CUE Art Critic Mentoring Program

CUE Art Critic Mentoring Program

This Deadline Expired: Thursday, April 4, 2019

The Art Critic Mentoring Program pairs emerging writers with established art critics appointed by AICA to compose a long-form critical essay on one of CUE’s exhibiting artists. One applicant will be chosen from the Philadelphia region. Over the course of two months, the writer will conduct studio visits with CUE exhibiting artist Natessa Amin and compose an essay for publication in a printed exhibition catalogue and online. The program is open to writers of any age in the early stages of their careers. Writers are awarded a $510 honorarium. The deadline for applicants based in or near Philadelphia is April 4, 2019.
To apply for the program, applicants must submit the following: 
  • Three writing samples:
    • Must be contemporary arts-related (no dance, literature, or commercial/feature film analysis).
    • The strongest samples are reviews, blog entries, short essays, and short-form writing.
    • School papers, research papers, dissertations, or exhibition proposals/summaries are not accepted.
  • A current CV containing relevant experience, max. 4 pages.
    • Writing samples and CV must be combined into a single PDF document (max. 20 pages total), labeled as follows: “ACMP application – Your Name – Location” (for example: “ACMP application – Jane Doe – NYC”).  
Here is a link with more thorough information about the program: http://cueartfoundation.org/acmp. You can find past essays from the program here as well. 
Artist and InLiquid member Ursula Hertz Sternberg passed away September 22, 2000. The following is an obituary reprinted from the Chestnut Hill Local.
Ursula Hertz Sternberg
Ursula Hertz Sternberg

Artist and InLiquid member Ursula Hertz Sternberg passed away September 22, 2000. The following is an obituary reprinted…

Artist and InLiquid member Ursula Hertz Sternberg passed away September 22, 2000. The following is an obituary reprinted from the Chestnut Hill Local.…

Artist and InLiquid member Ursula Hertz Sternberg passed away September 22, 2000. The following is an obituary reprinted from the Chestnut Hill Local.…

Works on paper using Iranian calligraphy techniques.
Nazanin Moghbeli
Nazanin Moghbeli

Works on paper using Iranian calligraphy techniques.…

Works on paper using Iranian calligraphy techniques.…

Works on paper using Iranian calligraphy techniques.…

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…

In his introduction to "Michael Kenna: A Twenty Year Retrospective", Peter Bunnell explored the notion of the “unheroic landscape,” a term that aptly described the photographer’s “concern for the land more as feeling than about the land as place.” I recognized in this characterization a kindred sensibility that continues to inform my work. I find myself drawn to both the apposition and opposition of natural and human-made elements in landscape photography, and seek to convey the emotional to and fro between timelessness and evanescence.
Geoffrey Ansel Agrons
Geoffrey Ansel Agrons

In his introduction to "Michael Kenna: A Twenty Year Retrospective", Peter Bunnell explored the notion of the “unheroic…

In his introduction to "Michael Kenna: A Twenty Year Retrospective", Peter Bunnell explored the notion of the “unheroic landscape,” a term that aptly described the photographer’s “concern for…

In his introduction to "Michael Kenna: A Twenty Year Retrospective", Peter Bunnell explored the notion of the “unheroic landscape,” a term that aptly described the photographer’s “concern for the land more as feeling…

The intentional physicality of my paintings is as much a result of my dialogue throughout the process as it is the means with which I invite viewers to experience the work viscerally. Iconography may be the entry point for viewers, but the essence of the elements and ambiguity demand individual interaction with each painting. Layering is both revealing and concealing, creating a balanced tension and suspension which is really what painting is for me. I use the elements to speak for me and I wish to open doors to new dialogue within and between viewers.
Kelly Gadsby
Kelly Gadsby

The intentional physicality of my paintings is as much a result of my dialogue throughout the process as it is the means…

The intentional physicality of my paintings is as much a result of my dialogue throughout the process as it is the means with which I invite viewers to experience the work viscerally. Iconography may be…

The intentional physicality of my paintings is as much a result of my dialogue throughout the process as it is the means with which I invite viewers to experience the work viscerally. Iconography may be the entry point for…

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