Fellowship 20 Open Call for Entries

Fellowship 20 Open Call for Entries

This Deadline Expired: Tuesday, October 29, 2019

Silver Eye Center for Photography announces a Call for Entries for Fellowship 20, our annual international photography competition. Winners receive a cash award and a solo exhibition at Silver Eye in the Summer of 2020. The International Award recognizes a rising talent or established photographer from anywhere in the world, and the Keystone Award is given to an exceptional photographer living or making work in the state of Pennsylvania.

This year’s International Award juror is Julie Crooks, PhD, is the Assistant Curator of Photography at the Art Gallery of Ontario (Toronto) and the Keystone Award Juror is Dan Leers, Curator of Photography at the Carnegie Museum of Art (Pittsburgh.)

International Award: 2020 solo exhibition + $3,000 cash
Keystone Award: 2020 solo exhibition + $1,500 cash
Honorable Mentions: Six online solo exhibitions
What to Enter

A work sample of twenty images or less
A one-page Artist’s Statement in PDF format
A CV or resume in PDF format

Fellowship Fees

General Submissions
$50 one submission of 20 images

Lab @ Silver Eye Member
$10 one submission of 20 images to Fellowship 19

Additional submissions of 20 images to Fellowship 19 are $25 each

Questions about your current level of support or membership status, contact Kate Kelley at kate@silvereye.org.

Learn more and submit today

Keith Breitfeller paints color fields with oil paint on canvas. The gradation is meditative and spiritual.
Keith R. Breitfeller
Keith R. Breitfeller

Keith Breitfeller paints color fields with oil paint on canvas. The gradation is meditative and spiritual.…

Keith Breitfeller paints color fields with oil paint on canvas. The gradation is meditative and spiritual.…

Keith Breitfeller paints color fields with oil paint on canvas. The gradation is meditative and spiritual.…

Relationships
(I always say) are never easy:
especially those between
color, shape, texture, space . . .
and tension.
The relationship of the part to the part,
the part to the whole and the relationship
of the piece to the viewer . . . no matter
what materials I use is all important.
I use titles to emotionalize these abstract
pieces to help communicate a connection
between the individual and
the universal whole.

In the metal pieces I use recycled aluminum
printing press plates which I sand,
cut and glue onto wood panels, they are
about energy and light, patterns and
motion, all influenced by the microcosm
of life forms, biology, and a
hint of satire.
Dolores Poacelli
Dolores Poacelli

Relationships
(I always say) are never easy:
especially those between
color, shape, texture, space . . .
and tension.
The…

Relationships
(I always say) are never easy:
especially those between
color, shape, texture, space . . .
and tension.
The relationship of the part to the part,
the part to the whole and the relationship
of…

Relationships
(I always say) are never easy:
especially those between
color, shape, texture, space . . .
and tension.
The relationship of the part to the part,
the part to the whole and the relationship
of the piece…

Allison Hudson
Allison Hudson
Jared C. Balogh
Jared C. Balogh
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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