Contributing to FAMELESS can lead you to think of things in a different perspective and can be a reference for new opportunities. Your peers read FAMELESS, and they’ll see your work published in a fresh new forum, and many will visit your endorsements. Share your world.
Want to contribute for Fameless Magazine?
E-mail us your submission. We try to review submissions at least once per week, but sometimes it takes longer, sometimes even longer than that. Patience is a virtue.
Submit your artwork to us with the following information
your artist name – titles, medium, dimension
short bio & background
URL of your online portfolio (containing only your own work)
If you’re sending your photos of visual art in an email, attach them in medium resolution.
email us: email@example.com
Any submissions to the website must be sent to us via e-mail, per the guidelines below.
LITERATURE & TEXTUAL ART
Submissions should be sent to firstname.lastname@example.org
LENGTH Submissions for the web should be short. Short as in a maximum of 1,500 words, but the truth is we approach pieces that top out at 1,000 words more pleasantly, and caress the ones that are even shorter than that. Submissions that are exactly 697 words seem to automatically appear on the site, we’ve yet to discover why. Submissions for print are of lengthier characteristics. We prefer essays and short stories in a maximum of 3,250 words. Poetry has no limitation or restrictions to any form.
COVER LETTERS Are unnecessary, but not forbidden.
PLEASE PASTE The entire document into the e-mail message. Do not send us attachments. We are afraid of catching anything from your attachments.
SUBMITTING ONE THING AT A TIME Please submit one thing at a time. When you receive a response on your current submission, feel free to send another one our way immediately.
FORMATTING Please do not use colors or Fun Fonts. Don’t bother describing how your piece would be best if formatted in a particular way, because we wont try to achieve this formatting on the site. We’re not that good at this whole .
YOUR NAME Should be on your submission. Put your name and phone number under the title of your piece. Absolutely all submissions must look like this:
The e-mail address listed should be the one you would like to appear linked to your byline should we choose to publish your submission. If you do not want your e-mail address linked to your byline, please tell us so.
YOUR SUBJECT LINE
Should give a clue as to what is contained in your submission. A version of the title is recommended. DO NOT make your subject line something like YOU’RE GOING TO LOVE THIS.
Can be anywhere between ten minutes and a month.
REASONS YOU MIGHT NOT HEAR BACK FROM US
Our spam filters thought you were concerned about our breast size.
Being occasionally forgetful.
You have an overaggressive spamfilter that rejects our reply.
WHAT YOU SHOULD DO IF YOU DON’T HEAR BACK FROM US ABOUT YOUR SUBMISSION
Rail to your friends about the callous insensitivity of free, Web-based content outlets to the needs and feelings of writers. Vow the most thorough and satisfying of revenges.
Resend your submission. It takes less time to respond to a resend than to answer a query. We really do mean to respond to every submission in a timely manner and if you haven’t heard from us within the above-mentioned time frame, it’s just an oversight.
ANY ADDITIONAL QUESTIONS
Are happily answered if you send them to email@example.com
The story of the street photographer Vivian Maier has always been tangled — she worked much of her life as a nanny, keeping her artistic life a secret, and only after she died in 2009, at the age of 83, nearly penniless and with no family, were her pictures declared to be among the most remarkable of the 20th century. Now a court case in Chicago seeking to name a previously unknown heir is threatening to tie her legacy in knots and could prevent her work from being seen again for years.
A legal battle over the work of Vivian Maier could hide her work away for years. A lawyer, David C. Deal, found a cousin of Maier’s from France and claims that Maier’s copyrights and work should belong to her next of kin. Currently, John Maloof owns a majority of Maier’s work, after discovering thousands of negatives in an auction years ago. Maloof has worked tirelessly to get recognition for Maier’s work and invested his own money into showing her work at museums and galleries. But Deal believes that proper ownership should go to Maier’s family. Legal battles can take years to be resolved in court and Maier’s work may be hidden away during that time.
Genesis, a Call to Arms with Sebastião Salgado
The Great Hall, The Foundation Building, Cooper Union, 7 East 7th Street
Saturday, September 20, 3:00pm
$15 General Admission
$10 Students & ICP Members
World-renowned photographer Sebastião Salgado recounts his epic eight-year journey across the globe to document the last pristine areas of the planet. The resulting photographs, collected in the project Genesis, show us what will be lost if we do not mobilize now to preserve the environment.
Initially an economist, Sebastião Salgado (born Brazil, 1944) began his photographic career in Paris in 1973. He worked with the Sygma, Gamma, and Magnum photo agencies until 1994, when he and his wife, Lélia Wanick Salgado, founded Amazonas images, dedicated exclusively to his photographic work. He has traveled in more than 100 countries for his photography projects, which, after being published in the press, are mostly presented in books—for example, Genesis (2013), Africa (2007), Migrations (2000), and Workers (1993).
Since 1990, Sebastião and Lélia have been working to reclaim the environment of a small part of the Atlantic Forest in Brazil by giving a plot of land they owned back to nature. In 1998, they made the area into a natural reserve and created the Instituto Terra, whose aims are reforestation and environmental education. In 2012, Sebastião and Lélia received an award from UNESCO for their work with Instituto Terra, and the “Personalidade Ambiental” first prize awarded by WWF Brazil. Salgado is a UNICEF goodwill ambassador and an honorary member of the Academy of Arts and Science in the United States.
ICP has a long history with Salgado. We first presented his work in 1988 in a small exhibition of images of Brazilian gold miners. Since then, we have showcased his first two long-term projects, Workers (1993) and Migrations (2000), each of which illuminates pressing social issues. Genesis is Salgado’s third long-term series.
This event is part of the Fall 2014 programming series ICP Talks: Climate Change. For a complete listing of series events, click here.
Photogrammar is a web-based platform for organizing, searching, and visualizing the 170,000 photographs from 1935 to 1945 created by the United State’s Farm Security Administration and Office of War Information (FSA-OWI).
MEDITATION INCUBATOR - CREATIVE MIND BUSINESS MIND
Tuesday, Sep 02, 2014 —Tuesday, Nov 04, 2014
The Meditation Incubator seeks to offer students, alumni, faculty and staff an opportunity to learn meditation, deepen creativity through visualization and develop tools for self-reflection and transformation. Through visualization and guided meditation, participants will deepen their creative process and create a meditative lens through which to view and plan their careers. This 10-week workshop combines well-being and career planning as integrated pathways into life planning and entrepreneurship. Participants will learn how to meditate and use meditation and creative visualization to create a life vision, a career vision and gain clarity and focus.
This program is by application only, and space is limited. Contact Rhonda Schaller, Director of Center for Career & Professional Development at firstname.lastname@example.org for more information.