Prize - Christian Brogi Photographer Art

CHRISTIAN BROGI

Selected and exposition on Call For Bushwick 2015

ELIGIBILITY

The competition is open to artists from all over the world. Artists must be 18 years old or older.Media Accepted are: painting, sculpture, installation, p

Christian Brogi, Winner of CALL FOR BUSHWICK 2015

Title of the Contest: The Rebirth of Wonder

Giorgio Vasari, the founder of modern art history, devotes his “Lives of the Most Eminent Painters Sculptors and Architects” to an endeavor beyond mere historiography. Vasari analyses the nature of art itself by describing in language bellissimo the arts of the Renaissance. He comes once and again on his reasoning to the sense of wonder, of amazement, of awe. The arts are products of genius, wonders of the Nature that resembles itself. Marvels that are recognized by an unequivocal sense of wonder. One who stands in front of The School of Athens “has great reason to marvel, for it amazes all who behold it”, the eminent Raffaello da Urbino was “left marveling and amazed” in presence of Leonardo’s works. Even when he describes the contribution of the patrons of the arts such as Lorenzo de Medici, the Magnificent, Vasari says that he put the means “to amaze the world”.

What do we really know five hundred years after Vasari’s book of wonder and awe? Although several theorists have attempted to define awe and related states, empirical studies of awe are almost non-existent. The scientific community has been taking the “sense of wonder”, more and more in consideration. In 1992 Paul Ekman posited that awe may be a distinct emotion. Recent work has documented a distinct facial expression for awe (Shiota, Campos, & Keltner, 2003), and has provided preliminary data on the personality variables associated with dispositional awe-proneness (Shiota, Keltner, & John, 2006). But it is still very difficult to find agreement on a description of this emotion, in part because the elicitors are so diverse, and the emotion’s function is unclear (Lazarus, 1991).

The most important study about this sense of wonder is “Approaching awe, a moral, spiritual, and aesthetic emotion.” By Keltner and Haidt in 2003. They support a vision of “awe” characterized by two features: perceptual vastness and need for accommodation. They understand vastness, of course, in a wide sense. A stimulus may convey vastness in physical space, in time, in number, in complexity of detail, in ability, even in volume of human experience. What is critical is that the stimulus dramatically expands the observer’s usual frame of reference in some dimension or domain, and that expansion of the frame of reference makes cognitive accommodation necessary.

From this point of view, the one of a contemporary Vasari, Art is what shakes you out of the frame you see the world through, and demands you to change, rethink, relocate, and awe in reverence at the vastness of this world.

hotography, net art, video, mixed media, design, light art, new media art, comics, drawing, collage, pottery, digital art, printmaking and sound installation.Each artist can send a maximum of three artworks.

Artworks can be of any size.

JUDGING

Our judges will evaluate the artworks based on five criteria:– Relevance and ability to conceptualize the theme: The Rebirth of Wonder
– Aesthetics, originality and creative vision
– Research, impact factor and critical thinking
– Technical skills
– Potential for development in the art world

SUBMISSION

– Fill out the application form from www.callforbushwick.com
– Pay a non-refundable fee of
$ 35.00 EARLY Deadline by Midnight of January 15th 2015 or
$ 50.00 REGULAR (EXTENDED) Deadline by Midnight of April 30th 2015
– Upload art images (max 2 pictures for every artwork). Every picture must be max 800 kb. in .jpg, .tiff, .pdf
– For more info: [email protected]To Apply, click here:
The files uploaded cannot be larger than 1MB or 6MB all together.

SUBMISSION TIMELINE

EARLY Deadline by Midnight of January 15th 2015 (Eastern Time) or
REGULAR (EXTENDED) Deadline by Midnight of April 30th 2015 (Eastern Time)Winner announcement: on May 5th 2015 through www.callforbushwick.com

AWARDS

Group-show exhibition.
Online catalogue publication showcasing the artists selected by the curatorial board.

EXHIBITION SCHEDULE

June 5th – June 7th 2015
Bushwick, NY

PRODUCTION AND TRANSPORT OF WORKS

Artists selected and invited to exhibit will be responsible for the cost of producing, transporting and insuring their works, The address in NYC where the artworks selected are to be sent will be communicated privately to the winners.

COPYRIGHT

By submitting your artwork you are licensing Callforbushwick.com to use any work or captured images for future events, the website, promotion or other purposes. You still retain rights to your work. All work will be credited where applicable. Any attempt by a participant to influence the result or subvert the competition will lead to immediate disqualification. All entries must contain copyright-free material or material released with consent from the original source. Unauthorized use of any copyrighted images, text, or other material will not be accepted.

JURORS PANEL

Every Juror will score each artist on a scale of 1 to 20.
The selection of the winners will be based on the sum of the jurors’ votes.
The jurors perform their role on a volunteer basis. There will be no compensation or refund of expenses for the selection process.

TERMS OF USE

Please only submit original content.  Your submission must be your own work and not infringe any copyright, trademark or intellectual property.     Submissions must not be obscene, have any illegal content or include any false or inaccurate information about yourself, your work or other individuals.   Submissions must not contain any viruses, trojan horses, worms or anything that are intended to damage any system, data or personal information.   All images are copyrighted and owned by the artist. By submitting your work to Callforbushwick.com, you agree to let Callforbushwick.com publish, edit, use, modify or refuse the submission.  You also give permission for your name to be used in connection with the artwork.You agreed that you are responsible for the maintenance of your gallery space and will leave the gallery space in the same condition in which it was found, reasonable wear and tear excepted. All hanging devices must be removed from the wall when dismantling the gallery space patched and painted.

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Christian Brogi, Winner of CALL FOR BUSHWICK 2015 Title of the Contest: The Rebirth of Wonder Giorgio Vasari, the founder of modern art history, devotes his “Lives of the Most Eminent Painters Sculptors and Architects” to an endeavor beyond mere historiography. Vasari analyses the nature of art itself by describing in language bellissimo the arts of the Renaissance. He comes once and again on his reasoning to the sense of wonder, of amazement, of awe. The arts are products of genius, wonders of the Nature that resembles itself. Marvels that are recognized by an unequivocal sense of wonder. One who stands in front of The School of Athens “has great reason to marvel, for it amazes all who behold it”, the eminent Raffaello da Urbino was “left marveling and amazed” in presence of Leonardo’s works. Even when he describes the contribution of the patrons of the arts such as Lorenzo de Medici, the Magnificent, Vasari says that he put the means “to amaze the world”. What do we really know five hundred years after Vasari’s book of wonder and awe? Although several theorists have attempted to define awe and related states, empirical studies of awe are almost non-existent. The scientific community has been taking the “sense of wonder”, more and more in consideration. In 1992 Paul Ekman posited that awe may be a distinct emotion. Recent work has documented a distinct facial expression for awe (Shiota, Campos, & Keltner, 2003), and has provided preliminary data on the personality variables associated with dispositional awe-proneness (Shiota, Keltner, & John, 2006). But it is still very difficult to find agreement on a description of this emotion, in part because the elicitors are so diverse, and the emotion’s function is unclear (Lazarus, 1991). The most important study about this sense of wonder is “Approaching awe, a moral, spiritual, and aesthetic emotion.” By Keltner and Haidt in 2003. They support a vision of “awe” characterized by two features: perceptual vastness and need for accommodation. They understand vastness, of course, in a wide sense. A stimulus may convey vastness in physical space, in time, in number, in complexity of detail, in ability, even in volume of human experience. What is critical is that the stimulus dramatically expands the observer’s usual frame of reference in some dimension or domain, and that expansion of the frame of reference makes cognitive accommodation necessary. From this point of view, the one of a contemporary Vasari, Art is what shakes you out of the frame you see the world through, and demands you to change, rethink, relocate, and awe in reverence at the vastness of this world. — Christian Brogi, Winner of CALL FOR BUSHWICK 2015
Title of the Contest: The Rebirth of Wonder
Giorgio Vasari, the founder of modern art history, devotes his “Lives of the Most Eminent Painters Sculptors and Architects” to an endeavor beyond mere historiography. Vasari analyses the nature of art itself by describing in language bellissimo the arts of the Renaissance. He comes once and again on his reasoning to the sense of wonder, of amazement, of awe. The arts are products of genius, wonders of the Nature that resembles itself. Marvels that are recognized by an unequivocal sense of wonder. One who stands in front of The School of Athens “has great reason to marvel, for it amazes all who behold it”, the eminent Raffaello da Urbino was “left marveling and amazed” in presence of Leonardo’s works. Even when he describes the contribution of the patrons of the arts such as Lorenzo de Medici, the Magnificent, Vasari says that he put the means “to amaze the world”.
What do we really know five hundred years after Vasari’s book of wonder and awe? Although several theorists have attempted to define awe and related states, empirical studies of awe are almost non-existent. The scientific community has been taking the “sense of wonder”, more and more in consideration. In 1992 Paul Ekman posited that awe may be a distinct emotion. Recent work has documented a distinct facial expression for awe (Shiota, Campos, & Keltner, 2003), and has provided preliminary data on the personality variables associated with dispositional awe-proneness (Shiota, Keltner, & John, 2006). But it is still very difficult to find agreement on a description of this emotion, in part because the elicitors are so diverse, and the emotion’s function is unclear (Lazarus, 1991).
The most important study about this sense of wonder is “Approaching awe, a moral, spiritual, and aesthetic emotion.” By Keltner and Haidt in 2003. They support a vision of “awe” characterized by two features: perceptual vastness and need for accommodation. They understand vastness, of course, in a wide sense. A stimulus may convey vastness in physical space, in time, in number, in complexity of detail, in ability, even in volume of human experience. What is critical is that the stimulus dramatically expands the observer’s usual frame of reference in some dimension or domain, and that expansion of the frame of reference makes cognitive accommodation necessary.
From this point of view, the one of a contemporary Vasari, Art is what shakes you out of the frame you see the world through, and demands you to change, rethink, relocate, and awe in reverence at the vastness of this world.

Christian Brogi on Instagram