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How and where to get your art published this summer

Hit up these galleries and publications for a complimentary feature

How and where to get your art published this summer

Entering the month of warm pavements and beams of sunlight may be exciting for those without paintbrushes or design pads, but for artists, the only vitamin we will get to soak up is Vitamin ECW, aka Endless Computer Work.

Summer is either the time to review last semester’s work and rebuild your portfolio or submit your art to various agencies for freelance work and internships. 

Between all the Gen Zers and millennials vying for positions, it is exhausting trying to find work and it can be incredibly competitive. We are often left wondering how we will ever gain ingredients to our design career pie. 

I realized quickly that sometimes the only option you have is to bake the pie from scratch, usually without a recipe.

There are plenty of other ways to get your work out in the open. Building your public portfolio is the first step in landing one of those sought positions, so getting your work published online should be your top priority. 

As many artists know, Instagram which is one of the biggest platforms right now to connect with like-minded individuals and receive great feedback. 

However, finding publications or pages willing to feature your work can take some digging. This is especially true since most ask for a publication fee — if you are in the position where spending any new coin is not an option it can be discouraging. 

Don’t sigh just yet, content is on your side! Since most platforms rely on a constant uploading schedule there are a few gems amidst the crowd that need artists to keep their flow going. 

Not to mention that because we are in the digital decade, you are open to the international market. Here are a few sites that are aesthetically pleasing for some great screen grabs and just what you need for exposure:


IGNANT is a gorgeous minimalist platform for design, architecture, photography, art, and more. 

Its published works deal mainly with “contemporary aesthetics from a different perspective.” To submit, all you need to do is send an email and attach images with a width of 1800 pixels or more, along with a description. 


Ballpit is a contemporary online art news magazine with over 52,000 followers on Instagram. It looks for consistent, high-quality work, and a positive attitude. If this sounds like you, fill out Ballpit’s small form for either a story feature or an Instagram post! 


Colossal puts the world of art culture at your fingertips. It is a contemporary art platform that accepts submissions across different disciplines: if you make anything from embroidery, animation, or painting, you are eligible to submit your work! Keep your descriptions brief in your email and attach a few relevant works that are at least 1,200 pixels wide. You can send a link to your portfolio; just make sure that it’s easy to get around to the right spot.

Communication Arts

Communication Arts is the perfect place for just about any artist, offering many opportunities to gain exposure. Submissions are open for its exhibit of new and innovative projects in graphic design, advertising, and outstanding websites. It also has online competitions, from which you can receive a personalized award if you win. How does that sound? There is a massive FAQ on the submissions page for each category if you are looking for extra information.

Empty Easel

Empty Easel is a one-stop-shop for tutorials and a platform to showcase unknown, emerging, and established artists every week. There is no definition of what it looks for in terms of art — the canvas is your oyster.


EatSleepDraw is a very popular Tumblr-based online art gallery that posts 100 per cent original content, submitted by contributors across the globe. It receives about 1,000 submissions every week, which means that approved artwork might take between 20 and 30 days to be posted, so pause on that refresh button for one second. EatSleepDraw also has been featured in The New York Times, so who knows who will see your art!

Women Who Draw

Calling all ladies! Women Who Draw is an open directory for professional women and gender nonconforming illustrators and artists. Their mission is to increase the visibility of female illustrators and those of minority groups. Make sure to submit a portrait of a woman that best describes your work!

Remember to always keep your eye out for artist calls such as the Art Map, and galleries that are looking for a variety of skills. Gallery 1313 has a space that features innovative work by emerging artists featured in the Window Box Gallery at 1313 Queen Street West. 

There is no cost involved in submitting your work. It’s a great opportunity to feature your art at the receptions taking place there, and expose it to new audiences. Bragging rights are included!

Of course, as with anything, getting your name out there takes time and patience, but the timer to take out your design pie will go off at any minute, with all the trials and errors of making it that much sweeter.

Asbestos is scary, how we deal with it shouldn’t be

The contention shines light on larger issues of safety and feasibility

Asbestos is scary, how we deal with it shouldn’t be

For anyone still unaware, asbestos exposure is not good for you. For much of the twentieth century, asbestos materials were installed almost everywhere as cheap fireproofing. Now, it is now effectively banned in Canada and for good reason. 

Health Canada warns that breathing in even microscopic amounts of asbestos can cause severe long-term health problems. These include aggressive cancers and asbestosis, a disease that scars the lungs and impairs breathing. 

Often, people only experience the effects of inhaling asbestos fibres decades after the fact. 

Any potential exposure to asbestos is a big deal. This explains why in 2017, when “unusual dust” was discovered in the Medical Sciences Building, rooms were cordoned off for days. It is also why the University of Toronto Faculty Association (UFTA), along with other labour groups, are doubting the clean bill of health U of T has given to its air quality.

At the centre of this dispute is who and what determines the acceptable amount of asbestos in the air. 

The national occupational standard exposure limit for asbestos concentration in construction sites is 0.1 fibres per cubic centimetre (0.1 f/cc), which poses a very small risk on exposure. U of T’s report decided that the acceptable amount is 0.5 f/cc. However, the provincial government’s guideline, while not legally enforceable, is 0.4 f/cc. The UFTA wants U of T’s asbestos level to be closer to Queen’s Park recommendation, and preferably around a limit of 0.1 f/cc.

If those differences sound a bit trivial and pedantic, it is because they might be. Even the Vice-President of Operations and Real Estate Partnerships Scott Mabury, who is responsible for U of T buildings and their safety, admitted that it’s very hard to tell the difference between U of T’s and Queen’s Park’s limits. Mabury is also the former Chair of the Chemistry Department. 

U of T contends that it has reached its limit based on what is tangible, achievable, and legal. But the UFTA is also right to demand more. The university must do everything it can to ensure that our community is not exposed to asbestos. That not everything is being done to protect its members from exposure to asbestos is troubling.

However, what should really worry us is the UFTA’s allegations of how U of T decided upon its asbestos exposure limitation. The UFTA has made allegations of a “democratic deficit” in the process, meaning that the union was only informed of feedback sessions at the last minute and that the panel responsible for making the decision was overly close to U of T officials. The union also claims the panel did not include enough asbestos experts.

The implications of these allegations are serious and troubling. If the culture and formal process for deciding how to go about safety are being compromised and rushed in order for U of T to get what it wants, then this issue goes beyond how many fractions of particles are in the air. It affects every aspect of safety at U of T: the buildings, the people inside them, and whether the administration will do everything possible to ensure the safety of our community.

Ideally, there would be no asbestos fibres in the air at all, but past architects and engineers made choices that decided otherwise. All that can be done now is to minimize fibres to the point that the risk becomes negligible. 

Instating a limit lower than where U of T has placed so far may prove very tricky. But when it comes to breathing in potentially lethal industrial fibres, having the university only reach a legally-sound common denominator is hardly reassuring. It is definitely not the standard by which U of T came to be recognized as one of the best employers and schools in the country. This does not leave us breathing easy.

Martin Concagh is a second-year Political Science student at New College.