2022 NCECA Annual – Belonging
Curated by Angelik Vizcarrondo-Laboy

Hosted by:
Crocker Art Museum
216 O Street
Sacramento, CA 95814
www.crockerart.org
(916) 808-7000

ENTRY DEADLINE:  CLOSED Wednesday, September 8, 2021   (11:59pm MDT)
EXHIBITION DATES: February 20 – May 8, 2022 

ABOUT THE 2022 NCECA ANNUAL
Belonging, the 2022 NCECA Annual exhibition will be one of the cornerstone events of the upcoming conference in Sacramento, California. The Crocker Art Museum will be dedicating more than 4,000 square feet of space to the exhibition’s installation. Curator Angelik Vizcarrondo-Laboy has invited artists Alex Anderson, Natalia Arbelaez, Cannupa Hanska Luger, Salvador Jimenez-Flores, and Habiba El-Sayed whose works will ground key concepts while generating an expanded framework for inclusion of works by additional artists that will be selected through an open call for submission. Writing about her organizing ideas and motivations for the exhibition, Angelik Vizcarrondo-Laboy shares the following:

A sense of belonging implies an affinity or connectedness with a place, social or cultural group. Belonging is survival. It is a powerful feeling that shapes our identity. While achieving a sense of belonging is fulfilling when realized, it can be a laborious and even painful endeavor otherwise. Belonging strongly signifies spatial relationships, from navigating new territories to remaining rooted in formative places long vacated. Efforts to balance attachments to past and present spaces may evoke nostalgia and dissonance. Many also seek a connection to their ancestors and their land despite distance. Voluntary and involuntary migration has profoundly impacted millions’ sense of belonging through disrupted lineages, loss of material culture and narratives, and disconnection from land. Belonging explores the intangible and tangible approaches we engage in developing and maintaining our sense of connectedness across time and space. Belonging also relates to ownership or possession, an interpretation that has caused much harm to humans, non-human species, and natural resources. This exhibition seeks to upend normalized power dynamics by prioritizing humans’ desire to belong to something instead of things belonging to them. 

Acceptance or lack thereof also intertwine with a sense of belonging. Identity forms at the intersection of race, ethnicity, gender, sexuality, and class, among other categories. While these markers can be keys to unlocking a sense of belonging, we may experience rejection and exclusion without the embrace of others. An affinity to any entity also necessitates bearing the weight of associated histories and realities. For example, belonging to the United States constitutes acknowledging that we live on Indigenous land, its brutal history of slavery, continuous misogyny, xenophobia, transphobia, homophobia, and systemic racism that disproportionally affects Black and Brown people. At the root of these issues lies the negation of belonging towards particular groups of people, namely people of color, LGBTQAI, and women, as dictated by colonialist and patriarchal white supremacist ideals. The exhibition Belonging will also showcase the coded ways in which we navigate inhospitable environments, push back against oppressive systems that deny belonging, and the role of community in fostering inclusion.

ABOUT CURATOR ANGELIK VIZCARRONDO-LABOY
Angelik Vizcarrondo-Laboy (She/Her) is a New York and Los Angeles-based curator, writer, and arts administrator of contemporary art and craft. Her current research focuses on the subversive power of humor, cuteness, and leisure as tools of protest. Amplifying the voices of BIPOC artists is central to her practice. She serves as Assistant Curator at the Museum of Arts and Design (MAD), New York. She has helped the curatorial team organize over twenty exhibitions since 2016, including 2021’s Craft Front & Center. She also oversees MAD’s Burke Prize, a prestigious contemporary craft award. Recent projects include exhibitions Sleight of Hand (2020) at the Center for Craft, North Carolina, where she was a 2020 curatorial fellow, and Clay Is Just Thick Paint (2020) at Greenwich House Pottery, New York. She has also contributed to Cultured and American Craft magazines and catalogs at MAD and the Bemis Center for Contemporary Arts, Nebraska. She earned her MA from the Bard Graduate Center, New York, in Decorative Arts, Design History, & Material Culture.

ABOUT THE CROCKER ART MUSEUM
The Crocker Art Museum features the world’s foremost display of California art and is renowned for its holdings of European master drawings and international ceramics. The Crocker serves as the primary regional resource for the study and appreciation of fine art and offers a diverse spectrum of exhibitions, events, and programs to augment its collections, including films, concerts, studio classes, lectures, children’s activities, and more. The Museum has also dedicated the historic building’s entire first floor as an education center, which includes four classrooms, space for student and community exhibitions, the Gerald Hansen Library, and Tot Land. It is the only museum in the Sacramento region accredited by the American Alliance of Museums (AAM), a recognition given to fewer than 1,100 of the nation’s 33,000 museums. AAM accreditation certifies that a museum operates according to standards set forth by the museum profession, manages its collections responsibly, and provides quality service to the public.

Please read through each section below for all pertinent details provided for a successful submission.

ELIGIBILITY
Submission of works for consideration is open to the broad field of ceramic art. NCECA welcomes submissions from artists throughout the US and other countries. Please consider international shipping costs and NCECA’s shipping reimbursement policy before submission. Artists must be over 18 years of age and not matriculating for a degree in higher education. (NCECA provides a platform for student artists in the 2022 NCECA Juried Student Exhibition which will take place at the Library Gallery at the California State University, Sacramento)

NCECA membership is not a requirement of eligibility, however, NCECA members receive complimentary entry fees to NCECA exhibitions.
Entry Fees:
Member: $0.00
Non-member: $45.00
Membership will be verified by NCECA,
please check your NCECA Membership status and expiration date by logging into your NCECA Profile at this LINK or contact kate@nceca.net AND support@nceca.net

Membership in NCECA is paid on an annual basis and is not included in conference registration. NCECA membership runs 12 months from the date of joining or renewal.  To renew or become a member of NCECA, go to: www.nceca.net/membership/


All works must be …
… primarily ceramic. Mixed media works will be accepted only when clay is the dominant material.  Video featuring clay or ceramics will also be accepted;

… able to fit through the venue’s entryways and be safely installed on premises. Floor and pedestal works must be self-supporting. NCECA and exhibition venue staff reserve the right to exclude from exhibition works that arrive at the venue in unstable condition. The curator will make final determinations;

…responsive to the theme of the exhibition.

NUMBER OF WORKS:
Interested artists may submit up to three (3) distinct works with no more than two (2) media files (images, video, or audio) per work, not to exceed six total media files. (See media files details at https://www.callforentry.org/artist-help-CaFÉ/uploading-media/

EXCLUSIONS
NCECA reserves the right to exclude from adjudication any submissions that include more than three (3) works or more than two (2) media files per work. Please do not submit the same pieces to multiple NCECA calls in the same year. Works shown in previous NCECA exhibitions are not eligible.

Additionally, NCECA reserves the right to exclude from adjudication any submissions made with incorrect fees. It is the artist’s responsibility to verify and update member status before submitting their work and paying the entry fee. NCECA will not process refunds to those who submit incorrect fees. 


Jurying will be conducted from images of actual works available for the exhibition.

Applications will be accepted online only using the CaFÉ™ entry process at www.callforentry.org
If you already have a CaFÉ™ profile, login and confirm your contact information is up to date.
If this is your first time using CaFÉ™, create a profile

Uploaded media files will be stored in your CaFÉ™ Portfolio as a repository of images to be accessed while completing the submission. Media file submissions must comply with specifications found at CaFÉ™ https://www.callforentry.org/artist-help-CaFÉ/uploading-media/

IMAGE: Only JPEG or JPG.  No smaller than 1920 pixels on the longest side. Landscape or portrait formats are acceptable. The file size may not exceed 5MB.
AUDIO: Only AIFF, WAV, XMF, MP3 up to 10MB with a minimum bit rate of 96 kpbs / maximum 320 kbps.
VIDEO: Only MOV, MP4, WMV, 3GP, AVI, ASF, MPG, M2T, MKV, M2TS up to 100MB, minimum resolution of 640 x 480/maximum 1920 x 1080 ; minimum 12 fps/recommended 30 fps

For complete specifications, tutorials, and resources please visit the CaFÉ™ website at  https://www.callforentry.org/artist-help-CaFÉ/

DEADLINE: Wednesday, September 8, 2021 (11:59pm Mountain Daylight time)

All submissions must include declaration of a monetary value for insurance purposes. This value may not be altered at a later date.

BEFORE beginning submission, applicants must be prepared to provide the following as well as images and image details. It is recommended to save all text to your local computer for future reference. Please proof carefully and submit as print ready.

*Work statement (limit 1000 characters with spaces) This is a general statement about your work. This statement might describe research, creation, and your artistic goals rather than a biographical statement as we do ask for that below.

*Artwork Statements – (TOTAL for all three pieces- limit 2000 characters with spaces) Provide a short statement about EACH piece being submitted that discusses the connection of how the piece relates to the exhibition concept/call title. If the work involves multimedia elements, please explain in detail the process used to create the work. For example:

Piece 1 (include title) relates to the exhibition concept because… AND (if applicable) the process/s used for this multimedia work include…
Piece 2 (include title) relates to the exhibition concept because… AND (if applicable) the process/s used for this multimedia work include…
Piece 3 (include title) relates to the exhibition concept because… AND (if applicable) the process/s used for this multimedia work include…

*Brief biographical statement (limit 1000 characters with spaces) Providing biographical text written in third person will help to restrain editing that might be necessary to support the creation of publishable content. If selected the short bio may be printed in the catalogue, please proof carefully, and submit print ready.

* A two-page resume of ‘highlights’ … max 2mb…to be uploaded as either a pdf or word doc.

* Pronouns (optional)

Each work image submitted must include the following details:

∙           Title
∙           Medium (60 character limit with spaces)
∙           Height/Width/Depth (in inches)
∙           Retail Value
(Retail value must be reported even for works included in the exhibition that are not available for purchase.) Insurance value will be calculated as 50% of the retail value.
∙           Year completed
∙           Primary Discipline (ceramics)
∙           Description – (300 character limit – any additional information you would like the jurors to know about this work. (i.e. “This work explores the nature of communication in interpersonal relationships. It seems that we communicate with each other so poorly that it is hopeless we can improve and unite again.”)

NO CHANGES will be allowed once an entry has been submitted. Once data is entered in the CaFÉ™ system, it cannot be altered. Please, PROOFREAD your data carefully as this information may be used to generate the catalogue, insurance, and publicity information. 


Curator Angelik Vizcarrondo-Laboy will make selections for the exhibition from digital images and work statements to develop the exhibition. Selected artists will be asked for high-resolution images.


Crocker Art Museum shall maintain insurance coverage for all works included in the exhibition only while they are on its premises. It is the responsibility of the artists to provide insurance coverage for their work while it is in transit. The gallery insurance will provide coverage for up to 50% of the works’ reported retail value. Retail value must be reported even for works included in the exhibition that are not available for purchase. In the event that damages occur to works in the exhibition, artists may be required to demonstrate that the value(s) declared are established fair market values.  


SHIPPING and DELIVERY of artwork (Specific details to be provided in selected artists’ agreements)
Works included in the exhibition must arrive at the venue between Monday, January 31, 2022, and Friday, February 4, 2022, between the hours of 8am-5pm. Larger scale works may be offloaded at one of two loading docks. Modestly scaled works may arrive via door access at street level. Artists wishing to deliver their works or install their works must make an appointment in advance with the Crocker Art Museum, Erin Aitali at eaitali@crockerart.org or (916) 808-8675.

It is the responsibility of artists to securely pack their works for the exhibition, arrange and pay for shipping to and from the exhibition venue, and insure their artworks while in transit. NCECA recommends that all artists document their packaging process using digital images and text description prior to closing all crates and /or boxes for shipment. This documentation may provide critical information to support claims against carriers for damage in transit.

When paying to ship your work TO the venue, be sure to also purchase RETURN-SHIPPING. The pre-paid return shipping label is to be included in your box. A copy of the return label is to be emailed to kate@nceca.net

RETURN OF UNSOLD WORK
The exhibition will be taken down and works will be packed for return shipping immediately after the close of the exhibition. All return shipping of unsold works must be paid in advance by participating artists who must be the shipper of record. Round-trip shipping/transportation reimbursement requests must be supported by original HARD copy receipts or electronic receipts and will be limited to no more than $500.00 per artist. PLEASE RETAIN ALL HARD COPY AND/OR ELECTRONIC RECEIPTS TO BE SUBMITTED FOR REIMBURSEMENT.

In consultation with the exhibition development team (curator, gallery director, and NCECA exhibitions director) it may be determined that some works selected for the exhibition may require artists to travel to the venue in order to participate in installation. With approval of the exhibition development team, artists travelling to the site to install works may request travel reimbursement in lieu of shipping reimbursement. Artists who choose to hand deliver their works may be able to request reimbursement at NCECA’s allowable mileage rate in lieu of shipping reimbursement. Artists will be responsible to finance any travel-related expenses that are not pre-approved by the exhibition development team. Additional details on claiming reimbursements will be included in the loan agreement.  


Works to be offered for purchase at the discretion of artists included in the exhibition. Artists will receive 50% of the purchase value on works sold and 50% will be retained as commission by NCECA and the exhibition venue. Shipping of purchased works will be the responsibility of collectors.  


Participating artists must agree to allow NCECA, the exhibition venue, and gallery visitors to photograph work while on display for educational and publicity purposes. Images of accepted works will be retained by NCECA for promotional purposes, posting on the NCECA website and sharing with media related publications.


NCECA reserves the right to produce a color print, print on demand and/or web-based catalogue for the exhibition featuring an essay by the curator along with statements and images of artwork by all participating artists. Should a print or print on demand catalogue be produced, each participating artist will receive one complimentary copy, with additional copies available for purchase online.

CALENDAR
Deadline –  Wednesday, September 8, 2021  (11:59pm Mountain Daylight time)
Artists notification – late October, 2021
Signed loan agreements from JURIED artists due mid-late November 2021
Shipped and hand delivered works to arrive:
Between Monday, January 31 and Friday, February 4, 2022, between the hours of 8am-5pm.

Exhibition Dates: February 20 – May 8, 2022
56th Annual NCECA Conference
: Sacramento, CA  March 16-19, 2022
Reception: 6 PM- 9 PM Friday, March 18, 2022 during conference

Pick up work and start packing/shipping: Details to be provided
Damage Claim: Immediately upon return
Shipping reimbursement request: Before June 15, 2022

If you encounter problems and require technical assistance, contact CaFÉ™ support staff at cafe@westaf.org. The CaFÉ™ website is best viewed with most major desktop web browsers. The following desktop browsers are recommended:

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If you have questions about eligibility or submission rules that are not answered in the CaFE listing description, contact kate@nceca.net AND support@nceca.net

CLOSED