COPPER Magazine is dedicated to building a community of artists around the globe. We want to know you and our subscribers do too. At COPPER, we understand the importance of bringing together different cultures, ethnicities, nationalities, gender identities, and religions. Our team is a diverse tapestry of artists connecting under a common goal of community, growth and art education.
WHAT ARE WE LOOKING FOR?
Stories, experiences, thoughts, and ideas.
You must self-identify as a person of color. We are looking for creatives of color from all over the world.
All mediums are welcome, photography, video, painting, art, performance, essays, poetry, short stories, creative non-fiction (memoir, personal essay), illustrations, etc.
- Title of the work and series, date, medium, size, and place
- Artist Statement (300 - 500 word max)
- Narrative or story that goes along with the image.
- What was going on in the world at the time?
- What artist most inspires you?
* Please submit writing in a .pdf or .doc format*
ALL OTHER INQUIRIES EMAIL IAMCOPPERMAG@GMAIL.COM
Abuse of power comes as no surprise when oppressors continue to act as if equality is a fantasy. Art has a powerful capacity to illustrate narratives and perspectives, sometimes open to interpretation, and sometimes more direct and explicit in delivery. Due to the expressive nature of art, artists are often also activists; devoting their artistic output to a cause near and dear to their hearts.
For many, living and existing are acts of protest. Protesting abusive regimes is not done singularly. Life As Protest, Copper Magazine’s second call for submissions, is about establishing a collection of stories and experiences that dismantle prejudice and elevate reason and honorable action in the fight for justice.
The self portrait is a kind of self-document, to gain insight into the phenomenon that is identity.
The notion of a portrait is intrinsically linked to that of identity and self-consciousness. While the concept of portraiture is linked to consciousness. Through self portraiture, we become representational figures in our works, a first-person “poster child” for whatever identities our image carries with it. A self portrait is shown to be a construction, and not just a representation, of oneself. Creating a self-portrait then is a matter of bringing oneself forth over time—constructing oneself, rather than simply depicting oneself. Self portraits will have different meanings at different times. Can you distinguish between portraits and self portraits made by the same artists?
As ideas about the self and the relationship between the social, economic and technological evolve so will self-identification and self portraiture, ideas about appearance and the significance of portraits. There is an essential element of “control” in the art of self-portraiture. We control what details are included in the final works and what details are excluded. We seize control of time and space. We control the decisive moment that is captured and the setting in which we are contained.