posted by Caroline Picard

“Hey everyone, just a reminder that the deadline for applications to Harold Arts 2010 is fast approaching…applications are due May 15th!”

Harold Arts

Invitation to Apply

Harold Arts Residency Program 2010

The Harold Arts Residency Program is an opportunity for artists and musicians to further their artistic goals and interact with like-minded individuals in a pastoral environment. Situated in the Appalachian foothills of Southeastern Ohio on the grounds of the Jeffers Tree Farm, the Harold Arts Residency Program provides a remote location with shared and individual studio facilities, comfortable accommodations, and chef-prepared meals. Throughout each 11-day session, residents are offered a forum to develop new work alongside their contemporaries while enjoying lectures, performances, and workshops presented by our staff and visiting artists. Harold Arts aims to foster exchange and dialogue across artistic disciplines while offering a platform for the production and dissemination of new works.

Attending the annual residency program opens the door to an array of opportunities for both artists and musicians. Musicians attending the residency will have the chance to collaborate with our staff of professional engineers in producing an annual compilation record, in addition to other projects administered by our creative partners, Captcha Records, Sundmagi Records, and Vosotros. Visual artists attending the residency will find themselves within a matrix of working artists and cultural producers, devising curatorial projects to be deployed nationally throughout the year. All residents are also invited to participate in our annual multimedia arts festival, Harvest, located in Chicago each fall. New to the residency are two thematic sessions, led in partnership with DFLux and threewalls.

The application is available at our website,; All materials must be submitted by May 15th. Applicants will be notified of their acceptance on May 31st. For more information on how to apply, or any other questions, please check our website:; — or contact us at info@;


Harold Arts;


Harold Arts is a 501(c)3 arts organization based in Chicago, IL, devoted to fostering the collaborative and interdisciplinary endeavors of emerging and mid-career artists.

Next Weekend: Bookfair

February 21, 2010

posted by caroline picard


Friday, February 26, Noon – 6 pm
Saturday, February 27, Noon – 6 pm

Two days of art, books, talks, things for sale, things for free, and more!

Organized by Temporary Services in conjunction with ART WORK: A NATIONAL CONVERSATION ABOUT ART, LABOR, AND ECONOMICS •

G400 Lecture Room & Gallery 400 at the Art & Design Hall, University of Illnois, Chicago
400 S. Peoria St (at Van Buren) • 312-996-6114

AREA Chicago
Bad At Sports
CAFF “Find us in the real world motherfuckers!”
Gallery 400
Esteban Garcia
Golden Age
Green Lantern Press
Half Letter Press
Terence Hannum
Harold Arts
Imperfect Articles
Clifton Meador & guests
David Moré
No Coast
Onsmith Dog Stew & Monkey Nudd Wine
Pros Arts Studio
Proximity Magazine
Radah & Team
Spudnik Press
Bert Stabler

posted by Caroline Picard

I’ve been working on a collaboration with incuBAte and Harold Arts – Harold Arts is putting out a series of interviews that take place between different arts organizations. I was kindly asked to interview inCUBATE; Abigail Satinsky ended up sending me an article that we used as a starting point. I thought I would include some of that article here. In it, Walter Robison of Colab (Collabarotative Projects in NYC) presents an argument for how alternative artspaces are like rock collections and commercial spaces are more like pet rocks….

so. Here goes it–



A text read at the “Profit vs. Nonprofit” panel at the annual meeting of the National Association of Artists Organizations, Houston


Walter Robinson

The subject at hand here today reminds me of rock, particularly two ways my father, who sold explosives for DuPont, commended rocks to me–in that way adults have, hoping to relive certain excitements vicariously via their kids. When I was litte, my dad tried to get me to start a rock collection’ he brough pieces of quartz and mica and doloite and sandstone home from the quarries, and tried to get me to label them and keep them on a set of shelves he built me and things like that. I remember being particularly interested in the way you could cut translucent shavings from the mica (I think it was mica), and the way you could grind the soft sandstone into ersatz into arrowheads on the concrete, but that’s about all that came of my preadolescent rock collection.

Anyway, I think having a rock collection if like having an alternative space, and what’s like having a commercial gallery is inventing a pet roxk, which for those of you with more important things to think of was a little rock that came in a box with instructions as to its care and keeping, that was phenomenal gift fad a few years ago, making its devisor rich, and amazing many people, my father included, because it showed how a clever person with a clever idea could hit that just-right cultural reflex and basically spin with gold out of thin air. Sort of like the American dream, in a postmodernist information age.

So bear with me here, while I spin out this metaphor. A pet rock and a rock collections are obviously very much the same, both being rocks–just as commercial galleries and alternative spaces are both places with stuff you come and look at. But of course they’re very much different, and the difference has not to do with what a thing is but how it’s approached, its cultural context, the kind of social organization it engenders, and of course its relationship to economics, scholarship and esthetics.

Your rock collection is an ensemble, a group whose individuals make sense, take on meaning, as part of a whole; it’s multidimensional, any kind of rock can fit in; it’s open-ended, int’s nonexclusive, and it appeals to the ineffable, one could say spiritual side of life, almost like esthetic appreciation. It’s not really worth anything (though this may not be strictly true, you don’t read about big rock collection sales in the papers much). It’s not worth anything, but you can spend money on it. Its pleasures are of a higher sort. But tis’ outside of any rock-market mechanism, and has an equivocal relationship with the avant-garde of the rock world. Doesn’t this sound like your typical alternative space?

I should stop here and talk a little about Collaborative Projects (New York City), the alternative space I was involved in a coupdl of years ago, to show what I’m thinking of when I talk abou alternative spaces and artists’ groups and things like that. I sued to call Colab an alternative alternative space on grant appliations and in press releeases (not to suggest the two are in any way similar). Colab was (and is still) an all-artists group, we had no administrators per se, we thought up projects and raised money (or should I say the other way around) and spent it the way we wanted, and basically positioned ourselves in opposition not only to the commercial gallery system of alternative art showcases too. This is nothing personal, this bias against administration, only a result of rhetoric and the kind of insightful analysis of society artists are known for.


if you would like to continue reading this article, you can download a pdf here.0754_001