Submission Calls (Publication-No Entry Fees)
Our magazine is now featuring curated sections in each issue allowing an array of artwork and poetry to be highlighted by the guest curator or editor. These are publication calls. Please read our issues before submitting. We will only contact artists and poets whose work is accepted. Read our guidelines before preparing your files for submission.
Artwork does not have to be new or created specifically for these calls. Older artworks are encouraged and we hope to find new appreciation for them. Some artists will be offered Artsy placement if the work is available.
Each curated section will feature up to ten artworks. The curators are encouraged to write an introduction about the works they chose.
The format for the publication is available in print, PDF, and digital. We do not offer complimentary print copies. A free download will be available for a limited time for contributors.
Here are the themes available to submit to. Each section has a deadline. Please bookmark and come back to check on new calls.
DEADLINE SEPTEMBER 1, 2019
You Oughta Be In Pictures!
Edited by Grace Cavalieri
Submit one poem which responds to film/cinema/moving pictures. State in the submission “YOU OUGHTA BE IN PICTURES” so we know which call you are submitting to.
Click here to submit.
The Extravagant History of Charm
Curated by Vicki Sullivan
The theme of this segment may be interpreted in multiple ways. Extravagant themes in the work are most welcome, work may be conceptual and/or narrative. All mediums welcomed. Click here to submit.
Curated by Sybiline
You know them: they purr, they hiss, they hunt. They can kill without remorse and, the moment after, they snuggle against you. Whether you like them or not, each one has its own personality. All mediums welcomed.
Curated by Alayne Sahar
Botticelli loved them; they were anathema in the sixties. Explore the narrative of curly hair and the concept of beauty. Figurative works are encouraged. The narrative should be contemporary. Mediums accepted are painting, mixed media, and drawings.
DEADLINE NOVEMBER 1, 2019
Edited by Joshua Gray
Strong poems with an emphasis on the music of the poem. New poems only. One poem per submission.
Beyond realism: Untold stories in portraiture
Curated by Veronica Winters
Every painting has a story. Show us a unique person through his/her setting, color scheme, age, ethnicity, clothing, lighting, environment or composition. Stories and execution are open to the artist’s interpretation. Art can be painted or drawn in various media (paintings, drawings, mixed media) and doesn’t have to fit into traditional realism category. Artistic vision and craft matter the most in this call. Art must relate to portraiture.
Curated by Jacques Bodin
Abstract Realism is the infusion of the elements of design with the depiction of real life in visual art. It is not easily defined because it is a contradiction of two terms
Curated by Lauren Peterson
The Summer of Love, Dylan, the Vietnam War, Woodstock. Whether you lived through it or not, the 60s is one of the most fascinating decades. Art should be based on an event, song, fashion, person, or idea that emerged in the 60s. All visual mediums are accepted.
Ties That Bind
Curated by Elizabeth Barden
We are bound by family ties, the bonds of friendship, the connection between lovers, the relationship between a human and an animal, the attachment to a memory, a parent bonds with a child. We can be duty bound, bound by faith, tied to our jobs, tied down, tied up, bound to the pursuit of something. We cut ties. A force or feeling can unite, with a shared emotion, experience or feeling. Ties that bind, ties that break. Only traditional paint mediums are accepted for this call.
Life in Southern California
Curated by Susan Lizotte
How do painters in Southern California feel today about working and living in a state consumed by disasters. Figurative work expressing the artist’s interpretation will be considered.
Contemporary Coded Messages
Curated by Melissa Hefferlin
“Contemporary Coded Messages” seeks still life paintings as delivery mechanisms for non-verbal communication, in the manner of a 1980’s mixed tape created to share strong emotions indirectly. Sometimes something difficult to discuss could be best described in a tableau. Perhaps something extremely precious which comes out clumsily with words can be said with a symbolic composition. The intended recipient of the painting’s message may be an individual or humanity at large, or anything/anyone at all. That the message can be deciphered by non-recipients is not a requirement, only that there clearly is a message which invites contemplation and curiosity. All modern representational styles considered.