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Announcing the New Glasstire Art Writing Prize!

Glasstire’s Board of Directors and staff are pleased to announce the new Glasstire Art Writing Prize, a competitive award designed to highlight emerging arts writers in Texas.

The Glasstire Art Writing Prize will be awarded annually to a senior undergraduate or graduate student at a Texas university. For the inaugural year, students from art history, journalism, studio arts and literature departments at participating universities in the Dallas/Fort Worth area will be invited to submit via an open call for articles, starting in September 2018. 

Judges for our 2018 prize include Augustín Arteaga, The Eugene McDermott Director of the Dallas Museum of Art; Anne Bothwell, Vice President of Arts for KERA; Rainey Knudson, the founder and publisher of Glasstire; and Christina Rees, the editor-in-chief of Glasstire.

“As the oldest online art magazine in the country, Glasstire has long been involved in giving writers some of their first opportunities to publish professionally,” says Glasstire founder Rainey Knudson. “With this new prize, we will be able to go even further in identifiying and nurturing the next generation of talented writers, and expand the conversation about art in Texas.”

The winner will be awarded a $2,500 prize and their work will be published on Glasstire. In addition, they will be honored at a cocktail party on November 8, 2018 at the Karpidas Collection in Dallas.

Participating universities for the 2018 Glasstire Art Writing Prize:

Texas A&M University – Commerce

Texas Christian University

Southern Methodist University

Texas Woman’s University

University of Dallas

University of North Texas

The University of Texas at Arlington

The University of Texas at Dallas

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10 Responses

    1. Rainey Knudson

      Hi there, we gave this a lot of thought and decided to only open it to schools with graduate programs, for a number of reasons (the main one being our capacity to manage the process this first time around). But this is something we’re committed to doing in coming years. We hope it will grow, and the model will almost certainly evolve.

  1. It’s a new prize, so assume they haven’t totally worked out the specifics. If you think you’d like to write, go for it.

  2. I’d hold off until all participants are guaranteed some kind of substantive feedback on their efforts. Otherwise it’s just art writers competing against art writers blindly with no payoff.

    1. Rainey Knudson

      Respectfully disagree: there *is* a payoff for the winner. And it’s not the job of a prize to educate people.

  3. Michael Corris

    What is the job of a prize? It could be many things: to reward excellence, to validate existing cultural conventions, to “train” individuals how to do the right thing, or to bring a kind of elevated self-regard to an institution. Perhaps it is a helpful boost up the ladder of success . . . in which case, let’s hope the morning after is not a big hangover.

    Ad Reinhardt — an artist I never tire of quoting — once returned a check he was given as a prize by a Chicago museum. His friend Abe Ajay ribbed him mercilessly just because he had initially accepted the money. But true to his principles, Reinhardt eventually returned the cash. Why? Because Reinhardt thought that it was unseemly for artists to be placed in the position of competing among themselves for some scrap of notoriety and a rather impoverished pay day.

    Now, prizes proliferate. They are the stuff of modern marketing. And the sums just keep getting larger . . .

    To accept a prize is to tacitly agree to the hierarchy constituted by the prize. You can’t take the money and say “but I don’t agree with competitions or the whole idea of a panel of judges passing judgment, negotiating, horse-trading, or worse.”

    The job of a prize is what you want it to be. The measure of an institution is how far it is willing to break the mold. My advice to young writers is to keep on writing, seek out relationships with established writers on art who you admire, and seek out peers who write on art, too. Manage your own circle of learning and sharing and steer clear of prizes.

  4. Michael Corris

    One more thing, Rainey: here’s a though about another way to spend that prize money:
    why not dole it out to the same critics selected as judges, with the charge to use it to hold a social gathering of young art writers in a congenial setting with appropriate refreshment. Ask the writers to bring a piece of writing, so they can read it to the group and get some feedback. A few hundred dollars can purchase a good deal of appropriate refreshment, by the way. But don’t think of it as do-gooding . . . think of it as an introduction for young writers into the club of published art critics.

  5. Chad Dawkins

    Here’s my 2 cents:
    I’m with Corris. As a winner, almost winner, and reject many times over, I think some professional conviviality and constructive feedback is worth way more than one prize. Pick an academic with tight writing, give them 2500 for rent and unpaid AT&T bills, publish their piece and that’s it? Maybe they could use the money to move to Indiana for that tenure-track job.
    You could really do a thing here. This could be an opportunity to bring in a whole group of potential writers, talk about writing, churn the pot. We really need to foster and encourage those willing to critically engaging with art around here–locally and statewide.

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