Fun House 2018: Art of the Surreal, Fantastic, and Bizarre

Danijela Krha Purssey, Co-Founder and Editor, Beautiful Bizarre Magazine
Istvan Banyai, illustrator, animator, and designer 

Two $500 Juror’s Prizes, two $150 Distinguished Recognition Prizes.  

Entry Deadline: March 12, 2018

Exhibition Dates:   Saturday, May 12 – Saturday June 23, 2018

Fun House: Art of the Surreal, Fantastic and Bizarre is a national juried art exhibition. Fun House invites artwork submissions that celebrate all that a Fun House offers: the marvelous, disorienting, seductive, disquieting, and surreal. Fun House seeks works that engage with the real/unreal, the miniature and the gigantic, optics and illusion, and/or the politics of display. Fun House welcomes the quirky, the absurd and the unconventional.

Artists are invited to provide a juxtaposition of traditional styles and cutting-edge practices. In addition to 2D works in all media, sculpture. installation, digital, video and interactive works are all encouraged. 

About Our Jurors 

Danijela Krha PursseyCo-Founder & Editor in Chief, Beautiful Bizarre Magazine

Danijela Krha Purssey is an entrepreneur and the Editor-in-Chief and Co-Founder of Australian based international contemporary art magazine, Beautiful Bizarre Magazine.
She is deeply passionate and committed to her vision to help shift the paradigm in the global contemporary arts industry regarding what is defined and accepted as contemporary art. Danijela has created a carefully curated, unique contemporary arts experience via all the Beautiful  Bizarre Magazine touch points that inspire, encourage, grow, and promote emerging and leading contemporary creatives both locally and around the world. 
Born in Croatia, she migrated to Australia at the age of three. From a young age Danijela was drawn to art, fashion and the aesthetics of beauty and original creativity.
Danijela founded Beautiful Bizarre Magazine in 2013 with her husband, Richard Purssey, through a desire to showcase new and emerging artists to the world. In the 4+ years since the launch of Beautiful Bizarre Magazine she has released 19 print issues, published over 1500 web articles, developed and launched the interactive digital magazine, curated 5 exhibitions in three countries, and shared the work of countless creatives from all corners of the globe across the Beautiful Bizarre Magazine social media platforms which have grown to over 850,000 followers.
Beautiful Bizarre Magazine has inspired creatives to pursue a life and career in the arts and helped artists’ careers grow via the exposure of their work. Danijela has given artists and photographers, many of whose work is not widely accepted by the fine art establishment, a voice, a platform, and a tribe.
Danijela has forged global connections with artists, collectors, gallery owners and their communities to further her vision for the new contemporary art scene and to help galleries and creatives thrive.
In late 2016 Danijela was awarded the prestigious AMP Foundation ‘Tomorrow Makers’ Award, and grant funding to expand Beautiful Bizarre Magazine.







Istvan Banyai is an illustrator, animator, and designer who received his BFA from Moholy-Nagy University of Art and Design, in Budapest. He is a regular contributor to The New Yorker, The New York Times, Washington Post, Boston Globe, Atlantic Monthly, Vanity Fair, Playboy, Mother Jones, Rolling Stone, Time, Fortune, O, Readers Digest, The Wall Street Journal, The Los Angeles Times and Reuters. In 1995 Banyai produced his first wordless children's book, Zoom. Honored as one of the best children's books of the year by The New York Times and Publishers Weekly, Zoom was soon published in 18 languages.

Banyai continues to produce; cover art for Sony and Verve Records; and animated short films for Nickelodeon and MTV Europe. He is internationally respected for his unique philosophical and iconoclastic vision. Banyai describes his art as "an organic combination of turn-of-the-century Viennese retro, interjected with American pop, some European absurdity added for flavor, served on a cartoon-style color palette... no social realism added."