The next Art & Words Show reception will be in September 26, 2020, from 6-9 PM at Art on the Boulevard in Fort Worth, Texas.
Art & Words submissions are open annually March 1-15.
What is the Art & Words Show?
The annual Art & Words show takes place every Fall. Submissions for art and written work are open from March 1st to March 15th of every year. You do not have to be located in Texas or able to attend to show in order to submit in the written category, but we do restrict visual art participation to those local to Texas and able to hand-deliver their work. We accept both unpublished or previously published work. Written works submitted will not be published online or in print, only displayed and read aloud at the show, so submitting to this project should not harm your chances of publishing the work elsewhere.
Each visual artist should send up to three .jpgs of visual work. Each writer should submit up to three .rtfs or .docs of written work (up to 800 words for each work of fiction, poetry, or nonfiction accepted, all genres from the realistic to the fantastic) in standard manuscript format. Please send a bio or cover letter with your submission mentioning any publications, degrees, or memberships in critique groups/writers’ or artists’ organizations. Submitters who submit multiple pieces or demonstrate their overall ability and professionalism through publication credits will have a better chance at being selected. However, once a semi-final selection has been made by first readers, the final 10-12 works for the show will be chosen blind.
When you are ready to submit, visit http://artwords.submittable.com/submit. For questions, email firstname.lastname@example.org.
The first Art & Words Show took place in 2012. For these shows, I accept ten-twelve visual pieces of art and ten-twelve written pieces (poetry, flash fiction, and flash nonfiction). Each writer whose work I chose then picks, from the visual submissions, one piece of visual art on to use as inspiration to compose a new written work. Each visual artist then chooses one of the written pieces to use as inspiration for a second visual work. This silent collaboration produces about forty-four incredible, original works of art and words, which are displayed at Art on the Boulevard in Fort Worth, Texas, for one week. An opening reception is held the first night of the show. At the show’s opening, I host the reading of the written pieces.
Art & Words is not a publication. For written works, the work submitted will not be published either online or in print; we do not acquire any rights except the one time right to display a single broadside of the story/poem/essay for the week of the show. You may absolutely submit work used in the show to other venues either before, during, or after the show. Most magazines have been fine with work having been included in the show under these stipulations.
You do have the option of allowing us to include your work in a PDF of the show which is sent out only to the creative participants in Art & Words (as many of the participants are from out of state and are unable to attend, the PDF allows them to experience the show in which their work was displayed). This is entirely optional.
Visual art work included in Art & Words is treated much the same as at a regular gallery; you have the option of allowing us permission to include the art work in promotional materials and on the Art on the Boulevard website, and of selling the work. Due to practical concerns, we only accept art from local visual artists; artists will be expected to arrange for drop-off and pick-up of their work at Art on the Boulevard. Art on the Boulevard’s commission on visual art sold is 30%.
Update: in 2019, Art & Words was able to pay a token fee of $20 per participant in the show; we are seeking funding for 2020, but honorarium is not guaranteed.
Celebrating Our Participants
Several of the written works from the shows were reprinted from magazines or went on to be published in magazines, some of which you can read for free, linked below.
“Three Poems of the Last Generation” by T.D. Walker in Unlikely Stories
“Neighbors and Little Thieves” by Monica Evans in Flash Fiction Online
“The Dissolution of Icarus or Julia Childs Favorite Roast Chicken Recipe” by Michelle Muenzler in Liminality
“City Magic” by Julie C. Day in Cincinatti Review
“Lights in the Forest” by Patricia Flaherty Pagan in Curious Fictions
“Do-It-Yourself-Narcissus” by Sandy Beach in MN Artists
“Flash Floods” by Logen Cure in Easy Street
“Chopin Falls in Love with the Night (1827-1846)” by Holly Walrath in The Avenue
“Separation Anxiety” by T.D. Walker in Strange Horizons
“After the Night Ride” by Laura Madeline Wiseman in Silver Blade
“Odd Hours” by Tony Pisculli in Grievous Angel
“The Piper’s Due” by William Ledbetter in Daily Science Fiction
“Madness” by Holly Walrath in Crab Fat Magazine
“Notes Toward a Eulogy for Celis Margrave” by T.D. Walker in Web Conjunctions
“To Escape the Witch’s House” by Layla Al-Bedawi in Liminal Stories
“Those Who Are Left” by Cassandra Rose Clarke as part of a reading at the Contemporary Arts Museum of Houston
“The Cats of Dornishett” by Michelle Muenzler in Skelos
“630ml” by Tony Pisculli in The Arcanist
“The Last Bombardment” by Kenneth Schneyer, adapted for stage by Oncoming Productions for Minnesota Fringe
“Alambre” by Holly Schofield in Every Day Fiction
“Lady of Gold” by Karen Bovenmyer in Remixt
“Propagation” by Layla Al-Bedawi in Strange Horizons
“Original Trolls” by Laura Madeline Wiseman in GIMME YOUR LUNCH MONEY: Heartland Poets Speak Out Against Bullies
“What the Rats Saw” by Katharyn Howd Machan in Postcard Poems and Prose
“The Dream In Which Every Time I Ask For a Parable, a Man Hands Me a Fish” by Joe Milazzo in Black Warrior Review
“Myth of the Mother Snake” by Carrie Cuinn in Liminality
“Future Fragments, Six Seconds Long” by Alex Shvartsman in Diabolical Plots
“O What Freedom, This Great Steel Cage” by Shane Halbach in Analog
“Crossing the Fairy Threshold” by Laura Madeline Wiseman in Silver Blade
“Man in the Moon” by Camille Griep in cahoodaloodaling
“What the Dollhouse Said” by Karen Bovenmyer in Devilfish Review, audio reprint in Pseudopod
“Off-Campus Housing” by Holly Schofield in AE: The Canadian Science Fiction Review, reprinted in Quarterreads and Meduspod
“Those Menacing Invites” by Matthew Pitt in Hobart
“Medusa Panties” by David Sklar in Cold Reads
“Keith Crust’s Lucky Number” by Alisa Alering in Flash Fiction Online
“Drinking Grandma’s Tea” by Julie C. Day in Bartleby Snopes
“The Sweet Life” by Aidan Doyle in Everyday Fiction
“Copy Machine” by Shane Halbach in Flash Fiction Online
“Fox Watches, Refusing to Smile” by Katharyn Howd Machan in Spoon River Review
“The Rumination on What Isn’t” by Alex Shvartsman in Nature
“The Scene” by Janet St. John in Passages North, reprinted on her website
“Crazy” by Nan Byrne in Seattle Review
“Hansel Lost” by Joseph Stanton in Spoon River Poetry Review
“A Kingdom for a Horse” by Aidan Doyle in Penumbra
“The Last Bombardment” by Kenneth Schneyer in Pseudopod
“Selecting” by John M. Shade in Daily Science Fiction
“Six Drabbles of Separation” by Kenneth Schneyer in audio format on The Drabblecast
“The Machine” by Sean Robinson in Daily Science Fiction
“Crab Feast” by Cynthia Ray in Dark Bits
“The Unmoveable Sky” by Deborah Walker in Poe Little Thing, reprinted in After Ever After and The Toasted Cake
“The Faces Between Us” by Julie C. Day in Interzone
“A Meal” by Anca Szilagyi in The Cafe Irreal
“Crash Landing” by Julie C. Day in Flashquake
“Infinitite, 2 AM” by Sarah Kate Moore in Pacifica Literary Review
“Totality” by Tony Pisculli in Daily Science Fiction
“Paradigm Shift” by Julie C. Day in Electric Velocipede