals such as Black Warrior Review, Callaloo, Cream City Review, Court Green, DIAGRAM, Gulf Coast, Harvard Review, Indiana Review, jubilat, Mid-American Review, Narrative Magazine, OH NO, Subtropics, Sou’wester, Tupelo Quarterly, Twelfth House, and more. She holds degrees in creative writing from the University of Utah, the University of Illinois at Urbana-Champaign, and Carnegie Mellon University. She was the Viebranz Visiting Professor of Creative Writing at St. Lawrence University for 2015-2016 and is currently an Assistant Professor of Creative Writing at UMASS Boston.


If your interested in any of these workshops, please click on the links above.

































featured images: fine arts work center & Wallpaper Cave

Scene Wednesday: Fine Arts Work Center / Open Print

Scene Wednesday: Fine Arts Work Center / Open Print

March 30 / 16

Morning all! I’m continuing on with the Fine Arts Work Center and their Summer Workshop. You’ve already read about it in the last few posts. There is a new master printer series. Read on….


cred: Fine Arts Work Center



This year, the Work Center is pleased to present a new series of printmaking workshops featuring Master Printers ANTONY KIRK, ANDREW MOCKLER, CATHERINE MOSLEY, JAMES STROUD, and BOB SWAINSTON. With an emphasis on mentorship and critique, these workshops will be held in the Work Center’s Michael Mazur Print studio, a state-of-the-art facility that remains one of the best in the region. Here, artists continue to explore the print medium in a facility developed by one of Provincetown’s most revered painters and printmakers.

Printmaking workshops will also be taught by acclaimed printmakers DANIEL HEYMAN, FRED LIANG, VICKY TOMAYKO, and BERT YARBOROUGH.

The print shop is equipped with two etching presses, a lithography press, facilities for etching and silkscreen, and a state-of-the-art ventilation system. The American French Tool etching press has a bed that measures 70″ x 40″. The Brand Press from Robert Motherwell’s studio in Provincetown has a bed size of 46″ x 24″. The shop is fully equipped with tools and materials, oil-based inks, a large selection of brayers, and four, ten-inch rollers each with a diameter of five inches.

The lithography press is a Fuchs and Lang with a bed size of 24″ x 45″ and can be used for both stone and plate lithography. The shop is equipped with supplies necessary for producing high quality lithographs. There are seven gray lithographic stones. The shop has silkscreen materials for work up to 22″ x 30″ and is water-based only.



WEEK 4 – JULY 3-8

$400 + $75 materials fee

During this week, space will be opened in the print shop for experienced printers who have previously attended printmaking classes at the Fine Arts Work Center. Students will work on their own independent projects and will have 24-hour access to the studio.

Remember the Summer Workshop Program is June 12 – August 26, 2016. Go to the site above to get the details. More about the workshop will be coming soon. 

A few more posts coming up though……

featured & other cred: unknown,

Scene Wednesday: Fine Arts Work Center Summer Workshop

Scene Wednesday: Fine Arts Work Center Summer Workshop

March 16 / 16

Good Morning! The focus on this post is about the Fine Arts Work Center Summer Workshop in Provincetown, Massachusetts. I’m sure some of you read last Saturday’s post about registration, fees, cancellation policy, scholarships and discounts. The Summer Workshop Program is June 12 – August 26, 2016. Here is a what the week will look like.

(cred: Fine Arts Work Center)




Each week begins with a welcome reception and course orientation. Each morning begins with a continental breakfast. Nightly readings and artists talks are presented by visiting faculty. Mid-week events include a festive BBQ and Student Open Studios and Readings which offer students an opportunity to share their work.

  • 4-6pm Check-in any time after 4pm at the Summer Program office. If you are staying on campus and plan on arriving later than 6pm, please let us know. No early arrivals
  • 6pm Orientation is held for students & faculty in the Stanley Kunitz Common Room and is required
  • 6:30pm Introductory class meetings with faculty in assigned rooms
  • 7pm Welcome reception
  • 8:30-9am Continental breakfast in lounge
  • 9am-4pm Daily 3 or 4 hour workshops (check course descriptions for times)
  • 6:30pm Faculty reading & artist talk
  • 8:30-9am Continental breakfast in lounge
  • 9am-4pm Daily 3 or 4 hour workshops (check course description for times)
  • 5-6:30pm BBQ for students and faculty
  • 6:30pm Faculty reading and art talk
  • 8:30-9am Continental breakfast in lounge
  • 9am-4pm Daily 3 or 4 hour workshop (check course description for times)
  • 6:30pm Faculty reading and art talk
  • 8:30-9am Continental breakfast in lounge
  • 9am-4pm Daily 3 or 4 hour workshops (check course description for times)
  • 4:30pm Student Open Studios, Readings, and courtyard reception for students, faculty, and friends
  • 8:30-9am Continental breakfast in lounge
  • 9am-4pm Daily 3 or 4 hour workshops (check course description for times)
  • 6-8pm Provincetown Gallery Stroll
  • By Noon Check-out for all students


For more information go to FAWC.ORG/SUMMER.

More to come…….

More Scene Weekend: Fine Arts Work Center

More Scene Weekend: Fine Arts Work Center

March 12 / 16

I have really found a gold mine for you creative folks. The Fine Arts Work Center in Provincetown Massachusetts. This center has lots of great events happening this year, so I decided to put a focus stamp on this. So for the rest of 2016, Shadowbox will start passing along great information about the Fine Arts Work Center.


(cred: Fine Arts Work Center)

JUNE 12 – AUGUST 26, 2016


Registration – Registration operates on a first-come, first-serve basis. Workshop levels include Open, Intermediate/Advanced, Advanced, and By Application. Classes are limited to ten students. Payment in full is now requested at the time of registration. Payment plans are offered on an as needed basis. Contact the Summer Program office for payment plan options, as well as details on how to apply to “By Application” classes.

Online – Go to FAWC.ORG/SUMMER and complete the registration form.

By Phone – Call 508.487.9960 to register by phone with Kelle Groom, Summer Program Director, x103 or Dawn Walsh, Summer Program Associate, x104.

By Mail – Complete the attached registration form and submit to Summer Workshops, 24 Pearl Street, Provincetown, MA 02657.

Fees – Unless otherwise noted, classes run Monday-Friday. Below is a schedule of fees. Please consult online course descriptions for materials and model fees.

  • Writing 15-Hour: 9AM-Noon or 1-4PM $600
  • Writing 20-Hour: 9AM-1PM $725
  • Printmaking: 15-Hour 9AM-Noon $600
  • Studio Arts: 15-Hour 9AM-Noon or 1-4PM $650
  • Studio Arts: 20-Hour 9AM-1PM $725

Cancellation Policy – There will be a processing fee of $25 for all transfers and cancellation. However, if you cancel your registration or Work Center housing less than 30 days before the start of your class, your entire payment will be forfeited. In the unlikely event that we cancel your workshop, we will refund your payment in full.

Scholarships and Discounts – The Summer Workshop Program offers a number of students scholarships, as well as a range of program discounts for returning students, Work Center Supporting Members, and students who enroll in multiple workshops. Please see our Summer Program website for discount details and scholarship information. The deadline for scholarship submission is April 15.



If your interested, go to the site listed above and follow from there. Come back Wednesday, for more information from the Fine Arts Work Center. Enjoy the rest of your weekend and b blessed.















featured cred:

The Scene Weekend: Call for Artists!

The Scene Weekend: Call for Artists!


Hello! Looking and searching interesting creative things for you. Calling all artists…..found a few entries that may tickle your creative feathers. Read on……


Essex Junction, Vermont
Deadline: December 30, 2015
Exhibit Dates: February 4-28, 2016
Title: Shadow and Light
Sponsor: Darkroom Gallery
Venue: 12 Main St., Essex Junction, VT 04552
Awards: All selected entries are exhibited in our gallery and included in a full color exhibit catalog. Juror’s Choice receives a 30×48″ vinyl exhibit banner.
Juror: Taj Forer
Eligibility: All photographers, international
Fees: $24 for 4 images, $5 each for additional
Commission: varies
E-mail: Tim Gottshall
Phone: 802-777-3686



Cambridge, Massachusetts
Deadline: January 3, 2016, 11:59pm
Exhibit Dates: February 11 – March 12, 2016
Title: On the Body
Venue: Gallery 263
Juror: Ruth Erickson, Assistant Curator at the Institute of Contemporary Art/Boston
Eligibility: Show us your reflections On the Body. Consider the figure draped, decorated, sculpted…from couture to tattoos to anatomy. Capture form in motion, among natural or constructed surroundings, or in relation to others. The body is our ultimate tool for experience, connection and expression. Open to all U.S. residents. Work must be created within the last 5 years and complete. Online submissions only. Accepting work in all media. See prospectus for artwork size restrictions.
Fees: $25 for 1-3 submissions / $40 for 4-6
Belmar, New Jersey
Deadline: January 4, 2016
Exhibit Dates: February 3-26, 2016
Title: Call for Art – The Great American Landscape
Sponsor: BelmarArts Center
Venue: 608 River Road, Belmar, NJ
Awards: cash awards for both youth (17 and under) and adults
Jurors: Ellen Martin & Stacy Smith
Eligibility: Open to photographers of all ages. Entries must be original photographs by the submitting artist. Entries may not have been previously exhibited by BelmarArts. This exhibition requires both an online and onsite jurying process. All preliminary accepted entries for second jurying must be: true to digital submissions, in a plain black frame and white matte, wired and ready for hanging, and have a maximum frame size of 24 inches on all sides. All art must be hand-delivered.
Fees: $15/entry for BAC members; $20/entry for non members; maximum of 2 entries
Commission: 30% BAC members/40% non members
E-mail: Beverly R. Miller
Phone: 732-245-6699

I did say a few, but there is three. You just have to see which one is best for you. Enjoy the rest of your weekend and be always blessed!





featured photo cred: