Call for Submissions: Frame & Frequency VI

Call for Submissions: Frame & Frequency VI

This Deadline Expired: Sunday, April 5, 2020

Call for Submissions: Frame & Frequency VI


Ends on April 5, 2020, $5.00 USD
Frame & Frequency is an ongoing International Film & Video Art Screening Series presented by VisArts located in Rockville, Maryland (just outside of Washington DC) that highlights artists whose new media, experimental film, and video works explore contemporary visual culture, and presents an intimate panorama of the variety and breadth of video art in artistic practice today.

This year’s edition will take the form of an Experimental Short Film & Video Festival during the Rockville Arts Festival May 2nd & 3rd.

Frame & Frequency aims to present a diverse group of artists representing multi-generational and cultural backgrounds, nationalities and personal histories while demonstrating the artists’ impressive command of video and new media technologies.

Deadline for submissions is April 5, 2020

All selected artists will receive $50 screening fees

Festival awards:

1st Place: $300

2nd Place: $200

3rd Place: $100

Submission specifications:

Video: You may submit up to 3 works. Videos must be in .mp4 file format. The maximum length of 15 minutes. Upload files below through our online platform or provides Vimeo links for video previews. All foreign language moving image artworks must have English subtitles.
Resume/CV
Artist Bio (100-word max.)
Artist Statement (100 words max.)
$5 application fee
Selected artists will receive screening fees for participation

About VisArts
Transforming individuals and communities through the visual arts. From our beginning in 1987 as Rockville Arts Place operating in a converted garage to our current contemporary, state of the art facility in Rockville Town Square, VisArts has served local residents, students, art lovers, professional artists and others with an interest in the arts. Each year, VisArts welcomes more than 30,000 visitors through our doors to visit one of our four galleries, observe our studio artists on our second floor Artist Concourse, or to participate in art education classes, camp programs, and special events in our Buchanan Room.

For previous projects and submissions please visit: https://visarts.submittable.com/submit/151007/call-for-submissions-frame-frequency-vi

Stan Smokler has developed a unique palette, applying industrial cast-offs, "found objects" to create scuptures which deliberately deny their past history in order to serve a new formal purpose.
Stan Smokler
Stan Smokler

Stan Smokler has developed a unique palette, applying industrial cast-offs, "found objects" to create scuptures which deliberately…

Stan Smokler has developed a unique palette, applying industrial cast-offs, "found objects" to create scuptures which deliberately deny their past history in order to serve a new formal purpose.…

Stan Smokler has developed a unique palette, applying industrial cast-offs, "found objects" to create scuptures which deliberately deny their past history in order to serve a new formal purpose.…

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural lines describe the play of light and wind across the water, while softer marks add life to the slow movement of rain laden clouds. Areas of sky, water, and land are knit together with brushstrokes to represent their seamless interaction under the common conditions of weather and time. In my acid etched tin pieces, areas of watery marks are left visible to suggest the underlying layers of the landscape. I  do not strive to recreate the particulars of  places that inspire me, but rather the timelessness of the elements of light, weather, and geometries that inform them. My work is not about how the landscape looks as much as about how the landscape makes me feel. I try to create an image that allows the viewer to engage with it in such a way as to invite similar introspection.
Kirby Fredendall
Kirby Fredendall

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural…

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural lines describe the play of light and wind across the water, while softer marks…

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural lines describe the play of light and wind across the water, while softer marks add life to the…

Nhi Vo
Nhi Vo
Bomze sees painting as mark making, where drawings become meshed into paintings.
Rachel Bomze
Rachel Bomze

Bomze sees painting as mark making, where drawings become meshed into paintings.…

Bomze sees painting as mark making, where drawings become meshed into paintings.…

Bomze sees painting as mark making, where drawings become meshed into paintings.…

Michele Tremblay's paper sculptures are informed by her intimate knowledge of flowers gained by working with fresh flowers over the years.
Michele Tremblay
Michele Tremblay

Michele Tremblay's paper sculptures are informed by her intimate knowledge of flowers gained by working with fresh flowers…

Michele Tremblay's paper sculptures are informed by her intimate knowledge of flowers gained by working with fresh flowers over the years.…

Michele Tremblay's paper sculptures are informed by her intimate knowledge of flowers gained by working with fresh flowers over the years.…

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