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art awards, essay awards

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Victoria N. Alexander

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Jun 16, 1997, 3:00:00 AM6/16/97

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The Dactyl Foundation offers exhibitions to artists and a $3000 prize
for essays in Aesthetic Theory. See attached:

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<HTML><TITLE>The Dactyl Foundation</TITLE><head><meta name=3D"description=
" content=3D"Fine art, Contemporary art, Awards for Essays, Aesthetic The=
ory, Literary Theory, Playwright's Showcase">
<meta name=3D"keywords" content=3D"Neil Grayson, Victoria N. Alexander, P=
atrick Markey, Rocco Leonardis, Audrey Code, James Gilroy, Dactyl Foundat=
ion, fine art, contemporary painting, Marcel Duchamp, Francis Bacon, Hono=
r=E9 Daumier, Wandering Saltimbanques, Edward Degas, The Loge, El Greco, =
Eric Fischl, Goya,
Saturn Devouring One of his Sons, Jean-Fran=E7ois Millet, Edvard Munch, =
Puberty, Odd Nerdrum, Pablo Picasso, The Tragedy, Raphael, Rembrandt, Hea=
d of an Aged Woman, Study of an Old Man, Egon Schiele, Joseph Mallord Wil=
liam Turner, The Evening of the Deluge, Johannes Vermeer, painting techni=
que, glazes, color theory, aesthetics, verdaccio underpainting, literatur=
e, Smoking Hopes, Trixie, Mad Pixie, The Bird Girl, Martin Amis, Money A =
Suicide Note, Saul Bellow, Vladimir Nabokov, Louis Begley, Wartime Lies, =
The Man Who Was Late, As Max Saw It, About Schmidt, Polonius, Wallace Ste=
vens, John Barth, Thomas Pynchon, Gore Vidal, Virginia Woolf, Wolfgang Is=
er, Maurice Merleau-Ponty, J. Hillis Miller, Samuel Beckett, William Jame=
s, John Stuart Mill, Jeremy Bentham, Waiting for Godot, atheism, modernis=
m, postmodernism, grants for individuals, literary theory, criticism, wri=
ting awards, teleology, Frank Kermode, phenomenal patterns, literary fict=
ion, criticism">
</head>
<body bgcolor=3Dwhite text=3D"#000000" link=3D"#0000FF" vlink=3D"#0000FF"=
avlink=3D"00FF00">
<CENTER>DACTYL Foundation fo=
r the Arts &amp Humanities<img src=3D"dactyld.gif"> 64 G=
rand Street, New York, NY 10013 Tel: 212 219.2344 Fax: 212 226.7320 <b=
>A not-for-profit organization investigating the role of order and disord=
er in art.</center>
</head>

ART EXHIBITIONS: Contemporary =
paintings and drawings. Visual language that transcends trend. (Recommend=
ed Works for Study: <a href=3D"grysn.html#study">The Dactyl 100 Classics<=
/a>). Submit 5-10 slides to Neil Grayson; include SASE. <a href=3D#schedu=
le>Exhibition Calendar.</a>
ESSAY AWARDS: $3,000.00 award =
for essays in <a href=3D#literary>literary theory/criticism.</a> and essa=
ys in <a href=3D#aesthetic>aesthetic theory/criticism.</a> May be submitt=
ed by the author or nominated by another individual. Length open. Publi=
shed or unpublished. Submit one copy to Victoria N. Alexander. Include S=
ASE.
AWARDS & SHOWCASE FOR PLAYWRIGHTS: $3,00=
0 award for stageplays/screenplays. Writers will be given the opportunit=
y to have their work heard by producers, directors and others in the indu=
stry. Submit scripts to Patrick Markey; include SASE.<=
b>ART EDUCATION: "Art unplugged." Drawing and painting are tw=
o of the most intimate and direct of the visual arts. The Foundation off=
ers workshops in the fundamental science of image, i.e. anatomy</a>, p.o.=
v. and chiaroscuro and spectra-analysis</a>. Students will then be encou=
raged to depart from convention in meaningful and creative ways, availing=
of primitive styles and techniques. Scholarships will be offered to qual=
ified students. Instructor: Rocco Leonardis. <a href=3D#courses>Course De=
scriptions.</a> <a href=3D#artresources>Resources</a>.
LECTURES &amp READINGS: The re=
cipients of the essay awards will be invited to deliver and discuss their=
papers. The Foundation also hosts readings and sponsors lectures on var=
ious topics.PUBLICATIONS: The =
Foundation publishes and distributes essays, plays and catalogues.<=
b>Note: Entries may be submitted at any time. No application/fee is req=
uired. Board of Directors    =
         Advisory Bo=
ard <a href=3D"alex.html">Victoria N. Alexander</a> &nbs=
p;         <a href=3D"rocco.=
html">Rocco Leonardis</a> <a href=3D"grysn.html">Neil Grayson</a> <=
a href=3D"mrkey.html">Patrick Markey</a><a href=3D#smolowitz> Sidney S=
molowitz </a><a href=3D#sussman>David J. Sussman</a> <a href=3D#swa=
ine>John J. E. Swaine</a>

<a href=3Dmailto:dac...@flash.net><img src=3D/img/email/email4=
=2Egif border=3D0></a>
<hr>
<a name=3D"schedule">Exhibition Calendar
Summer 1997: Previews of Upcoming Shows By Appointment On=
ly.September 1997: <a href=3D"code.html">Audrey Code</a>, pa=
intings. Foundation gallery, Wed.-Sat. 1-6pm. Reception: Thursday, Septe=
mber 4, 6-8pm.
October 1997: <a href=3D"dede.html">DeDe Fedrizzi</a>, photogra=
phs. Foundation gallery, Wed.-Sat. 1-6pm. Reception: Saturday, October 4=
, 6-8pm.
November 1997: <a href=3D"wies.html">Alexandra Wiesenfeld</a>, =
paintings. Foundation gallery, Wed.-Sat. 1-6pm. Reception: November 6, 6-=
8 pm.
May 1997: <a href=3D"gilroy.html">James Gilroy</a>, paintings. =
Foundation gallery, Wed.-Sat., 1-6pm. Reception: May 2, 6-8pm.

<center>***</center>
<a name=3D"literary">Literary Theory/Criticism Essay Competit=
ion: Entrants are invited to explore the uses of phenomenal patt=
erns in fiction. Phenomenal patterns include verbal coincidences, detai=
ls that foreshadow action and recurrent imagery, any poetic relationship =
which seems to hint at authorial intention but which has no certain meani=
ng. Interpretations of such patterns are tenuous at best and often follo=
w the method of superstitious reasoning. Whether art encourages supersti=
tion or superstition encourages art is an epistemological question to whi=
ch there may be no answer; however, poetic meaning, as part of our discou=
rse, is undoubtedly linked to the feeling that essential design exists in=
the universe. The ultimate aim of this inquiry would be to investigate =
the possiblities of human-imposed design in a world essentially without d=
esign. <a href=3D#resource>(See Resources)</a>

<a name=3D"aesthetic">Aesthetic Theory/Criticism Essay Competiti=
on: A person touring a museum passes by Ruben's Roman Charity=
, passes by Rembrandt's Old Woman Paring Her Nails, passes by =
Picasso's Woman Ironing, passes by Duchamp's Nude Descending a =
Staircase and then pauses at Pollock's One and asks, "What doe=
s it mean?" The interest in difficult works may represent a yearning for =
a sense of mystery. It may represent a compulsion to face chaotic reality=
=2E Is the "intention-less" artist a kind of prophet, a philosopher or a=
realist-manqu=E9?

<center>***</center><a name=3D"courses">Art 'Unplugged' Works=
hops Instructor: Rocco Leonardis, Architect, MFA (Painting & S=
culpture) Fall Course Schedule     P=
=2EO.V. & The Expression of Form: Representing mass is primary, a=
nd the first step is to trace the mental structures of reality by a melod=
ic flow of line. Next is P.O.V. and the formation of the negative space.=
Primary - Drawing from the living without guidelines and with the tools =
of proportion and anatomy. Drawing from static forms both man-made and t=
hose found in nature. Secondary - Drawing with straight edge and compass,=
to attain a further knowledge of P.O.V. Living and static forms are then=
combined within a P.O.V. composition. Time and Dates to be Determi=
ned Workshop limited to 8 students.    &nb=
sp; Reality, Abstraction: Working with chiaroscuro. Primary =
- A series of forms are imaged after both living and static subjects then=
fashioned out of clay and board. Wet and dry materials are assembled in=
both an accelerated and restrained tempo, to create a "dynamic" form. Se=
condary - These sculptures are lighted in a definite progression reflecti=
ng a rhythm of chiaroscuro. They are drawn separately and composed togeth=
er in line only and then in chiaroscuro only. Thirdly - The sculptures ar=
e recomposed within an environment and again two drawings are made of the=
best views in line only and in chiaroscuro only. Time and Dates to=
be Determined Workshop limited to 8 students.  &n=
bsp;  Lectures: Nourishment for the Mind & the Mind=92s Eye=
: The artist needs to work in alternate sets of physical production/e=
xploration and intellectual demonstration/investigation. Lectures will ex=
pose and stimulate the imagination and will supplement pragmatic demonstr=
ations and studio work. Time and Dates to be Determined <=
p>
<a name=3D"artresources">Art Resources<a href=3D"h=
ttp://www.cadvision.com/hooker-perron/bukcolor.htm">Books on Color Theory=
</a> Books on Anatomy <blockquote><a href=3D"http://www.amazon.com/=
exec/obidos/ISBN=3D0823002225">Robert Beverly Hale</a></blockquote> 
<center>***</center>

<a name=3D"resource">Other InformationAbout Phenomenal=
Patterns: The new term was required to describe patterns in novels t=
hat cannot be explained in terms of natural, social or psychological fact=
ors. "Phenomenal" is useful because it describes the way in which these =
patterns are both perceptible as facts and somehow seem mysterious. I wa=
s led to the study of phenomenal patterns by reading such diverse authors=
as George Eliot, James Joyce, Wallace Stevens, Vladimir Nabokov and Mart=
in Amis, among others. Any author whose work is in some form a critique o=
f organicism would be relevant to this study. Organicist interpretations=
themselves might be the subject of an essay. Michael Wood's The Magi=
cian's Doubts: Nabokov and the Risks of Fiction includes an interesti=
ng chapter on Pnin which, I think, is useful to the study of pheno=
menal patterns. Nabokov himself makes some interesting comments about co=
incidences in Ulysses in his Lectures on Literature which c=
an be contrasted with Frank Kermode's comments on the same in his The =
Sense of an Ending. Kermode's book is very useful as an overview; im=
portant is what he says about the significance of the in between t=
o any end (in the sense of 'purpose') not the end itself. Daniel R. Schwa=
rz looks back on that seminal work in "The Consolation of Form: The Theor=
ectical and Historical Significance of Frank Kermode's The Sense of an=
Ending," in The Centennial Review, 1984. J. Hillis Miller's <=
i>Fiction and Repetition is another valuable source which is readily =
available. See also: Mihaly Szegedy-Maszak's essay "Teleology in Postmode=
rn Fiction" in Exploring Postmodernism; Thomas Vargish's The Pr=
ovidential Aesthetic in Victorian Fiction and Bentham's Theory of =
Fictions, edited by C.K. Ogden. --VNA

<a name=3D"smolowitz">Attorney for the Foundation Sidney Smo=
lowitz, Esq. 122 East 42 Street, Suite 810 New York, NY 10168
Director of Business 
<a name=3D"sussman">David J. Sussman, Esq. 
Director of Events <a name=3D"swaine">John J. E. Swaine, Esq=
=2E, C.E.O of <a href=3D"http://www.88.com/mediabank">The Media Bank Grou=
p</a> =

209 visitors since June 1, 1997. =

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