tag:blog.otherpeoplespixels.com,2013:/posts OtherPeoplesPixels Blog 2018-08-15T16:50:25Z OPP tag:blog.otherpeoplespixels.com,2013:Post/1312005 2018-08-15T12:48:13Z 2018-08-15T12:49:42Z OtherPeoplesPixels Interviews Preetika Rajgariah

SMILE, 2017. Bindis, jewels, thread on silk. 56" x 80."

Interdisciplinary artist PREETIKA RAJGARIAH uses personal biography as a jumping off point in works that "challenge perceptions of exoticism and the sociopolitical standards in Indian and American cultures." Her performative photographs and videos investigate the nature of body adornment—which can paradoxically make us blend in or stand out, depending on the crowd. She gives decorative materials—rufflessarisbindishennaglitterhair extensions—their own embodiment in sculptures and wall works, allowing the viewer to contemplate ornamentation without the body as a substrate. Preetika earned her BA in Studio Art at Trinity University in San Antonio,Texas. She completed her MFA in Painting and Sculpture in 2018 at University of Illinois, Urbana-Champaign. She was recently an artist-in-residence at ACRE and is headed to Oxbow in the fall. Her work will be included in a two-person show, opening at Roots and Culture (Chicago) in October. Preetika is currently preparing for three solo exhibitions in Texas in 2019: Tangled at Art League HoustonSari Not Sorry at Lawndale Art Center (Houston), and a currently-untitled show at Women and their Work (Austin). Preetika lives and works in Houston, Texas.

OtherPeoplesPixels: What does adornment mean to you?

Preetika Rajgariah: Adornment represents choice—the choice to adorn or not—and pushing those boundaries. 

In my culture, adornment is expected for women to elevate one's beauty or status. . . growing up with the pressure to decorate oneself or present in certain ways is something I’m interested in challenging in my life and work. 

Beauty Mask, 2018. Digital Photo.

OPP: What’s the role of exaggeration in your photographic and video works from Self

PR: I’ve often gravitated towards accumulation and repetition in my practice. More recently, I like to use my body as material to showcase this exaggeration. I’ve always been a bit of an athlete or a competitive person, so in the videos or photos, I am often in competition with myself. I am very interested in exploring my limits and defying my own expectations. So, these works explore limits and standards that are set by societies. 

How About Now?, 2017. Video performance with sindoor powder. 4:10 Excerpt from 20 minutes.

OPP: Can you talk about additive versus subtractive processes in your series of modified Saris? Is the sari a symbol—if so, of what?—or simply a familiar surface in this work?

PR: The sari represents familiarity and nostalgia while simultaneously embodying the exotic. It is a material that evokes memories of the place I was born, but it also signifies a culture that I sometimes feel extremely removed from.

Typically, impulse and intuition lead the decisions I make in my practice. I MAKE first and foremost, no matter the medium I am using. In the two dimensional sari pieces, I make formal decisions of addition or subtraction depending on each particular sari and the story that inspires the piece (yes, there’s usually a autobiographical narrative that informs each of my works). 

What we keep, what we leave, 2017. Sari with pyrography. 55" x 90."

OPP: Both material and process play a big role in your work. Are you more driven by one or the other? 

PR: Both material and process are crucial to the content of the work. More often, I am drawn to material first, as it is extremely narrative driven, and then process comes in as my way of problem-solving. Coming from a painting background, I treat material similarly to paint. Formally, it is a large part of the beauty in my work. The materials I use in my work now—textiles, powders, henna—go way back for me. They are all materials that surrounded me daily while growing up. In this sense, I feel much more connected to my art and my work now than when it existed as just paintings. My processes—stitching, tearing, pouring, bleaching—are ways of handling of these materials that complicate, dismantle and re-purpose.

Climax, Migrating Identities, 2015. Watercolor on paper. 51" x 1.2'

OPP: I love the migration paintings. They teeter between abstraction and representation, and the marks remind me of thumbprints. Can you talk about the shift from these representations of the movement of groups of people to focusing in on the individual in recent work?

PR: In recent years, as I have unpacked my own upbringing and personal life, the work has honed in on the individual as well. The migration paintings are directly related to my three dimensional sculptures—the aunties. I had wanted to make three dimensional versions of the paintings for quite sometime, and as I became interested in fabric and textile, experimenting with the new material lead me to create free standing, hollow sculptures made entirely from scraps of traditional silks - often saris that belonged to the women in my family. 

Hairy auntie, 2017. 25" x 60."

OPP: Who are the aunties in Soft Bodies? Are these soft sculptures memorials to your real aunties?

PR: No, the aunties are not specific to any real people, but they do embody a certain spirit so to speak. They are mash-ups of many dualities I experience: Indian/American, traditional/modern, masculine/feminine, past/present, hard/soft, etc. As I created these amorphous bodies, the narrative around their being came into existence. They are bold, resistant and a bit othered. They represent facets of my own personality as a bit of an othered woman in the American and Indian societies that I navigate, while also being stand ins for a tribe of aunties I wish I had had in my life growing up.

To see more of Preetika's work, please visit prajgariah.com.

Featured Artist Interviews are conducted by Chicago-based artist  Stacia Yeapanis.  When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations.  She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at  BOLT in Chicago.  Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indianapolis 2017) and Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018).  Most recently, Stacia created  Renunciation Reliquary as a one-night installation for Chicago Artist Coalition's annual benefit  Work in Progress and was an Artist-in-Residence at Facebook. 

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tag:blog.otherpeoplespixels.com,2013:Post/1310249 2018-08-08T13:16:21Z 2018-08-08T13:17:22Z Going Strong for 7 Years: Adam Ekberg

Did you know the OPP blog turns seven-years-old at the end of August? In honor of our upcoming birthday and the artists we feature, we'll be sharing some blasts from the past. In this post and over the next few weeks, we'll share new work from Featured Artists interviewed in the first year of the blog. First up: Adam Ekberg!

Lawn Chair Catapult, 2017. Archival pigment print.

What's new in your practice, Adam Ekberg?

My new studio is in an old barn in New Jersey I restored over the last few years. In the barn is a small room with a chair and table near a window that looks out over a wooded area. This is where I go and make drawings of actions that I want to see occur in the world. After I make the sketches, I write notes about how to make a particular action exist at least long enough for me to photograph it. The studio walls are pinned with sketches, which only come down once the final photograph is made- the replacement of the sketch with a small print always feels like a small victory.

Beer Bottles, Banana, Cocktail Umbrellas, Disco Ball and Bic Lighter, 2017. Archival pigment print.

While my working process involves a lot of experimentation, I have become increasingly uncompromising in any deviation between the initial sketch and the final photograph. It is like a completely ridiculous game I have concocted with very specific parameters--you wouldn't believe what is entailed to catapult a lawn chair on the plains of the Midwest!

Roller Skates and Aerosol Containers, 2017. Archival pigment print.

Coming up this fall, I will have images on view in the Maine Center for Contemporary Art Biennial and in the upcoming exhibition Groundings at the Museum of Contemporary Art, Chicago. I am also at work on images for a large upcoming solo-exhibition so I am a bit of an art-monk at the moment. Recent solo-exhibitions include those at ClampArt, New York, De Soto Gallery, Los Angeles, Platform Gallery, Seattle and Capsule Gallery, Houston. My work is featured in the upcoming publication The Focal Press Companion to the Constructed Image in Contemporary Photography, and my monograph, The Life of Small Things, was published in late 2015.

Candles, Mirrors and Laser, 2014. Archival pigment print.

Read Adam's 2010 interview.

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tag:blog.otherpeoplespixels.com,2013:Post/1308405 2018-08-01T16:22:49Z 2018-08-06T16:10:34Z OtherPeoplesPixels Interviews Montana Torrey

Bagnasciuga, 2017. Folded collagraph. 28.5" x 6" x 10.5" total piece is 29 feet.

During the midnight sun months in Iceland, MONTANA TORREY painted the sunset daily on her window. She hung gauzy ghosts of American Private Property signs In a Finland forest, where Everyman's Law rules. In Venice, she looked to the horizontal line of algae growth along the sides of the canals as a document of the difference between wet and dry. In each case, landscape is a lens that magnify the dualities inherent in particular sites. Montana earned a BFA from The School of the Art Institute of Chicago and a MFA from The University of North Carolina at Chapel Hill. She has been an Artist-in-Residence at Skowhegan School of Painting and Sculpture, Headlands Center for the Arts, Vermont Studio Center, Catwalk Institute, and the Frank Lloyd Wright School of Architecture, among others. Recent Exhibitions include shows at Hotel Art Fair (Bangkok, Thailand), the Subhashok Arts Centre (Bangkok, Thailand) and SAC Gallery and Lab (Chiang Mai, Thailand). Montana currently lives in Chiang Mai, Thailand, where she is a Visiting Lecturer at Chiang Mai University.

OtherPeoplesPixels: According to your website, your work “employs the landscape as a metaphorical tool to investigate sites of opposition.” What kinds of oppositions? Can you give us some examples?

Montana Torrey: My work is a response to particular sites, either through direct physical engagement with the landscape or by using metaphorical elements of the landscape contained within architecture. The sites of oppositions are an arrangement that I create as a way of recontextualizing and understanding place. I do this by structuring a dialogue between the site, material, and an idea.

I approach the site by questioning its dualities: public/private; absence/presence; tangible/intangible; fear/comfort; freedom/containment; heaviness/ weightlessness, etc. My most recent work, Floodplain (126), re-imagines an ancient flooded ruin in Chiang Mai, Thailand through the dualities of absence/presence, past/presence, heaviness/weightlessness. This work embodied the temporal past and present of the ruin, suggested the flood waters through the piece’s movement, and transformed the seemingly inherent weight of brick by making them from paper and creating the illusion of weightlessness.

I have used oppositional structures to create and form a new experience of place and understanding of the site in its relation to the present.

Division of Labor, 2015. Hand-sewn silk organza. 30 feet.

OPP: Can you talk about the various barriers—both literal and metaphoric—in your work?

MT: The use of barriers, borders and fences started when I was in graduate school. Much of my work then was about public and private space and the psychological factors that determine what we deem as protective/protected space within the American psychic landscape. This was the beginning of my interest in literal divisions of the landscape and how we divide, manipulate and control space to further convey these ideas. At that time, I was looking at a lot of historical American landscape paintings—such as those of the Hudson River School—that were celebrating the vastness of the landscape as a form of propaganda to promote westward expansion and Manifest Destiny, which in turn resulted in the exploitation and further division of the landscape into private property.

Morning Light Barrier, 2016. Hand-painted silk organza. Variable dimensions.

OPP: What about the light barriers?

MT: I created the sewn “light barriers” for several exhibitions at the Catwalk Institute in Catskill, NY as a response to the work of Frederic Church. With these pieces, I was re-inserting elements of Church’s skies back into the landscape, inverting the horizon and imprisoning shafts of light. So, my first sewn light barriers were a reference to Church and others’ use of the horizon as a representation of the future, a collective future of the land beyond. However, when my pieces were inserted into the landscape they functioned as barriers, by creating physically blocks and restricting the suggestion of the infinite.

From there I began using the horizon more and more, working with the horizontal and vertical elements of dusk and dawn and experimenting with these pieces in relation to architecture.

We Buy Gold, 2011. Tarpaulin.

OPP: You’ve been to numerous residencies in European countries—Iceland, Finland and Italy, to name a few. It seems that many of your projects in these countries refer back to the American landscape by inserting what is missing. Is this a planned agenda or an intuitive response?

MT: Each site is tangible, present. One of the ways I approach my practice is by searching for an absence or ways of evoking absence through presence. I am interested in the formation of spatial perception and how spatial perception can be culturally defined. So, when I am working in a new country, I seek to insert my own spatial understanding of the landscape into that place. It is a form of place-making, rooted in memory, and cultural conditioning about the landscape. I try to collapse the distance of my own past and my immediate present in space.

On one hand, it is a calculated way of working, but within this, I allow for the experiential. I like to remain open to how my ideas will evolve and be informed by new places and cultures that help to shape the development of my work.

Permanent Sunset, 2012. Paint on window. Skagaströnd, Iceland.

OPP: What does your practice look like when you aren’t at residencies?

MT: Because I create installations about place, my work is always in flux and requires the continual investigation of materials and research, through both conceptual and academic development. Much of my work is informed by architecture and nature, so this is an endless and peripatetic investigation. Moving through space and observing the ways in which we understand the landscape through movement is very much a part of my research: when I live in the U.S., I am constantly driving and searching for architectural forms or sites to use within my work, but also making note of time and distance. I am seeking to create more of a phenomenological experience within my current installations, so finding ways of understanding a more embodied experience is critical.

Much of my practice takes place outside of the studio, in the field or in the library, and my studio is much more of a laboratory for the testing of materials, but the work all comes together in the installation.

Floodplain (126), 2018. 126 folded collagraphs. 3.5 x 3.5 meters.

OPP: What’s a collagraph? How does this process support your conceptual concerns in Bagnasciuga (2017) and Floodplain (126) (2018)?

MT: A collagraph is a basic printmaking technique in which the plate can be created with very inexpensive materials such as cardboard, glue, gesso. I started using this technique last year (2017) when I was a fellow at the Scuola Internazionale di Grafica in Venice, Italy. I found that collagraphs gave me the ability to create a wide variety of textures and to mimic the water line on the Istrian stone for my piece, Bagnasciuga. I began to make installations out of 3-dimensional collagraphs.

Both Bagnasciuga and Floodplain (126) explore the intersection between water, the built environment and the physical vulnerabilities of these structures through climate change. I intentionally used paper for these works because it helped to convey vulnerability via a shift in materiality from stone or brick to a fragile material. The paper also created another conceptual dichotomy; the illusion of weightlessness. Both of these installations move with the gentle swaying of water. Bagnasciuga moves back and forth like the rocking of the vaporetto or a dock as you move throughout the city, and Floodplain (126) moves like debris floating on the surface of water. Again, the experience of movement through space is critical to the function of both of these pieces, as I tried to evoke the feelings of floating, shifting, swaying, gliding, drowning and rising to the surface of water as the viewer moves around and through these works.

Portable Widow's Walk, Bird Island Lookout, 2008. Handcut canvas/ acrylic paint.

OPP: Where to next? 

MT: I am currently living and working in Chiang Mai, Thailand as a Visiting Lecturer in the Painting Department at Chiang Mai University. I’ve been in Thailand for the past eight months, having originally come here as an artist-in-residence with the Subhashok Arts Centre in Bangkok, but subsequently secured a position as a guest lecturer. For now, I plan to stay here for the foreseeable future, possibly with an intermittent break pursue a Ph.D. 

It is important to me to find alternative and affordable ways of creating an art-practice and to seek teaching experiences outside of the U.S., given the current political and financial climate for the arts. While I believe in art as an essential element of resistance, the responsibility of maintaining an arts practice in my home country, where funding for the arts is being slashed and the cost of living continues to rise, was becoming unsustainable for me. Furthermore, being in Southeast Asia has given me a deeper understanding of how dynamic and ever-changing the global art world is. My work will always reflect my experience growing up in the U.S., but I want to find more and more ways of connecting that experience to the rest of the world. 

To see more of Montana's work, please visit montanatorrey.com.

Featured Artist Interviews are conducted by Chicago-based artist  Stacia Yeapanis.  When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations.  She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at  BOLT in Chicago.  Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indianapolis 2017) and Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018).  Most recently, Stacia created  Renunciation Reliquary as a one-night installation for Chicago Artist Coalition's annual benefit  Work in Progress and was an Artist-in-Residence at Facebook. 

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tag:blog.otherpeoplespixels.com,2013:Post/1306229 2018-07-25T12:49:48Z 2018-07-25T13:07:06Z OtherPeoplesPixels Interviews Amanda Burnham

Neighborhood Watch (installation detail), 2016. Acrylic, flashe, paper, cardboard, and LEDs. 5 vignettes, each approx. 10 x 10 x 5.'

AMANDA BURNHAM's immersive, collage installations are dense with vernacular signage, brick walls and and trash cans. She pieces hundreds of gestural drawings of the surrounding city together, deliberately confusing three-dimensional space.  Instead of a realistic rendering of what a city looks like, she captures the frenetic energy of city architecture. Amanda earned her BA in Visual and Environmental Studies, at  Harvard University and her MFA in Painting and Printmaking at Yale University. Her long and varied exhibition record includes recent solo shows at University of Baltimore (2017), Elon University in North Carolina (2017), Arlington Art Center in Virginia (2016) and Dittmar Gallery at Northwestern University in Chicago (2014). Her work is included in the permanent collections of National Museum of Women in the Arts (Washington, DC) and the New York Public Library, as well as various private collections. Amanda just completed the Antenna Projects Artist Book Residency in New Orleans, and her solo show Amanda Burnham: In Situ will open at Gershman Gallery in Philadelphia on September 6. Amanda lives and works in Baltimore.

OtherPeoplesPixels: Your drawings and installations are all about cities. What’s your favorite city in the world?

Amanda Burnham: There are many cities that I love, but I'm going to go with Baltimore—not only because I live here, but because of its rich, diverse architectural vernacular, history, neighborhoods, and challenges. It inspired the direction of the installation work I have been making for the last decade.

Better Waverly, 2014. Paint and paper. 

OPP: Tell us about the first installation?

AB: The first installation I made was for a show at the Julio Gallery at Loyola University in Baltimore in 2008. I'd been asked by the curator to show a group of the plein air cityscape drawings I'd been consumed with making at that point. I'd made hundreds of these small observational drawings of different sites during my first full year in the city. It started as a way of getting to know my new surroundings. I'd begun to feel the limitations of working at a small scale, from a fixed perspective. I increasingly felt that it wasn't the best way to capture the energy and activity of the city as I came to know it while sitting for many hours drawing it. I asked the curator if she would be open to me creating an installation for the show to accompany my drawings, and, thankfully she was. Looking at back at the resulting work (which, at the time I was very proud of, and which was very freeing for me), I'm struck by how minimal and reserved it is. But it changed the direction of my practice entirely.

Edmondson Avenue, 2009. Ink on paper. 9 x 12."

OPP: Earlier drawings are more realistic renderings of city landscapes, but it seems like you have been drawing in a more illustrative, comic style lately, especially in the installations. What led to this shift?

AB: Lately I've been interested in broadening the parameters of my work, so that it is less defined by a visual shorthand that references the built environments of urban spaces. I want it to be more inclusive of imagery that also suggests all the activity that occurs within those spaces. What really draws me to cities, anyway, is the events that happen when our living circumstances are not isolated and homogenous and the way they enable people to collect/collide/interact. 

The somewhat comic stylistic approach of my drawings allows me to incorporate ideas which are less literal and strictly visually descriptive. I like that a comic style, given its bold, graphic qualities, allows me to formally weave together imagery from a lot of really different places—objective, inventive or visionary, metaphoric, etc.

In the Weeds (detail), 2016. Acrylic, flashe, and paper. 10 x 72.'

OPP: Tell us about the process of creating these drawing installations? Are they site-specific? What determines the imagery?

AB: They are always site-specific in the sense that they are constructed almost entirely within the space they will be shown, and are therefore sensitive to the physical peculiarities of whatever that space is. They are often site-specific in the sense that I choose to enfold imagery discovered in the surrounding area to some degree. I've done this in very subtle ways, and I've also built entire pieces that were meant to evoke a specific city (as with RFP in Baltimore). 

I start by looking at the space and by collecting imagery from which to make drawings. I walk around the neighborhood, take pictures and make sketches. Using my sketchbook, I establish parameters for the piece, ideas I want to address or imagery I want to incorporate and roughly how I will engage the space. I sketch out broad compositional outlines for shape on the wall, where I want collage layers to be massed, palette, whether there will be sculptural components or embedded lighting. 

I'll spend the weeks leading up to making a piece preparing raw materials for collage. I roll out drawing paper in my studio, prepare it with color (watered down acrylic, usually), and make hundreds of quick gestural drawings with black acrylic. When I put the piece together in the space, I take anywhere from a day or two to several weeks. Everything is orchestrated very extemporaneously within the parameters I've set. I use different widths of black or colored masking tape and light duty staples to attach pieces to the wall, and sometimes paint directly on the wall, as well.  The final pieces are the result of many layers of collage build up. 

High Winds, 2011. mixed media

OPP: You mentioned RFP, which was a unique installation in that it involved audience participation. What does RFP stand for?

AB: RFP stands for Request for Proposals. Its a term commonly used in city planning for the development of a parcel of land. I wanted to evoke this common usage because Baltimore—like most older, formerly industrial cities—has a fraught and lengthy history with issues surrounding planning. There are neighborhoods with legacies of exclusion borne by restrictive covenants and red-lining, division and isolation of formerly thriving neighborhoods via poorly considered large scale building projects (like highways), disinvestment and civic neglect of neighborhoods (frequently along racial lines), gentrification that prices long term residents out of their homes and established communities. A commonality to all these dynamics is how bound up they are in bureaucratic and political structures that can seem far from the reach or control of the individual citizens that they impact. 

RFP was motivated by an idealistic desire to propose a city democratically shaped in every way by the people who actually live there; it was a request for proposals from the residents of Baltimore.

RFP, 2015. Paper, paint, cardboard, tape, lumber, lights. 2015

OPP: How did the installation evolve?

AB: The piece as it opened on day one was like my other work in its use of paper and collage installation. All of the drawings were recognizably Baltimore; different neighborhoods were woven together throughout the space, commingled without reference to literal geography.

I wanted the piece to feel very welcoming. The piece was orchestrated in a large ground floor former department store space with huge, plate glass windows in front. It was located on West Baltimore Street, an area of the city which a lot of different people traverse for a lot of different reasons every day. In addition to having numerous hand drawn OPEN signs (like the neon ones you see in bodegas) and a sandwich board inviting people in from the sidewalk, I designed the piece so that it would be maximally visible from outside. It stretched all the way to the front so there wasn't any apparent barrier to entry (like the imposing desks that sit at the front of most galleries). All of this was meant to be a reflective backdrop, and the centerpiece of the installation was a big table full of drawing supplies and some loose prompts inviting thought about Baltimore: "I feel the most like I belong here when...", "This city needs...", "My neighborhood is..." etc. 

Visitors were invited to add their writings and drawings to the existing backdrop. During the time the piece was up, more and more of these amassed, so that by the time it came down it was covered with hundreds of contributions, ranging from reminisces, to suggestions, to manifestos, to actual images altering the preexisting ones. 

RFP, 2015. Paper, paint, cardboard, tape, lumber, lights. 

OPP: Was there anything frustrating about depending on the public to complete the work? What was satisfying about it?

AB: Not in this case. We had a large volume of visitors due to the visibility from the sidewalk and the high traffic in the area. The piece was set up so that it would be clear to someone that contributing was the idea without having to ask. The paper on the table was color keyed to the backdrop, in addition to the rolls of tape and drawing supplies were visual cues, and this seemed to work (though I was on hand every day to greet people and answer questions if they had them, too.) There was some initial anxiety that it wouldn't work, or that I'd have to edit contributions (i.e. if someone posted something abusive or hateful), but wonderfully, there was no need. 

Since I was there everyday, I met a lot of people over the course of the piece's life. As satisfying as it was to see (and be surprised by!) the range of physical additions to the piece, the most satisfying was that the piece became a way for me and other visitors to talk to people we might never have met otherwise.  

To see more of Amanda's work, please visit amandaburnham.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indianapolis 2017) and Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018). Most recently, Stacia created Renunciation Reliquary as a one-night installation for Chicago Artist Coalition's annual benefit Work in Progress.

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tag:blog.otherpeoplespixels.com,2013:Post/1303820 2018-07-17T12:04:48Z 2018-07-18T13:30:15Z OtherPeoplesPixels Interviews Isak Applin

He Was a Friend of Mine, 2016. Oil on canvas. 36" x 48"

ISAK APPLIN's painted vignettes often depict quiet moments that point to the internal experiences of their subjects. A man chops wood while remembering a betrayal. Solitary figures stroll through the forest in contemplation. Although there is occasional drama—sometimes a man is knifed outside a bar. Regardless, these works balance site with story. His attention to color and texture demands that viewrs take the environments as seriously as the action. Isak earned his BFA in Painting at Maine College of Art and his MFA in Painting and Drawing at School of the Art Institute of Chicago. His numerous solo shows include: Dark Holler (Chicago, 2006) at Contemporary Art Workshop, Six More Miles (Chicago, 2008) at Roots and CultureChocorua(Ontario, 2013) at Evans Contemporary, and Now Chicago (Sydney, Australia, 2014) at The Hughes Gallery. Around the Mountain Again, a two-person show also featuring the work of Featured Artist Carl Baratta opened at The New Standard Gallery (Sydney, Australia) in early 2018. He is currently at the Stephen Pace House Residency in Stonington Maine. Isak also runs Titan and Weald, a private press specializing in chapbooks, fine press books and relief prints. Isak lives in Queens, New York.

OtherPeoplesPixels: What’s your relationship to the woods?

Isak Applin: I see the forest as a place of mystery and change.

I grew up in the woods of the Taconic Mountains on border of Massachusetts and New York State. In the 19th century, lumber mills, small factories and sheep farms deforested much of the region. As these industries waned during the mid 20th century a rich forest quickly grew back. And yet traces of the old way of life remained: logging roads, building foundations, stonewalls, mysterious piles of rocks and weathered fence posts were scattered throughout the woods. I witnessed the tail end of this transformation as a child; even then I found it awe-inspiring, disconcerting and sublime.

As a child and teenager, the forest was also a stage for adventure—it was my African jungle, Sherwood Forest and Siberian taiga. Later it was the place for one’s first kiss and precious hours of freedom from school and parents. 

The inhabitants of this forested area were also equally fascinating. During the 1970s, the area was settled by Whole Earth Catalog inspired hippies, Vietnam Vets seeking solace and New Yorkers who had always dreamed of owning a horse. It was also a place of big dreams and spectacular and frightening failures. Within a few miles of my house there was a thriving Sufi commune, a huge Indian style Peace Pagoda built entirely by volunteers and a failed nudist colony—it had descended into violent, drug-ridden chaos. I’ve always been extremely fascinated and moved by my neighbors’ eccentric and epic lives. 

The Letter II, 2014. Oil on canvas. 30" x 30"

OPP: How you think about the woods when painting?

IA: Many of the paintings attempt to capture the sentiments I described above. They are simply an edited depiction of that landscape or the story set in that landscape. I have always been a collector of stories and situations I find moving, strange and unique. Sometimes, often years after the event, I feel the need to make a painting of one of these stories in an attempt to record and share it. And this is how much of my work is generated: I hear a story or experience something, find myself reflecting on it, and at some point decide that this event needs to be shared with the rest of the world. 

Forked Lake, 2017. Watercolor and gouache on paper. 12" x 9"

OPP: What’s your relationship to landscape painting?

IA: My relationship to landscape paintings is that of a magpie to its nest; I’ll steal from any tradition if it helps me convey the spirit of the story or place I’m depicting! In general, the compositions are largely influenced by Medieval Sienese paintings, Persian and Indian miniatures and various Chinese paintings. Early and mid 20th century European and American modernists often inform my color choices and paint handling. Lately I’ve been under the spell of Monica Poole and Gwenda Morgan, wood engravers from Britain that created marvelously inventive landscape prints.

His Last Night in Randazzo, 2017. Watercolor and gouache on paper. 19" x 14"

OPP: His Last Night in Randazzo (2018) and Goodbye Jay (2017) have a cinematic quality, in the sense that the scenes floating around the central figure indicate something other than what’s happening in the present moment. I keep flipping back and forth between thinking they are the near future, the distant past or a complete fantasy in the heads of the figures in the bottom of the the paintings. Thoughts?

IA: Both paintings are inspired by true events, and both depict several different points of time within one composition. The events are fragments, and they do not necessarily come together to form a coherent narrative. In these paintings I hope to capture what it feels like to hear the stories (or the storyteller) that I’m working with, rather than transcribe these events into a linear narrative.  

Goodbye Jay is a memorial painting, albeit a light-hearted one, depicting events from the life of a friend who was a sailor on research vessels in the Arctic and the South Seas. He lived in a comic book world of maritime violence and South Seas romance. His Last Night in Randazzo is a little less straightforward. I used the space to the left of the tree in the center as a container for vignettes depicting an acquaintance’s escape from Sicily and his flight to Detroit. To the right of this tree is a couple walking down a path in the present day--they are the ones that have to live under the weight of the events on the left.

Fantasy is sparingly added to these compositions, I only include fictional events in the paintings if I feel that it will enhance or clarify the feeling that I’m trying to convey.

Spring '96, 2013. Oil on canvas. 30" x 30"

OPP: Can you talk about the recurring themes of being chased, watched or stalked?

IA: The chase themed paintings began in 2012. A friend and I were cycling along a wooded path on a drizzling November afternoon, and we were suddenly chased by an incredibly fast deranged man wearing a cape of burlap sacks. Around this same time everyone in my apartment building was unexpectedly evicted. I started making some drawings of being chased while cycling, and the chase theme became an allegory for forced flight.

The “watching” paintings are about longing, loss and the quixotic behavior of scorned lovers. Like the other paintings, these are based on true events from the distant past that have haunted and moved me. I never really set out to make a painting about being stalked, but I can see how some of the compositions could inspire that interpretation.

Dennis and Marilyn, 2016. Oil on canvas. 30" x 30"

OPP: Tell us about the process of making collaborative prints with Carl Baratta and Oli Watt?

IA: This series started in 2007. One of our primary goals is to create a collaborative piece where the viewer can’t see each artist’s hand. Put another way, we hope that no one will be able to look at a piece and suspect that I drew the bottom, Carl drew the top and the middle looks like something from one of Oli’s prints. To achieve this, we try to draw in each other’s style, we often take turns carving different parts of the wood block, and we generally make all decisions collectively.

Old Woman Spring Road I, 2016. Collaboration with Carl Baratta, woodcut on paper. 9" x 12"

OPP: Did this collaboration teach you anything about your solo practice?

IA: For a long time, the collaborative work was a place where I (we) explored fantastic and mythological themes that were absent from, or didn’t seem to fit into, my personal work. The collaborative prints were a vessel for passages from the epic of Gilgamesh, invented deities and the depiction of other worlds—content that seemed at odds with my paintings set in the contemporary world. To my surprise, in 2014 the apparitions, ghosts and angels from the collaborative prints started creeping into the personal work, enriching it in a way that I could never have anticipated.

To see more of Isak's work, please visit isakapplin.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indianapolis 2017) and Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018). Most recently, Stacia created Renunciation Reliquary as a one-night installation for Chicago Artist Coalition's annual benefit Work in Progress.

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tag:blog.otherpeoplespixels.com,2013:Post/1301903 2018-07-10T21:49:44Z 2018-07-11T13:42:18Z OtherPeoplesPixels Interviews Florine Demosthene

Releasing the Truth, 2018. Mix media on canvas. 32 x 48 inches.

The female figure in FLORINE DEMOSTHENE's mixed media work hovers in a gauzy, blue and gray haze. In some works, she sprouts whole other versions of herself from her back. In others, she lovingly carries herself in her arms or on her shoulders, as a parent carries a child. This figure represents our relationship with ourselves. She is both a physical body and a symbol of the spirit. Florine earned her BFA at Parsons the New School for Design and her MFA at Hunter College. She had had solo exhibitions at Caribbean Museum Center for the Arts (St. Croix, U.S. Virgin Islands), Gallery MOMO (Capetown and Johannesburg, South Africa), Semaphore Gallery (Neuchâtel, Switzerland) and Gallery 1957 (Accra, Ghana). She has received grants from Arts Moves Africa and Joan Mitchell Foundation. Florine resides between New York, Accra and Johannesburg, although she's spending 2018 in Tulsa, Oklahoma as a 2018 Tulsa Art Fellow.

OtherPeoplesPixels: How do you see the relationship between the mind and the body, the internal and the external?

Florine Demosthene: The works are about the relationship we have with ourselves. . . the different parts of ourselves and how we are engaged in this continual battle. I have been investigating the duality between mind, body, emotion, spirit and essence through this series of works. I have not quite formulated a solid understanding of these components and how they interconnect. It's like I have gone down this rabbit hole that keeps getting deeper and more nebulous. 

Disappear Into Myself 3, 2013. Ink, charcoal, graphite and oil bar on polypropylene. 9 x 12 inches.

OPP: It seems like you are really talking about a spiritual path of inquiry. How does art-making aid in that path? Can you share any insights or observations you have?

FD: Making art in integral to my path of self-awareness and discovery. It allows me to create a cocoon around myself where I can delve deeper into my psyche. It has been an intriguing journey. I find when I allow my anger to rise to the surface, I make leap and bounds in my art work. I don't want to be in a perpetual state of rage, but it does serve as a catalyst for me to push past my boundaries.

Illumination #11, 2018. Collage on paper. 11 x 14 inches.

OPP: Are these works self-portraits?

FD: I don't necessarily see the works as self-portraits but rather an exploration of ideas. I reference myself, particularly my body, because it is readily available and I can easily manipulate it in the way that I want. 

OPP: Can you talk about Mind Chatter and The Story I Tell Myself? Is the secondary figure a burden to the first? Or simply an integral part that the main figure must nurture and carry through life?

FD: Those two works are addressing the shadow aspects of who we are and what exactly constitutes our personal narratives. I find that we fear the darkness within ourselves and shy away from addressing that truth within us. With those two works, I was searching for how to unburden this aspect within us.

Meta, 2018. Mix media on wood panel. 40 x 52 inches.

OPP: Blue lines seem to operate differently in different works. In Meta, they grow from the fingertips and remind me of Freddy Krueger’s knife glove. In Wounds #2, they seem more like blood dripping and in Wounds #7, they shackle the feet. How do you think about the blue in these works?

FD: Firstly the large areas of blues and black are glitter. The blue glitter lines are a continuation of the yellow beams that I was using in a previous series. These lines represent energetic communication or a sort of higher consciousness.

There has been this question that has been gnawing at me for quite some time: If we are only using like 10% of our brain capacity, then what would it look like if we say use 55%-100% of our minds? 

In the quest to find answers to this question, I have come to the understanding that it is not about our brains, but rather our connection to our soul/essence/spirit...that spark that ignites the life within us. If we could gain full access to this spark, then we can propel the brain (and how it functions) to level unimaginable. The thing is, we are so disconnected from this aspect of ourselves. In these works (the ones with the radiating lines) I'm attempting to bridge that gap between mind and spirit. . . to somehow build a connection to allow for direct communication.

To Come Undone, 2018. Mix media on wood panel. 52 x 120 inches.

OPP: In earlier works, the figure feels trapped in the backgrounds because there is more visual noise and, in some cases, actual locations with buildings and furniture. But in more recent works, the figure seems to be floating in an empty, abstract space. Can you talk about this change?

FD: The simplified background was just a natural progression of the work. In earlier works, I was concerned quite a bit with the figure/ground relationship. As the series developed, it became more and more about the body—and what's within the body—and less about the space in which the figure resides. This gradual shift helped me to hone in a bit more on what I wanted to convey with these drawings and paintings.

Meta-Two, 2018.  Collage on canvas. 36i x 48 inches.

OPP: In 2018, you won the Tulsa Fellowship, which offers an unrestricted award and brings artists from elsewhere to Tulsa for a year. Tell us about the experience. What has it been like to relocate? And what are you working on?

FD: I have been out of the USA for four years, so I had to mentally adjust for this fellowship. Thus far, the fellowship program has been surprising (in a good way) and it is allowing me to have some much needed time to regroup. I plan on continuing this series as well as possibly incorporation 3D and digital works. . . but we shall see how that goes. 

To see more of Florine's work, please visit florinedemosthene.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indianapolis 2017) and Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018). Most recently, Stacia created Renunciation Reliquary as a one-night installation for Chicago Artist Coalition's annual benefit Work in Progress.

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tag:blog.otherpeoplespixels.com,2013:Post/1300093 2018-07-05T13:06:48Z 2018-07-05T13:13:03Z OtherPeoplesPixels Interviews Susan Klein

Small Sculptures, 2017. Oil on ceramic and epoxy clay.

SUSAN KLEIN's work weaves in and out of an irreverence for the sacred and a reverence for the banal. Her sculptures and drawings are playful, colorful and humorous. . . and they take themselves seriously. They are complex explorations of ambiguous forms—urns, gravestones, altars, severed fingers—that evoke the human devotional impulse. Susan earned her BFA in Studio Art at University of New Hampshire, followed by her MFA in Painting at University of Oregon. In June 2018, she was an artist-in-residence at the Wassaic Project in Wassaic, New York, and she will be spending July at theInternational Studio and Curatorial Program in Brooklyn. She is the curator of Nighttime For Strangers, which features the work of Skye GilkersonHeather Merckle, and Holly Veselka, at the NARS Foundation in Brooklyn. The show opens this Friday on July 6 and runs through July 27. Her upcoming solo show Susan Klein: New Work opens on September 6, 2018 at the Sumter County Gallery of Art in South Carolina. Susan's work in represented by The Southern. She lives in Charleston, South Carolina.

OtherPeoplesPixels: How do you define the Sacred?

Susan Klein: I think of the sacred as that which is imbued with a specific religious or spiritual significance. This can be an object or living being that is revered and often held as directly connected to a god or gods. I am interested in the arbitrary manner that objects can be consecrated and made sacred. An ordinary object can be transformed into a thing that carries power, weight and spirituality. It can act as the connection between this world and another.  

Offering, 2017. Oil and acrylic on ceramic stoneware. 84 x 84 x 6 inches.

OPP: Can you talk about that recurring form which is sometimes a severed finger, sometimes a gravestone, sometimes a monument?

SK: This form references a pattern on an Etruscan artifact. I have played with it many times in painting, drawing and sculpture. I like how it can shift between a finger, figure, phallus and monument. It is a form that symbolizes creation, touch and commemoration. 

It is interesting that you mention it as a severed finger! The violence associated with that connects the form to Shadow Things (2014-2015), a body of work that directly relates to cemeteries, urns, grave markers and funerary ornament. I was thinking about how these markers or holders of the dead are used to commemorate and bridge the living and the dead. Mausoleum and the related works grew out of visits to museums to see artifacts (Roman and Egyptian funerary artifacts to name a few) and out of my experience in Berlin’s Weissensee Cemetery, the second largest Jewish cemetery in Europe that miraculously survived WWII. Many Jews hid in the mausoleums there, but I think most were found and killed. Despite this history—or maybe because of it—it is an amazingly beautiful place. Humans have a way of turning death into something beautiful. Through religion, commemoration, decoration and the use of the sacred object or altars we find ways to grapple with that which we do not understand. 

Three Rainbows, 2017. Oil on canvas and wood. 60 x 48 inches.

OPP: What role does humor play in your work?

SK: Humor is a counter to the heaviness in life. It is a way we can process and manage emotions, trauma and current events. For me, it is also a way to prevent work from becoming literal, heavy-handed, overly simplified and a one-liner. It keeps complexity in the work, and that mirrors the human psyche.  

The finger form is as funny as it is serious. I often use shapes or imagery that shift from serious to playful, venerated to irreverent. This slippage is important to me, and one of the main reasons I am currently working with the ubiquitous symbol of the rainbow. It is used in religion, new age spirituality, emojis, stickers, etc. I think it is funny to use a cliched image in "serious," formal work. There are so many associations we have with the rainbow as a symbol. Rainbows are very seductive and silly in reproduction (but a real rainbow is always beautiful). It is fun to play with those associations, to personify and glorify this image. Plus, how can I resist a good color gradient? 

Landed, 2018. Oil on ceramic stoneware. 18 x 14 x 7 inches.

OPP: It seems like you began in drawing and painting and moved into sculpture. Is that the case? What led you toward sculpture?

SK: In graduate school, I cut up drawings and made three-dimensional structures out of them. I would use these structures as stand-alone sculptures and as still life subjects for paintings. I also began using small foam and spilled paint sculptures as subjects. This process continued after school for many years. Later, I pulled forms from paintings and made them into sculpture. There has been a continuous back and forth, although I had about three years or so where I focused entirely on painting. A collaborative exhibition in Berlin in 2015 brought sculpture back into my practice. I incorporated the furniture in the exhibition space into my work. That certainly changed things! In some ways, straight painting and image making never satisfied me. I continuously was thinking of the painting as object, so moving into sculpture made perfect sense. Strangely, much of the art I admire most are very quiet paintings, like Giorgio Morandiand Édouard Vuillard. Although Betty Woodman and Jessica Stockholder rock my world. 

Looped, 2018. Oil on ceramic stoneware. 15 x 9 x 9.75 inches.

OPP: When did ceramics first enter your tool kit?

SK: In 2016 I began making forms out of Sculpey, epoxy resin and air dry clay as a way to solve an architectural issue with a cement piece. These forms and materials clicked, so I made more and more. A year ago, I had the opportunity to participate in the artist in residence program at Otis College of Art and Design. They have a ceramics studio and an amazing ceramics tech there, so it was the perfect time to experiment with clay. I loved it immediately! Instead of glazing, I fire the clay and oil paint it.  This keeps the work firmly connected to painting and allows me to work with a process that more spontaneous than glazing. I also love how the oil paint takes to the fired surface. It is very buttery and satisfying!

OPP: Talk about your choice to present artist statements in the form of audio and video that doesn’t tell us much at all. You could have no statement at all, as many artists do. Are you a contrarian? Or genuinely mystified by writing an artist statement?

SK: Ha! I have "proper" artist statements that I use for applications, exhibitions, and whatnot, but I like resisting language on the website. I think the work creates its own language and presents that to the viewer. I am not so interested in layering verbal/written language on top of that. Although I am an academic, I have a small problem with the academicizing of visual art.  Artist statements are a direct result of the proliferation of the MFA and the professionalization of the field. . . so yes, maybe I am a bit contrarian! But I also like that image and sound can exist as a statement or descriptor of the work. There is something pre-lingual in my work and in my experience words can obfuscate, confuse and miscommunicate as often as not. One must be a very good writer to illuminate the world.

Peach Diamond Reverence, 2016. Foam, paint, glitter, resin, clay. 12.5 x 11 x 9 Inches.

OPP: What’s frustrating about how viewers respond to your work?

SK: For some reason, I dislike the word whimsical being applied to my work. I don't know why! Maybe because it makes me think of cuteness. My work incorporates play, humor and improvisation, but it is also rigorous. Whimsy feels a bit fluffy. 

OPP: What’s satisfying? 

SK: It is satisfying when viewers really engage with the work. When they spend the time to get lost in it a little, when they start to react the dark side as well as the light. I do like to see people having fun with my work as well! My art idol is Elizabeth Murray, who created work that embodies many things at once. It is playful, humorous, rigorous, serious. 

To see more of Susan's work, please visit susankleinart.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indianapolis 2017) and Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018). Most recently, Stacia created Renunciation Reliquary as a one-night installation for Chicago Artist Coalition's annual benefit Work in Progress.

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tag:blog.otherpeoplespixels.com,2013:Post/1297632 2018-06-27T18:44:29Z 2018-06-27T19:57:35Z What exactly is a Fellowship?

Fellowships, unlike residencies, do not usually provide space—although there are some exceptions. Fellowships are unrestricted, larger chunks of money awarded based on merit. Fellowships usually have some kind of limitation in regards to subject matter, geography, medium or identity. This follows along with the idea that a fellowship is in pursuit of some joint goal. 

Please note, some of the fellowships below DO NOT have current open calls. Funding for fellowships may change from year to year. But it is a good idea to get on the mailing lists for any fellowship that you are eligible for.

KRESGE ARTIST FELLOWSHIPS for emerging and established metro Detroit artists

Deadline: January each year

Artists receive $25,000 awards and professional practice opportunities. 

Fellowships recognize creative vision and commitment to excellence within a wide range of artistic disciplines, including artists who have been academically trained, self-taught artists, and artists whose art forms have been passed down through cultural heritage.

GILDA AWARDS are $5,000 prizes for emerging artists, named in honor of artist, CCS professor, and 2009 Kresge Artist Fellow Gilda Snowden (1954–2014).

Fellowships and Gilda Awards are no-strings-attached awards, meaning artists may spend the money on any aspect of their creative practice or life (i.e. making new work, renting or purchasing studio space, travel, general living expenses, etc.).

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JEROME FOUNDATION FELLOWSHIP for residents of Minnesota or one of the five boroughs of New York City

Deadline: Applications for the 2019-2020 program are closed. The next application cycle opens in 2020.

Artists receive $20,000 per year for two consecutive years, making the total cash award $40,000 over the two-year period. In addition to the cash award, each Fellow will receive $10,000 of production funds to award to a nonprofit(s) that contracts (or is already contracted) with the Fellow during the two-year period.

The new Artist Fellowship program that offers flexible, two-year grants to support the creative development of early-career generative artists in the state of Minnesota and the five boroughs of New York City. Artists may apply individually or together with other members of ongoing collectives or ensembles.

The Foundation recognizes that the term “emerging” means different things to different people. In preparation for this program, we received over 1400 artist surveys with wildly different definitions of “emerging.” Some people said that, in this country, all artists are always emerging, and some people gave specific criteria for identifying the markers between emerging artists versus mid-career or established artists.

The Foundation’s goal is to serve a spectrum of artists typically in their 3rd to 15th year of creative practice, post-student status (if applicable). This spectrum is framed by artists with some track record of creating and presenting full work (not beginning artists), and artists who are NOT at a point in their careers where they receive consistent development and production opportunities and significant recognition, awards, and acclaim (not mid-career or established artists).

The Jerome Foundation makes a distinction between generative artists (those artists responsible for artistic control in generating entirely new work, including writers, choreographers, film directors, visual artists, composers, playwrights, etc.) and interpretive artists (those who interpret or execute the work created by others, including actors, editors, dramaturgs, singers, dancers, musicians, designers, etc.). The Foundation recognizes that some artists do both generative and interpretive work. Nevertheless, the Fellowship program supports only those artists with a significant history of generative work.

The Foundation will make 10 grants in each of six categories:

  • Dance
  • Literature (fiction, creative non-fiction and poetry)
  • Media—including Film, Video and Digital Production (documentary, narrative, animation, or experimental) and New Media (artistic work that is computational and distributed digitally, in the form of websites, mobile apps, virtual worlds, computer games, human-computer interface or interactive computer installations)
  • Music
  • Theater, Performance and Spoken Word
  • Visual arts

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A BLADE OF GRASS FELLOWSHIP for socially-engaged art

Deadline: September

Artists receive $20,000 in minimally restricted support.

We look at the process and relationships of socially engaged art projects. We see the aesthetic qualities of socially engaged art in how alliances are formed and maintained, the way disparate stakeholder groups are coordinated, how power dynamics are navigated, and how bridges are built between many different types of people within a socially engaged art project.

We create content that illuminates and deepens understanding of these relationships. A primary goal of ABOG is to make the “invisible” parts of socially engaged art visible. We do this through documentary films and field research that are artist-led, and are grounded in the perspective of project participants, as well as publications, web content, and public programming.

We also use this focus on process and relationships to advocate for a more expanded sense of what art is, how artists can work in communities, and how art might be integrated into everyday life. Our field research, documentary films, and other content serve as the basis for curriculum, toolkits, and consulting that enable more artists to work in partnership with non-artist stakeholders.

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NATIVE ARTS AND CULTURE FOUNDATION REGIONAL ARTIST FELLOWSHIP

Deadline: deadlines change as money becomes available; sign up for the mailing list to be alerted when there is an open call.

At its heart, the Artist Fellowship initiative is built around the fact that in order for any artist to succeed creatively, they need time, space, and financial support to cultivate their creative process, improve their craft, explore new concepts and, for some, take risks that they might not have had the capacity to take otherwise. Native artists in particular struggle with a lack of equal opportunity in the arts and culture sector, reflected in the mere 0.2% of all national arts funding which reaches them each year. By offering Fellowships, the Native Arts and Cultures Foundation proactively strengthens the ecosystem of support for Native artists, enabling them to generate more artistic work, live sustainable lives, and contribute to their communities.

Goals of the Artist Fellowship Initiative:

~Power the artistic growth and magnify the voices of Native artists through the development of new works or completing projects in motion

~Increase recognition and visibility for Native artists in national and international arenas

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TULSA ARTIST FELLOWSHIP

Deadline: March 1, 2019.

Artists receive an unrestricted award of $20,000 for visual and literary artists for one year. In addition to the unrestricted award, TAF provides free housing, studio space to visual artists and co-working space to literary artists in the heart of Tulsa’s vibrant arts and entertainment district.

Given the unique cultural and historical landscape of Tulsa, designated fellowship spots will be reserved for Alaska Native, Native American and Native Hawaiian artists.

Fellowships are merit-based, not project grants, with a one-year term. Artists at any stage of their careers are encouraged to apply.

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ARTIST FELLOWSHIP AT MUSEUM OF ARTS AND DESIGN

Deadline: Applications for the February—July 2019 session will become available in August 2018

Artists receive a stipend of $15,000 and work 40 hours per week in their studios.

Fellowship selection follows the selection process outlined in The Artist Studios overview, but instead of artists being assigned one day each week to work, fellows work forty hours per week and receive a stipend of $15,000. A total of fifteen of the forty hours the Fellow is at work in the Museum must be open hours, during which the public has access to the Fellow’s studio. Additionally, fellows are given extra professional development opportunities including regular meetings with museum staff and outside professionals in addition to being able to participate in workshops and meet regularly with a mentor in their creative field.

Applicants must be thirty years or younger at the start of their fellowship, no exceptions (artists will be asked to submit paperwork to prove their legal age). Fellows must also identify racially and/or culturally with a historically underrepresented community, demonstrate the need for financial assistance to advance their artistic careers, and be residents of New York City.

Successful applicants have a mature body of work that reveals a mastery of techniques, methods, processes and/or materials, as well as demonstrates developed concepts, ideas, and/or themes. Proposals need to address a clear direction or question for pursuit in applicant’s work and take into account the public-facing nature of the program (we highly recommend applicants visit the museum and talk to current residents). Successful applicants also have an artistic practice that aligns with the mission of the museum to celebrate creative processes through which materials are crafted into works that enhance contemporary life. Key attributes for practices that align with the museum’s mission are: Innovation that drives 21st century creative production, the highest level of skill and workmanship, and an emphasis on cross-disciplinary approaches to production.

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MCKNIGHT FELLOWSHIP for ceramic artists living in Minnesota

Deadline: May 25

Artists receive $25,000.

In its 21st year of programming, the McKnight Artist Fellowship for Ceramic Artists will support outstanding Minnesota ceramic artists who have already proven their abilities and are at a career stage that is beyond emerging. Fellowship support may be pursued for, but is not limited to: experimenting with new techniques and materials, purchasing materials and equipment, collaborating with other artists, and pursuing education, exhibition, or travel opportunities. The McKnight Fellowship recipients will be featured in a workshop and an exhibition with a corresponding catalogue at the end of their grant year. 

This program is made possible by the generous support of The McKnight Foundation, Minneapolis, MN. It is administered by the Northern Clay Center in Minneapolis.

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THE EFROYMSON CONTEMPORARY ARTS FELLOWSHIP for Midwestern installation, sculpture and new media artists

Deadline: Applications are not currently being accepted. If you would like to have your name added to our distribution list to be notified about any future Efroymson Contemporary Arts Fellowship opportunities, please send an email to Mary Johnson at maryj@cicf.org.

Artists receive $25,000. It has distributed $1,000,000 to 50 contemporary Midwestern visual artists since its inception.

The Efroymson Contemporary Arts Fellowship program was established in 2004 to reward creativity and to encourage emerging and established individual artists by supporting their artistic development while increasing awareness of contemporary art in the Midwest.

Fellowship categories are restricted to Installation, Sculpture, and New Media. Selection criteria includes the following:

  • Quality and skill
  • Creativity and uniqueness
  • Commitment to developing the work
  • Impact the award will have on the artist’s career

To be eligible, artists must:

  • Be age 25 or older
  • Be a resident of either Indiana, Illinois, Michigan, Minnesota, or Wisconsin
  • Commit to residing in Illinois, Indiana, Michigan, Minnesota, or Wisconsin for the duration of the fellowship

Fellows are chosen by a five-member selection committee through a blind selection process.

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RAUSCHENBERG FOUNDATION ARTIST AS ACTIVIST FELLOWSHIPS

Deadline: No current open call; sign up for mailing list

Artists receive up to $100,000 over two years, along with access to opportunities for professional advancement.

In 2015 we received more than 600 applications from 42 states, spanning a range of artistic genres and areas of thematic focus. The pool of applicants were narrowed to six fellows with the help of 30 field experts from across the U.S. This inaugural cohort tackled a range of timely issues—from climate change to caste-based sexual violence.

After the inaugural round of fellowship applications, the foundation decided to narrow the focus of future open calls by inviting projects addressing a specific issue or theme. The issue area is subject to change. The 2016 and 2017 cohorts of Artist as Activist Fellows are addressing racial justice through the lens of mass incarceration.

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HEMERA FOUNDATION TENDING SPACE FELLOWSHIP for artists with a contemplative practice

Deadline: rolling; apply here 

Artists receive financial support to attend one meditation retreat per year at one of our partner retreat centers (see below for a list of our partner centers)

The Tending Space Fellowship (TSF) program for Artists was developed with the view that art has the capacity to infuse the experience of everyday life with awareness. The aim of the program is to nurture the creative practice of seeing things as they are, to cultivate that awareness, and to live and create from this insight. To accomplish this, we provide financial support for artists to experience the immersive, contemplative environment of a meditation retreat. Qualified applicants will be full-time artists—visual, performing artists, writers, and multi-disciplinary artists—whose professions directly relate to their artmaking practice. This can include those who teach their artistic discipline, whether privately or with an organization, or in any type of school, as well as many others.

TSF are available for full-time artists with a sincere desire for the experiences of extended meditation practice to inform and influence their creative expression in the world.

Applicants will apply directly to the center holding the retreat they would like to attend. Artists who have never attended a residential meditation retreat longer than two nights will be provided with 100% funding for the retreat of their choice. Artists who have attended at least one meditation retreat longer than two nights will be offered 50% funding, with need-based support available beyond that. The program is open to domestic and international applicants, as well as groups of artists.

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tag:blog.otherpeoplespixels.com,2013:Post/1295706 2018-06-20T11:45:51Z 2018-07-11T19:16:19Z OtherPeoplesPixels Interviews Toni Gentilli

9" x 12." Copper liquor, iron liquor, oak gall ink, India ink, ash, charcoal, and graphite on paper. 2016.

TONI GENTILLI combines "anachronistic materials, techniques, and philosophies" in her work that includes a range of photographic processes, drawing and painting. In photography that highlights the mediating lens through which humans view nature and drawings made with wildcrafted pigments, her work investigates the relationship between nature, emerging technologies and human awareness. After 15 years as an anthropologist, Toni went on to earn her MFA in Photography at San Francisco Art Institute in 2013. In 2015, she was an Artist-in-Residence at Chalk Hill Artist Residency and the Lucid Art Foundation. Her work has been shown at Berkeley Art CenterThe Compound Gallery (Oakland, CA), The Lodge (Phoenix, AZ), and the Center for Fine Art Photography (Fort Collins, CO), among others. Toni works as the Residency Program Manager at the Santa Fe Art Institute. She lives in Albuquerque, New Mexico.

OtherPeoplesPixels: You’ve constructed various apparatuses, including the Vignette-a-scope, that use the iPhone camera to photograph nature. These are reminiscent of the large-format cameras used in early landscape photography. Is showing the camera paramount to understanding the meaning of the photographic imagery? 

Toni Gentilli: In the two series The Thing Itself and Eye of the Beholder, I explore the history of landscape photography and contemplate the roles various framing devices play in our engagement with the natural world, both in the past and in a contemporary context. I consider the iPhone as Claude Glass and the Vignette-a-scope both as artworks themselves and sculptural props that are as integral to the projects as the photographs I create with them. 

To be clear, neither the iPhone as Claude Glass nor the Vignette-a-scope are the actual camera I used to take the images. In The Thing Itself, I use a DSLR to photograph reflections of landscapes in an iPhone, and in Eye of the Beholder, I use an iPhone to take pictures through the Vignette-a-scope. 

Annulohypoxylon thouarsianum

OPP: What is being documented in the works made with the Vignette-a-scope?

TG: In these resulting photographs, a portion of the apparatus acts as an analog framing device that assumes the role of digital cell phone filters. The imagery includes a survey of native and invasive flora in a particular geographic region, in this case, Sonoma County in northern California. By including aspects of the apparatuses together with the scenes captured in and through them, I am referencing how photographs are always mediated by the cultural lenses we impose on them, whether they are taken for scientific, artistic, or personal use.

from The Thing Itself

OPP: What is a Claude Glass? Talk us through the iPhone connection in The Thing Itself (iPhone as Claude Glass).

TG: A Claude Glass is a mid to late eighteenth and early nineteenth century device that changed roles in the hands of its users over the years. Initially, a Claude Glass was a piece of polished, typically convex, black glass often surrounded by velvet and set in a wood or metal case, about the size of an iPhone. Usually oval or rectangular in shape, they were employed by landscape painters to view reflections of natural scenes in such a way that the images took on a sepia hue reminiscent of the moody tonal modulations in Claude Lorraine paintings from the mid to late seventeenth century. 

The Bourgeoisie further popularized this nostalgia for the aesthetics of the preceding generation during the era of The Grand Tour. This was a time when young, male aristocrats would take a year or more hiatus after completing their academic studies at university to travel through Europe and the Mediterranean and appropriate the art, architecture, culture, and biological specimens of foreign places so as to build their cabinets of curiosity and cultivate their “worldliness.” While on their Grand Tours, these young men would visit The Seven Wonders of the World, famous Greco-Roman ruins, and grandiose natural attractions, to bear witness to their magnificence, and boast that they had stood in the shadows of greatness. Whilst at these locations, they would often view the splendors of nature and human ingenuity through a Claude Glass; literally turning their backs on the scenes themselves to look at the reflections in their handheld devices instead. This level of abstraction and mediated / indirect engagement with the world reminds me so much of how people today use cell phones to document that they were there, rather than having a meaningful and direct / visceral experience of place. Additionally, the penchant to transform images from the present into something reminiscent of times past, a practice that is at least three centuries old, also calls to mind digital cell phone filters made to mimic older analog photographic techniques like Polaroids. 

Chlorophyll print from hand-drawn negative on nasturtium leaf. 2013

OPP: I love the chlorophyll prints from on nasturtium leaves from 2013. I imagine these no longer exist. It’s interesting to think that the image is made as the leaf is dying. What role does impermanence play in your practice?

TG: The chlorophyll prints from the Transplant series were made as part of a collaborative installation called, Indicator Species with environmental photographer Marie-Luise Klotz. I transferred a stylized rendering of the Islets of Langerhans, the cell bodies in the pancreas that produce insulin, onto the nasturtium leaves with hand drawn negatives. They were intended to be ephemeral pieces, purposefully imbued with a life cycle of their own, to speak to the fragility and ephemerality of all living things. Impermanence, decay, and transformation are intrinsic to the human experience and everything in the natural world. 

I am interested in incorporating these elements into my art to reflect on my personal experience with chronic disease. Plants as both material and content in my work often serve as analogs for my body’s inability to synthesize sugar—I'm a Type 1 (insulin dependent) diabetic—and also to call upon the possibility of healing through herbalism, alchemy, and reconnecting to nature in my art and life. Plants have this extraordinary power to synthesize sugar—life-giving energy—from sunlight and water. These also happen to be key elements in many of the historic and experimental photographic processes I use.

Poppy, Coreopsis, Madder Root, iron, ash, charcoal, bronze ink, watercolor pencil, blood, sugar, and insulin on cotton rag paper. 2015

OPP: What led to the Allelopathic Talismans?

TG: Allelopathy is a biochemical defense mechanism that plants employ to enhance their survival by either having beneficial or negative effects on other plants and organisms in their environment. During a particularly challenging period (health-wise), I turned to my art for catharsis. And ever since then, I have been striving to foster greater integration between my life and creative practice. From this deeply personal, intuitive and vulnerable state, the Allelopathic Talisman series emerged. It is the first project in which I veered away from photography as the method/subject of my work, although, the project has its roots in experimentation with anthotypes, a “photographic process” invented by Sir John Frederick William Herschel in the 1840s. Anthotypes are created by transferring images onto paper coated with “photographic emulsions” made from flower petals or leaves, with either negatives or objects set on top of the paper, which is then put out into the sun to fade, rather than produce a photochemical reaction. 

At some point during this period of experimentation, I abandoned using negatives or even making photograms, and started to draw and paint with the plant-based pigments I was making. It was a revelation for me really, an almost divine moment in which the methods and materials I had been working with for several years opened up my consciousness to the synergy they had with my embodied experience as a Type 1 diabetic, alongside my intellectual and artistic pursuits engaging the history of photography, UV light-sensitive chemistry, Natural Philosophy, Alchemy, photosynthesis, and modern biosciences. 

Hollyhocks, poppy, iron, ash, graphite, chalk, mica, insulin, and blood on cotton rag paper. 2015

OPP: What goes into your pigments?

TG: I incorporate wildcrafted pigments I make from foraged plants with medicinal properties, along with the two kinds of synthetic insulin and antifungal medicine I take, various forms of sugar and mold. I also add earth elements such as mica, graphite, charcoal, ash, chalk and ochre. The process of making each piece really evolves over several days and weeks, including the time I am out on the land gathering raw materials, and then in the studio laboriously processing the elemental components by hand into workable materials. 

The pieces I create with these wildcrafted pigments are talismans intended to evoke healing. The forms include mandalas, spirals and the infinity symbol, as well as organs, fascia, cells, and even the shape of the cavity in my left lung created by the Coccidioides (a microscopic fungal spore that lives in the arid soils of the Southwest and causes what is commonly called Valley Fever) which took up residence there over 8 years ago during the end of my 15-year-long career as an archaeologist.

from Morphological Analysis of 24 Nodules of Brook's Creek Obsidian, A Naturally Occurring Black Glass of Volcanic Origin

OPP: Morphological Analysis of 24 Nodules of Brook's Creek Obsidian, A Naturally Occurring Black Glass of Volcanic Origin and LCD, point to archeological methods. Why is drawing more appropriate than photography for the content of these projects?

TG: The LCD works are actually mixed media pieces comprised largely of pigments I made from dissolved metals such as copper which are used in the production of liquid crystal display screens. The form is based on an iPhone 7 and the content is both a demystification and wonderment at the technology so many people use to capture mundane imagery with smart phones. 

I chose to draw found nodules of obsidian, natural black volcanic glass, to render the details of each rock in a way that photography just cannot capture. The practice of drawing stone tools is something I honed in the 15 years I worked as an archaeologist and I felt compelled to return to. The drawings are a meditation on the focused observation of details; a practice I feel in many ways has been eroded by the oversaturation of images we are subject to through social media and digital technology, particularly the use of cell phone cameras. The black glass is a reference to the ubiquitous screens on which such imagery is captured and viewed.

6" x 4" Graphite on paper. 2015

OPP: What are you up to these days, in your practice and your life?

TG: Since relocating from California to New Mexico and taking on the full time position as Residency Program Manager at the Santa Fe Art Institute, much of my focus has been on my role as an arts administrator and curator (i.e. supporting other artists). But outside of that work, I have been spending a lot of time wildcrafting pigments from native and invasive plant species found throughout the Middle Rio Grande Valley and establishing my home pigment, herb, and vegetable gardens. 

I am working towards a holistic, self-sustainable practice that integrates my reverence for plants, including 22 years of eating a plant-based diet, with herbalism, and crafting all of my own all natural art materials from what grows in my yard. Right now I am fumbling through hand making my own paper from the many mulberry trees and other invasive species such as Russian Elm and Tamarisk (Salt Cedar) that are prolific in this part of New Mexico. 

To see more of Toni's work, please visit tonigentilli.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indianapolis 2017) and Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018). Most recently, Stacia created Renunciation Reliquary as a one-night installation for Chicago Artist Coalition's annual benefit Work in Progress.

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tag:blog.otherpeoplespixels.com,2013:Post/1293769 2018-06-13T20:28:09Z 2018-06-13T20:31:12Z OtherPeoplesPixels Interviews Kaitlynn Redell

not her(e) (couch), 2016. Digital c-print.

KAITLYNN REDELL's work often begins with photographs, both found and made. Photography's history is steeped in the myth of pure and accurate representation of reality, making it a perfect medium to explore the errors we make when define humans only by their bodies. By cutting into, drawing on and collaging photographic imagery, she explores the relationship between the identities we choose and the ones forced upon us by others. Kaitlynn received her BFA from Otis College of Art and Design in 2009 and her MFA from Parsons the New School for Design in 2013. She has participated in numerous exhibitions nationally and internationally. Her work has been seen most recently in Labors: An Exhibition Exploring the Complexities of Motherhood at Pearl Conard Gallery, Ohio State University in Mansfield, Ohio and the 32nd Biennial of Graphic Arts: Birth as Criterion in Ljubljana, Slovenia. Kaitlynn has been an Parent Artist Resident with her daughter at Popps PackingIn addition to her solo work, she is one half of Redell & Jimenez, an ongoing collaboration with artist Sara Jimenez. They have been Artists-in-Residence at the Wassaic Project and Yaddo. Kaitlynn lives and works in Los Angeles.

OtherPeoplesPixels: Your work addresses “inbetweeness and how ‘unidentifiable’ bodies—that do not identify with standard categories—negotiate identity.” Generally speaking, how do you think about the relationship between identity and the body?

Kaitlynn Redell: This is such a complex question.  I think what is most important to distinguish is the difference between the identities we choose for ourselves versus the identities that are placed upon us by others. I think we are lucky to live in a moment when that distinction is becoming more widely acknowledged. Unfortunately, however, I think the identities that are most commonly placed upon us are directly tied to the body and unfortunately are often used as a way to categorize and control.

Alternate (1), 2011. Cut laser print. 11" x 17."

OPP: Do you always, sometimes or never use your own body/image in the work to address your conceptual concerns? Why or why not?

KR: My work always comes from the personal, so it often makes sense to use my body/image as a direct medium. Sometimes it is more obscured than other times. I am very conscious of the generalized connotations the image of my body has on the work, so how and when I use my body directly correlates to how aware I want the viewer to be to their own assumptions of my identity.

Supporting as Herself (Civic Duty), 2013. Graphite on Duralar.

OPP: Can you talk about the role of hair in Supporting As Herself? I see figures obscured—almost mummified—by their own hair.

KR: Supporting As Herself explores how film stills of Anna May Wong, the 1920s Chinese American actress, carry a sense of historical weight and serve as a contested foundation for my own understanding of identity. The manipulated representation of her public image, the stereotypical roles she played and my proximity to her birthplace—Chinatown, Los Angeles—have created an aura that haunts me to the core. I see Wong as a lynch pin for what it means to be both simultaneously American and foreign. . . to be “othered.”

In my series Supporting as Herself, I use photographs of Wong as a starting point. Through performative mimicking, photography, collage and drawing I explore the ways in which Wong presented/performed race and gender. I created a series of figurative collages and drawings using publicity stills of Wong and images of myself mimicking her poses as reference material. I am interested in how my figurative collages/drawings reference Wong’s image as a starting point, but become amorphous bodies engaged in their own language. The drawing sections done in graphite reference hair, fabric, muscle or some sort of tightly bound covering.  This rendering is meticulous and realistic, but unclear as to if it is hair, muscle or some other sort of fiber. Ultimately, I am interested in how these shape-shifting figures begin to create their own histories, of their own accord.

not her(e) (table), 2017. Digital c-print.

OPP: Your most recent series Not Her(e) gets at the complicated emotions involved in motherhood. These photographs point to the loss of identity and the subsuming of self into the role of mother. Can you talk about the process of making these photographs?

KR: When my daughter was first born, I had a really hard time transitioning my studio practice. My time was so fragmented and when I did get in the studio (aka my dining room table at the time), I felt like I was totally lost and didn’t know what to make. I thought about Mierle Laderman Ukeles’ Maintenance Manifesto every, single day. 

So, I began to change my ways of working to fit my new routine, both conceptually and materially. I was looking at a lot of Victorian Hidden Mother portraiture and thinking about how much of becoming a parent is about being loving and supportive and well as being invisible. And not only how emotional, but physical it was to become this support. I started thinking about and making drawings for this body of work when my daughter was a month old. We shot our first image when she was three months and the last when she was almost two years old. I started making “furniture costumes” for every piece of furniture I used to take care of my kid. And then I would inhabit these costumes and become a part of the support.

Counterbalance, 2012. Collaboration with Sara Jimenez. Single channel video. 0:54 min, loop.

OPP: What does it mean to have a “bi-coastal” collaborative practice with artist Sara Jimenez?

KR: Sara and I started collaborating in 2012 in graduate school at Parsons in New York. She still lives there, but I moved back to LA the summer after graduation. Our collaboration has always been project-based, and we have continued to work in this manner even though we are not in the same city. We apply collaboratively to residencies as well as spend short, intense periods of time together starting and completing projects. We also spend a lot of time planning over video chat. Most recently we attended the Yaddo residency in upstate New York together and will be curating an exhibition here in LA in 2019. The exhibition will include works by artists who explore poetic gestures of the body as an evolving site of communication, language, history and myth, via collaborative based projects. Specifically we are interested in how the process of collaboration activates a space for collective negotiation of our physical and psychic embodiment of identity.

OPP: How has this collaboration influenced or affected your solo practice?

KR: Collaborating with Sara has always been a part of my “mature” art career, so it absolutely affects my solo practice. When you collaborate, you constantly have to discuss every detail with another person and can't just get lost in your own head. So it has really helped me to verbalize my process both physically and conceptually. Before we started collaborating, our solo practices came from very similar conceptual places—which is a big reason why our collaboration has always felt so natural—but were somewhat different in terms of discipline. I come from a drawing, papercutting, painting, textiles/fashion background and Sara from a performance, video and sculpture background. We both had this history of body movement (Sara with dance and me with gymnastics) and I think performing collaboratively with her really allowed me to access that physical space again.

Domestic Air, Space, 2017. Cut digital c-print and balsa wood. 19 x 19 x 5 inches.

OPP: What are you working on right now?

KR: Aside from the curatorial project with Sara, I’m also working on a series of drawings, collages and paper-cut photographs about my great Auntie Hilda Yen. She’s actually my mother’s Aunt, but in Chinese culture the term “Auntie” is kind of all-encompassing for female relatives and close family friends that aren’t your mother or grandmother. I never had the opportunity to meet Hilda, but I am interested in the fluidity of memory and the influx nature of personal and collective histories, which has brought me to researching her. Hilda was one of the first female, Chinese aviators (beginning in the 1930s) and was a member of the League of Nations and the World Women’s Party for Equal Rights. 

I’m interested in the sort of historical and personal mythology that has been built around her and how women like her are so often left out of “commonly known” history. As I’ve gotten deeper into the research she’s become more and more fascinating to me in terms of how she’s been represented (or not) as a historical figure. Equally there is this whole other side in relation to my family’s personal memories of her. I’m interested in the kind of dovetailing between my mother and uncle’s fragmented memories of her and the glimpses of her “historical” representation in newspaper articles and League of Nations documents. A lot of the documentation is so representative of the racial and gender biases of the time period; I’m interested in how that narrative frames the information provided and only tells a fragment of the story. I think that one—unnervingly contemporary—quote from Hilda’s 1935 address to the League of Nations sums up how I interpret her mythology: “Give your women legal equality willingly and in good spirit, or have it taken from you.”

To see more of Kaitlynn's work, please visit kaitlynnredell.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center. Where Do We Go From Here? just closed at Robert F. DeCaprio Art Gallery (Palos Hills, Illinois). In conjunction with this improvised installation, Stacia invited eight OPP artists—Kathryn Trumbull Fimreite, Brent Fogt, Melinda Thorpe Gordon, Jaclyn Jacunski, Jenny Kendler, Meg Leary,  Geoffry Smalley and Erin Washington—to respond to the text "Where Do We Go From Here?" Each artist approached the question from a different angle, emphasizing that both the We and the Here are not the same for each of us. For Chicago Artist Coalition's annual benefit Work in Progress, Stacia will create a one-night installation that solicits the help of benefit attendees.

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tag:blog.otherpeoplespixels.com,2013:Post/1291635 2018-06-07T13:04:59Z 2018-06-07T14:03:32Z Unique Residencies with Very Specific Agendas

LOOKING FOR AN EXTREMELY SECLUDED RETREAT?

Montello Foundation Artist Retreat —Montello, Nevada

Deadline: current deadline has passed; check back in January
Application Fee: $15
Residency Fee: none
Length: 2 weeks
Stipend: no
Food: no meals provided
Family Members/Pets: Sure, no problem, bring them along, but the maximum number of occupants at any given time is 4. And please bring your own blankets for your hairy friends. The Foundation will expect that you will cleanup after your pets and that any damage to the building will be repaired and/or the foundation compensated.

Montello Foundation is a foundation dedicated to support artists who foster our understanding of nature, its fragility, and our need to protect it. The idea behind the retreat is that you are in this amazing desert landscape by yourself.  It's all yours, and you are part of all what is around you. There is no direct interaction with other humans, no staff or other artists, you don't have to be social or not, decide whether you go to your room or chat all night. You focus on being social using your art you work on while you are there, or do sketches to work on it afterwards, or you can just relax from working and spend two week in the hammock. (We are sure you will have at least one great thought and will act upon it afterwards.) Your social responsibility is with the audience of your work, not the immediate humans around you. What's important is to get the message out: Nature is a fragile thing and we have to take care of it. So, no meals are provided, but you will have a fine little kitchen with a fridge.*

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ARE YOU A NATIVE OR FIRST NATIONS ARTIST?

Institute of American Indian Arts A-I-R — Santa Fe, New Mexico

Deadline: March 28, 2018
Application Fee: none
Residency Fee: none
Length: 3-8 weeks
Stipend: $2250 for a three-week residency; $3000 for four-week residency; $4500 for a six-week residency; $6000 for the eight-week Sculpture and Foundry Residency
Food: yes

The IAIA Artist-in-Residence (A-i-R) Program hosts artists for variable-length residencies taking place on the Institute of American Indian Arts (IAIA) campus in Santa Fe, New Mexico, during the Academic year. Each A-i-R program provides opportunities for Native and First Nations artists to travel to the IAIA campus in Santa Fe, New Mexico, for a meaningful period of art-making and interaction with IAIA students, staff and faculty, and the Santa Fe arts community. Applicants whose work engages with cultural traditions through materials, techniques and subject matter are particularly encouraged to apply.

Housing, meal plan for one person on campus, and $200 budget for gas during residency, studio space on campus, $500 materials budget, and airfare to and from IAIA and reimbursement for a rental car, or mileage reimbursement for artists driving a personal vehicle to travel for the residency.

Opening and closing receptions, public workshops and demonstrations, classroom visits, critique sessions with students, and events hosted by other organizations in Santa Fe. There are four types of residencies available: Studio, Sculpture and Foundry, NEA and Sunrise Springs Residencies.

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WOULD YOU LIKE TO WORK WITH MASTER ARTISTS (INCLUDING WRITERS, COMPOSERS AND VISUAL ARTISTS) IN AN INTERDISCIPLINARY ENVIRONMENT?

Atlantic Center for the Arts Master Artist Residency — New Smyrna Beach, Florida

Deadline: deadline for each session is different; view schedule
Application Fee: $25
Residency Fee: $900; financial aid available if accepted
Length: 3 week
Stipend: none
Food: 3 meals a day Monday-Friday; Meals are not provided on the weekends, however, ACA arranges transportation to the market twice a week and the kitchen facilities are available 24/7.

Atlantic Center for the Arts is an innovative nonprofit artists-in-residence program that provides artists with an opportunity to work and collaborate with some of the world’s masters in the visual, literary, and performing arts. Since the program began in 1982, over 3500 artists have been served from the US and around the world.

The three week Residency Program brings together three “Master Artists” from different disciplines, such as the visual arts (painting, sculpture, photography, film/video, and multimedia), architecture, music (composition and performance), literature, choreography, dance, performance art, and theater. Each Master Artist determines the requirements and basic structure of their residency, and through an online application process, they each select eight “Associate Artists” to participate in the three-week program. The essence of the program is to provide a collegial environment for artists of all disciplines where they can engage in meaningful interaction and stimulating discussions, while pursuing individual or group projects. It is an ideal setting for the exchange of ideas, the inspiration for new work, and the cross-fertilization of disciplines. The programs can include formal classes, discussions, individual meetings, individual and group critiques, collaboration, and studio time. The award-winning Leeper Studio Complex provides residents with resources such as a painting studio, sculpture studio, digital media studio, dance studio, music/recording studio, writers’ studio, black box theatre and library.

Associate Artists are provided with a private room with a full-size bed, bathroom with shower, small refrigerator, and desk space with a view of the natural vegetation.

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ARE YOU CONCERNED WITH THE RELATIONSHIP BETWEEN ART and CONSCIOUSNESS?

Lucid Art Foundation — Inverness, California

Deadline: mid-November of each year
Application Fee: $40
Residency Fee: none
Length: 3 weeks
Stipend: none
Food: Lunch provided on weekends; nearest grocery store is 3.8 miles away, so a car is necessary.

The goal of the Lucid Art Residency Program is to provide artists with a serene, retreat-like natural environment for creative exploration and inquiry into arts and consciousness. The mission of the Lucid Art Foundation is to explore the phenomena of the inner worlds and deep levels of consciousness through visual arts, spontaneous painting, writings, and other means to make visible the otherwise invisible, creating an inclusive way of seeing that is in harmony with the natural world of which we are a part.

The Lucid Art Foundation encourages exploration of nonrepresentational art through multimedia, conceptual, ecological, and interdisciplinary approaches. During the three-week residency, artists will have the opportunity to explore the practice of lucid art, with special emphasis on the integration of art, process, and inner awareness. Through this practice, a deeper foundation is created that fosters individual artistic growth and development, as well as the understanding of the artist's role in society.

The residency provides a space to live in (the former studio of the late writer Jacqueline Johnson) and a 650-square-foot art studio called “the Ark.” The Ark was built in 1960 and was a former studio of painter Gordon Onslow Ford and mixed media artist Fariba Bogzaran. The large studio pictured above has a wood burning fireplace, restroom, sink, high ceilings with upper loft, wood walls, skylights, and a private deck off the sliding glass patio doors.The cottage has Wi-Fi, a bedroom, a living room, 2 bathrooms, wood burning stove, continuous wooden deck, and a full kitchen stocked with necessary cooking utensils. Parking and laundry facilities are on-site. There is also a print shop with a Sturges press available for use by artists who are experienced printmakers. Only water based mediums may be used on the press.*

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IS YOUR WORK SITE-RESPONSIVE? 
ARE YOU INSPIRED BY UNDERUSED SPACES? 
DO YOU LIKE TO GET OUT OF THE WHITE CUBE?

THE BIRDSELL PROJECT —South Bend, Indiana

Deadline: April 10th
Application Fee: $25
Residency Fee: none
Length: 6-9 weeks in the summer
Stipend: $500 for materials
Food: none

The Birdsell Project seeks to revitalize underutilized spaces by opening them to artists and the community in South Bend, a rust-belt city in northern Indiana. The Birdsell Project creates community space that reflects upon South Bend’s history, celebrates current artistic endeavors, and experiments with future methods of merging art and community.

The Birdsell Project Residency Program invites artists to create work in underutilized buildings around downtown South Bend. Artists participating in the residency will create site-specific installations that respond to the spaces they are working in, allowing artists and the public new ways to contemplate and understand these spaces. The program offers a collaborative environment for participating artists as well as engages them with the community at large.

The 2018 summer residency will culminate in a show in a century-old production facility that once housed a dry-cleaners—the location changes each year.

Artists will have access to the installation space and separate work space throughout the residency. Artists are encouraged to use the installation space as their primary studio space, so that the work can truly respond to and be integrated with the building. The residency provides access to some tools. Residents will be housed in a home within a 20 minute walk of downtown. We encourage a cooperative living environment and artists are expected to contribute to the maintenance of the house and communal work spaces. Local artists are not required to live in Birdsell Project accommodations.

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ARE YOU A LESBIAN, GAY, BISEXUAL, TRANS or QUEER IDENTIFYING EMERGING ARTIST?

Fire Island Artist Residency — Fire Island, New York

Deadline: March 25, annually 
Application Fee: $45 
Residency Fee: none 
Length: July 21 - August 16 
Stipend: stipend for food

Fire Island Artist Residency (FIAR) is an organization founded in 2011 which brings lesbian, gay, bisexual, transgender, and queer identifying emerging artists to Fire Island, a place long-steeped in LGBTQ history, to create, commune, and contribute to the location's rich artistic history.

FIAR provides free live/work space to five selected artist residents who work, research, relax, and immerse themselves in the Fire Island community, during which time they are visited by a handful of renowned visiting artists, curators, and art professionals who commune with residents through intimate visits, dinners, and discussions, providing support and feedback. The greater Fire Island community as well as visitors from New York and Long Island are invited to attend free public lectures by these esteemed guests. This has been made possible through a partnership with Arts Project Cherry Grove. FIAR occupies rented beach house properties which are modestly converted into live/work spaces which include outdoor space for artist working with materials requiring ventilation as well as a small selection of hand tools such as drills.

In this way, FIAR hopes to bring both new creative perspectives and prestigious art professionals together in this extraordinary location to foster the creation—and preservation—of queer art-making in contemporary art.*

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ARE YOU PART OF A COLLABORATIVE OR A COLLECTIVE?

Drop Forge & Tool’s Creative Residencies — Hudson, New York

Deadline: Jan 15 (for summer), May 15 (for fall) and September 15 (for winter) 
Application Fee: $10 
Residency Fee: $175 per person per week, with discounts offered for collaborative groups of 4 or more. We reserve a few spaces each residency period for artists or collaborative groups who do not have funding and cannot afford the fee. 
Length: a few days to 3 weeks 
Stipend: none 
Food: basic breakfast supplies and one dinner per week with the directors

Our emphasis is on collaborative process and new work development. We prioritize residency applications as follows: 1) Collaborative Group: A group of two or more artists looking for residency time for concentrated collaborative work on the same project. 2) Co-working Group: A group of two or more artists who are would like to share residency time and space together, but are not necessarily collaborating on the same project. 3)Individual Artist: One artist willing to share the residency space with one or many other artists.

We can accommodate 7-12 artists at a time—or more, if you’re good friends! Residents are responsible for taking everyday care of the residency space, doing basic household chores (like dishes, cleaning and taking out the trash), and helping with seasonal work like snow shoveling or gardening where needed.

For artists who would like an opportunity to show their work-in-progress to a friendly, supportive community, we can host a performance, open studio, or other type of showing, either in the DF&T space, or with a local partner. In the past, we’ve had theater performances, house concerts, book release parties, open readings, small gallery viewings and open studios.*

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DO YOU WORK IN A CRAFT MEDIUM? WANT A REALLY LOOOOOOONG RESIDENCY?

Penland School of Crafts — Penland, North Carolina

Deadline: January 15th
Application Fee: $25
Residency Fee: Rent: $187.50 per month Utilities: $150-$200 per month
Length: 3 years
Stipend: none
Food: Meals are provided when the school is in session, approximately March-April, June-August, and mid-September-mid-November

Penland's resident artists are full-time, self-supporting artists who spend three years living and working in the Penland School of Crafts community. The program is designed for artists who are at some pivotal moment in their career—the residency is an opportunity for them to test ideas and make choices that will have a lasting effect on their work and their lives. Resident artists may use the time to develop their studio practice, to work out the practicalities of making a living, to push technical and conceptual boundaries, or to explore entirely new directions in their work.

The primary expectation of resident artists is that they engage intently with their work. They are also expected to have an open door policy, welcoming students, instructors, and the public to their studios, both informally and formally through the resident open house that is part of each Penland session. Pets, spouses and children allowed.

Education at Penland is built around intense, total-immersion workshops. The resident artist program enriches the workshop program in a variety of ways: students are inspired by the work and the work spaces of the resident artists, who serve as models for the kind of commitment required for sustained artistic production. And, with seven or eight participants at any given time, the program provides diverse examples of ways to make a life in craft.

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*Text taken directly from residency websites.


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OPP
tag:blog.otherpeoplespixels.com,2013:Post/1289074 2018-05-30T12:12:54Z 2018-06-07T13:21:49Z OtherPeoplesPixels Interviews Hoesy Corona

Alien Nation, 2017. Hirshhorn Museum and Sculpture Garden.

HOESY CORONA takes a multimedia approach to art-making. His complex performance works, which involve movement, costume, light and sound, balance alienation with celebration. His sculptural works explore the role of scapegoating in maintaining cultural dominance. Concerned with a queerness, immigration and climate change, he explores the many forms of marginalization in North American society. Hoesy earned his BFA at The Maryland Institute College of Art in 2009 and is currently a MAT candiate. He has exhibited at The Hirshhorn Museum and Sculpture Garden, The Baltimore Museum of Art, The Walters Art Museum and The Peale Museum, among numerous others. In 2017, he received an Andy Warhol Foundation Grit Fund Grant and, in 2016, a Ruby’s Project Grant in Visual Arts. He is a 2017-2018 Halcyon Arts Lab Fellow, as well as an Artist-in Residence at the Fillmore School Studio in Washington, D.C. Hoesy lives and works in Washington, D.C. and Baltimore, Maryland.

OtherPeoplesPixels: Costumes that obscure the identity of the wearer feature prominently in your performance work, especially The Nobodies (2009-present). Who are The Nobodies?

Hoesy Corona: The Nobodies are no one and everyone at once. In this series I consider what it means to be a disenfranchised member of society in North America by embodying the abstract concept of nobody, nothing all of a sudden becomes individualized, becomes body and eyes, becomes no one. I started this series after reading The Labyrinth of Solitude by Octavio Paz in which he describes the fraught psyches in the relationship between Mexico and The United States in detail. As a Mexican immigrant artist living in the U.S. for most of my life, I consider the paradox of the simultaneous visibility and invisibility of the immigrant in the U.S. In this series I invite audience members to participate in the act of nobodying, an operation that consists of making somebody into nobody. 

Nobodies Gala, 2016.

OPP: Can you talk about the materials you use to construct the wearable sculptures?

HC: I use a variety of familiar everyday materials to construct these wearable sculptures. When I started the series in 2009, I was working as a florist and was drawn to discarded floral packaging materials—cellophane, ribbons, mylar, silk florals, and mesh nettings—and collected them obsessively. Once I had amassed a substantial amount of stuff, I then transformed the materials into other-worldly colorful wearable sculptures that accompanied a live performance. I no longer work as a florist, but I am still interested in using different types of plastics as well as wigs, silk flowers, lights, clear film, and adhesive vinyls to construct new Nobodies

OPP: What kinds of movements do the Nobodies perform in public spaces?

HC: The movements in the Nobodies are very subtle and sculptural. Oftentimes, viewers don’t realize that the  sculptures are being animated by real people. The slow movements invite the audience members to pause as they consider the situation before them. In public spaces these performances are particularly poignant as the unsuspecting viewers encounter the Nobodies in their natural setting. 

Scapegoat Monument, 2014.

OPP: The Scapegoats show up both as static sculptures—some life sized and some tiny—and performance characters. Do you see one iteration as more successful than the other? How do they work differently on the audience?

HC: I often intertwine the archetype of the scapegoat as a way to have us visualize the strategic selection of somebody, made into nobody, for the supposed wellbeing of the group. The sculptural forms don’t always involve a live performance, but are still performative in their context. In Scapegoat Thrones, for instance, I use found chair structures as the base of each sculpture and ask audience members to consider the cost of the comfort that is afforded to them in the world. So while there is no live performance involved, the audience can still imagine themselves in relation to the chair forms. Most recently during a residency at Ox-Bow School of Art, I worked in the ceramic studio to construct miniature Scapegoat Idols that can be handled by audience members. My hope is that one day each person in the US will have their own Scapegoat Idol that they can use to liberate themselves from negative feelings of blame and shame.

Scapegoat Idol, 2016

OPP: Tell us about Alien Nation (2017) at the Hirschhorn Museum in Washington D.C. 

HC: Alien Nation, curated by Victoria Reis at The Smithsonian Hirshhorn Museum and Sculpture Garden, was my most ambitious site specific performance to date. It included with 24 performers and two musicians. This mysterious and surprising shadow casting performance originated in response to the unique circular architecture of the museum. I knew I wanted to do something of a global scale that implicated a broad audience and included as many people as possible, so I conceived the idea of climate induced migration as a very real issue of our time that needs to be voiced. 

OPP: The piece was viewable from the inside and from the outside. . . how were the viewing experiences different?

HC: Although the museum was open late and visitors had the opportunity to sneak a peek of the performers on the second floor rotunda, most of the 1,200 audience members were patiently waiting outside around the fountain for the performance to begin as intended. Once outside, audience members saw 24 climate-immigrants backlit with purple light creating mysterious and surprising shadows in each of the 24 windows on the second floor rotunda. The 24 performers wore what I call “climate ponchos,” which included head gear that obscured the performers faces, an approach I chose because of the mystery and anonymity it afforded. Always silent these figures created subtle, sculptural movements in various locations that were complemented by live drumming juxtaposed with natural foley sounds that included ice-cracking, loons, and running water.  Slowly over the course of the performance the Climate-Immigrants started to descend downstairs and continued on their journey through the sea of bodies.

The clear wearable climate ponchos were adorned with images that depicted the archetype of the Traveler, with the people depicted wearing backpacks, carrying suitcases, wearing hats and some holding children. They were all on their way somewhere, in one direction a lot of the times. This simple showing of people in movement, in transition, resonates with a world-wide issue and echoed the reality of the viewers as they themselves traversed space to witness the performance. 

Alien Nation, 2017. Video documentation of performance.

OPP: In the Fall of 2017, you began a Fellowship at the Halcyon Arts Lab. Tell us bit about the program and your experience. How did it change your work?

HC: Halcyon Arts Lab is a fully funded, nine-month, international incubator that nurtures socially engaged artists in Washington D.C. I was lucky enough to be selected as one of 8 fellows for the inaugural cohort 2017-2018 to continue my work on Alien Nation. The program includes a range of professional development opportunities as well as tons of studio visits from renowned arts professionals. In addition, I am being mentored by Alberto Fierro Garza, Director of The Mexican Cultural Institute of Washington D.C. and mentoring a young artist myself. In the short seven months that I’ve been here, my practice has strengthen by leaps and bounds, I suspect this has everything to do with the nurturing environment the fellowship provides. I encourage all socially engaged artists to keep an eye on this fellowship and consider applying in the years to come! 

To see more of Hoesy's work, please visit hoesycorona.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center. Where Do We Go From Here? just closed at Robert F. DeCaprio Art Gallery (Palos Hills, Illinois). In conjunction with this improvised installation, Stacia invited eight OPP artists—Kathryn Trumbull Fimreite, Brent Fogt, Melinda Thorpe Gordon, Jaclyn Jacunski, Jenny Kendler, Meg Leary,  Geoffry Smalley and Erin Washington—to respond to the text "Where Do We Go From Here?" Each artist approached the question from a different angle, emphasizing that both the We and the Here are not the same for each of us. For Chicago Artist Coalition's annual benefit Work in Progress, Stacia will create a one-night installation that solicits the help of benefit attendees.

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OPP
tag:blog.otherpeoplespixels.com,2013:Post/1286649 2018-05-23T13:07:26Z 2018-05-30T13:59:53Z A Sampling of Media-Specific Residencies

Lawrence Arts Center 
Location: Lawrence, Kansas 
Deadline: April 15 
Application Fee: $35 
Residency Fee: none 
Length: 1 year (August 1 - July 31) 
Stipend: $1000 per month 
Food: none

Ceramics and Printmaking Artist-in-Residency programs are designed to provide a creative environment for emerging artists and to broaden the center’s students and faculty awareness of new approaches and techniques. These year-long residencies begin on August 1 and end on July 31. The ideal candidates should have an MFA in ceramics and printmaking, respectively, and be self-directed and able to work independently. Preference is given to candidates who have demonstrated artistic excellence as well as interest in experimentation and innovative techniques. The resident will be provided studio space, a private bedroom in a shared housing facility, a monthly stipend of $1,000, and 24 hour access to all studios, including print, ceramics, drawing and painting, metal, photography, and digital media. These 12-month residencies provide a multi-faceted experience that includes teaching, community outreach, interaction with other artists, and studio care, and culminate in an exhibition of new work. Click here for facilities.

Project-based Residencies also available:
The goal of project-based residences at the Lawrence Arts Center is to help support, sustain, and foster growth in the arts and artists by providing material support for development of special projects, with an emphasis on interdisciplinary works, helping local artists to create works competitive on a national scale. Selected artists receive a stipend for their project, use of studio space at Arts Center during established times, and up to 8 hours of private instruction in any studio space or medium. Selected artists will receive a stipend of up to $300 per project, use of studio space at Arts Center established times, and up to 8 hours of private instruction in any studio space or medium. Housing will be provided, and the duration of the project based residency is 2 weeks – 4 months.

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Lux Art Center 
Location: Lincoln, Nebraska 
Deadline: April 1 
Application Fee: $15 
Residency Fee: none 
Length: 1 year (beginning in August) 
Stipend: $80 per month for supplies; Residents have priority for paid teaching opportunities including community art classes for youth and adults. Residents with an MFA or BFA in painting, metals or ceramics may have the opportunity to teach college art classes for Doane College-Lincoln campus, held at the LUX.  
Housing: none

LUX Center for the Arts is a non-profit arts center that has been serving the Lincoln community for 40 years.  LUX Center for the Arts began its residency program in 2003 to provide emerging artists with opportunities to hone their studio skills and gain an appreciation for teaching public art classes for youth and adults.  Residencies are offered in ceramics, painting, drawing, mixed media, fibers, and metals. These opportunities are tailored to artists who have an appreciation for community both at the LUX and within the larger context of Lincoln. Three positions available: two for ceramics, and one for painting, drawing, metals, fibers, or mixed media. Artists with more than one area of expertise and a strong desire to teach are preferred. This residency can be extended an additional year if both the LUX and the artist agree. 

All residents are offered exclusive representation in the sales gallery for the duration of their residency. Residents of a year or longer are also given a solo exhibition during one of the final months of their residency. There are also one large and one small experimental gallery where residents can try their hand at curating group exhibitions as well as students and community shows. 

90 sq. ft. - 140 sq. ft. private studios are provided for each resident. Studio assignments are based on seniority and size of artwork. Additional workspace is available in our larger teaching studios as needed. All residents have access to equipment regardless of artistic discipline. Training on other equipment can be provided if needed.

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Lower East Side Printshop 
Location: New York, New York 
Deadline: March 1, 2018
Application Fee: none 
Residency Fee: none 
Length: 1 year (April 1 - October 1) 
Stipend: $1000 
Food and Lodging: none

The Keyholder Residency Program offers emerging artists free 24-hour access to printmaking facilities to develop new work and foster their artistic careers. Keyholders work independently, in a productive atmosphere alongside other contemporary artists. Artists from all disciplines are eligible to apply; print-making skills are not required, but some familiarity with the medium is recommended. Basic instruction in printmaking techniques is available for new Keyholders. Technical assistance is not included in the program, but is available at additional cost.

Participation is competitive. Applications are evaluated by a rotating committee of artists, critics, curators, and art professionals based on the quality of submitted artwork. A total of 8 artists are awarded the residency annually. Artists based in the New York City area and without access to a studio space are encouraged to apply.

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Kala Art Institute 
Location: Berkeley, California 
Deadline: May 18 
Application Fee: $30 
Stipend: $3,000 for Fellows 
Length: 1-6 months 
Food and Lodging: none

For over 30 years, Kala Art Institute has annually awarded artists time, space, and financial support for their work through the Kala Fellowship award. The Kala Fellowship award is an international competition open to artists from the U.S. and around the world. Artists producing innovative work in all mediums including printmaking, digital media, installation art, social practice, photography, and book arts are encouraged to apply. Fellowship Awards are given based on conceptual creativity, originality, and artistic excellence as well as technical knowledge. Please note that this is a studio residency only; housing is not included. Artists are responsible for finding their own housing.

In 2018, Kala will award six artists a $3,000 stipend, unlimited access to Kala’s facilities for up to six months, one Kala class, and a culminating show in the Kala Gallery. The award is geared towards supporting artists in completing specific projects or bodies of work that would benefit from Kala’s specialized equipment in printmaking and digital media.

Non-fellowship AIR
Artists working in various printmaking techniques, photo-processes, book arts and digital media including video production can apply to become an Artist-in-Residence. Residency applications are accepted online three times per year. Artists who apply for a residency should be familiar with at least one of the media offered at Kala. Considerations for acceptance are conceptual creativity and technical knowledge. Resident artists receive year-round 24-hour access to the printmaking workshop and/or electronic media center, individual storage space, possible exposure on Kala’s website and in other exhibitions at Kala or outside exhibition spaces, and participation in a vital, international artistic community. Artists also receive a 20% discount on classes and private tutoring offered by Kala.

Parent Artist Residency
We recognize that each artist-family has its own set of challenges when seeking a residency program. Families with multiple children of varying ages have different needs than families with older, more independent children. By offering a flexible residency experience in addition to our standard residency programs, we hope to create multiple entry points for artists to create artwork amidst the ever-evolving and diverse demands of family life. The Parent Artist Residency Program at Kala is generously supported by Sustainable Arts Foundation. In 2017, Kala offered a fifth round of Parent Artist Residency Awards to seven recipients. Each parent artist awardee will create an individual residency plan with up to $1000 worth of services that cover the residency, classes, Camp Kala for their children, or consulting with Kala staff about professional development opportunities.

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Spudnik Press Cooperative 
Location: Chicago, Illinois 
Deadline: April 1 
Application Fee: none 
Stipend: $250 to $900 
Length: 1-6 weeks (June 1, 2018 – August 31, 2018) 
Food and Lodging: none

The Spudnik Press Cooperative Residency Program provides mid-career to established artists one to six weeks of full studio access and the support necessary for the production of new print-based artwork. The Residency Program supports a broad range of artists, including those working outside of the discipline of printmaking and in communities beyond Chicago. Each residency will be modified to adapt to the interests and needs of the individual artist.

The Resident Artists also play an integral role in the Spudnik Press community, bringing new perspectives, experiences and resources as they partake in a variety of public programs and professional opportunities throughout the duration of their residency. These activities vary from one artist to the next and may entail participating in artist talks, private events, and critiques, teaching master workshops, or presenting an exhibition.

Stipends offered to each resident artist will vary based on the duration of the residency, travel distance or travel costs, and estimated time commitment to community-based activities such as teaching, guest speaking, and providing studio visits. 

For the first time, our Residency Program is now open to national and international artists.  However, the program is dedicated to supporting at least one local artist each year. Please note that this is a studio residency only; housing is not included. Artists are responsible for finding their own housing.*

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Harvest Works 
Location: New York, New York 
Deadline: the 2018 deadline has passed; check back in January 2019 
Application Fee: $5 
Stipend: $2,000 artist fee; up to $3000 more for for TEAM lab activities including research and development, sound and image production, programming and prototyping
Length: 11 months 
Food and Lodging: none

The Harvestworks New Works Residency is a national program that offers American artists and legal US residents commissions of up to $5000 to make a new work in our Technology, Engineering, Art and Music (TEAM) lab.  Each artist receives up to a $2000 artist fee with the balance of the award used for TEAM lab activities including research and development, sound and image production, programming and prototyping. The artist works with a team comprised of Harvestworks’ Project Manager and consultants, technicians or instructors. The proposed projects should explore new aesthetic premises and push the boundaries of conventional art forms and media.

Special Initiatives: The Harvestworks Creative Residency Program in Emerging Technology will commission artists using emerging technology such as biosensors, immersive audio and video, virtual and augmented reality, camera and eye tracking systems, data sonification or visualization, mobile, new computer interfaces and controllers and new ways to engage with social media and communities.

Composers are encouraged to apply to explore new technology for space and spatialization of sound in contemporary music.

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Curtis R. Priem Experimental Media and Performing Arts Center 
Location: Troy, New York 
Deadline: rolling, at least nine months before your desired residency 
Application Fee: none 
Stipend: none 
Length: depends on project 
Housing: EMPAC may support residencies with accommodation in the EMPAC artist residency housing, a building with four apartments. 
Facilities and equipment: click here

We encourage applications for a wide range of projects from a diversity of artists, composers, directors, choreographers, and performers of different cultural and geographic backgrounds. We are open to proposals for all phases of a project, from initial concept to full production. If EMPAC is interested in supporting the project, subsequent meetings will be conducted with the curatorial and production teams to discuss content, technology, budget, timeline and overall resources. A project proposal may be adapted and updated based on the outcome of theses conversations.

We will provide on-campus accommodations and the technical infrastructure and staff to fulfill the project goals. Applicants must secure funding for travel, materials and fees associated with their project.

Our mission is to foster the development of new technologies for project-based needs, leverage recent scientific and engineering research directions within the scope of the creative process, and optimally use the complex infrastructure and resources. While there will be work produced at EMPAC that does not utilize “high-tech tools,” EMPAC especially encourages projects which take advantage of EMPAC’s unique capacities and infrastructure.

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Pulp & Deckle — Portland, Oregon 
Deadline: The application period for 2018 residencies is closed. Please check back in fall for the 2019 application. 
Application Fee: none 
Stipend: $250 
Length: 1 month (between May and August) 
Food and Lodging: none

The c3: Papermaking Residency was established in 2014 to engage artists with little or no experience in hand papermaking, and offer them an opportunity to learn the craft and stretch the limitations of what the medium can do. Provided with instruction, guidance and technical assistance from a professional papermaker/artist at our studio, residents create and exhibit new work outside their usual area of practice.

Each year, four artists are selected for intensive month long residencies during which they work in our studio. Lead papermaker, Jenn Woodward provides guidance for residents to help realize their individual projects. She also educates and assists residents with all equipment use, fiber preparation, cleaning, and any other studio needs. Upon completion of the year-long studio residency, a group exhibition is held at c3:initiative or a partnering location.

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OPP
tag:blog.otherpeoplespixels.com,2013:Post/1283718 2018-05-15T12:12:26Z 2018-06-07T13:12:32Z OtherPeoplesPixels Interviews Mikey Kelly

Be Love Now v1.0 17.084. Acrylic on linen. 60" diameter x 1-1/2" depth. 2017.

MIKEY KELLY (@mikeykellystudio) explores the spiritual undertones of abstract painting. Line is his primary mark, and his meticulous methods yield surprising, vibrating networks of color. Mikey earned his BFA at University of Oregon and his MFA at Cranbrook Academy of Art. His work is included in the permanent collections at the Cranbrook Museum of Art, the Frankl Foundation for Art and the Neiman Marcus Corporate Collection, and he has been an Artist-in-Residence at Kala Art Institute (Berkeley) and at Lucid Art Foundation (Inverness, CA). He's represented by Chandra Cerrito Contemporary(Oakland), where he has had two solo shows. His work is on view until May 20, 2018 in the Lucid Art Foundation Annual Artist Show at GRO in Point Reyes, California and in Proto_Pop at Dab Art in Ventura, California. Mikey lives and works in Napa, California, where he recently completed the Painted Poem Mural

OtherPeoplesPixels: In your statement, you say, “The paintings truly need to be seen in person to fully experience them.” What am I missing as a viewer who’s only seen your work online?

Mikey Kelly: Changing tonalities and perspectives can’t be caught by the single image capture of a camera and need an advanced brain and the higher resolution of the human eye to truly experience these effects. When one gets closer to the paintings colors begin to separate and what you may have thought was a blue was actuality your eye mixing two or even three different colors to make that blue. There are also times when the canvases seem to bow or stretch visually as one moves around the pieces. These paintings test the viewer’s visual, neural and perceptual plasticity.

Embattlements 13.218.1. Mild steel, powder coat. 26"H x 21"W x 4"D. 2013

OPP: You used to work in powder-coated steel (2011-2014). I see a formal connection between your current systems-based paintings and the line variations in the steel sculpture. Are the processes at all similar despite the difference in media?

MK: All my work starts with a line. Formally they begin at the same place, but the sculpture work is much older than the drawings and paintings. The sculptures did dramatically inform the drawing and painting from their beginning, as I was familiar with playing with lines and the patterns that overlaying subsequent lines create. The process of making work changed dramatically a few years ago when I moved from the sculptural realm to the two-dimensional.

Mantra (Om Namah Shivaya) 17.016. Acrylic on linen. 24"H x 24"W x 1-1/2"D. 2017.

OPP: Can you describe your algorithmic process for making paintings? 

MK: My process starts with an analog program using encryption methods developed for secretly passing information that can convert language into numbers. This is a generative way of designing paintings that leaves the outcome unknown. I start with a base 26 variation of a Vigenere cipher that allows me to convert language into numbers. The result is a string of numbers that I then use to calculate the angle of each series of lines. I end up with an algorithm that directs the line spacing, angle, line width and color in a predetermined sequence before I ever start painting. This means that I work with no preconceived idea of what the final piece will look like. Each series of lines results in color shifting and new interference patterns each step of the way.

Buddha 16.264. Acrylic on Linen. 11"H x 11"W x 1-1/2"D. 2016

OPP: How do you get such straight lines?

MK: The painting process starts with the construction of a scale outside the boundaries of the canvas. This allows me to use a straight edge to maintain the same angle across the canvas as each line is painted. I use a pin striping tool that was developed in the early 1900s—it is essentially a syringe with a wheel at the end. This tool allows me to paint consistent straight lines of the same width without variation.

OPP: What can the paintings do that the sculptures could not? And vice versa? 

MK: While both are quite formal, the paintings feel more like true expression of myself. Sculptures on the one hand allow space, distance, volume, light and shadow into play. This creates a lot of variables that a two-dimensional painting can never encompass. But the paintings have allowed me to incorporate outside interests into the design and underlying structure of the work. This is why I have been exploring ways of combining the two so I can incorporate what I love in both into one piece.

P.O.S., Acrylic on goatskin, wood and deer lacing, 62”H x 42”W x 1-1/2D.” 2018.

OPP: Recently, you’ve shifted away from the conventional rectangle to the circle and even stretched goat skin. What’s led you to this format change? Are these anomalies or an entirely new direction?

MK: This is definitely a new direction that the work is heading in. Working the way I do, I find that using a shape other than a square or rectangle allows for more freedom and a less confined feeling to the painting. This came about from working on a few murals and installations that I completed in the past year.

I have been working towards the goal of making more dimensional paintings that incorporate many different techniques and materials. I plan on incorporating more leather, steel and neon into my work in the near future. I find the flat surface of a painting to be confining and would like to see how warping or stretching the canvas or leather over other shapes will influence the viewing of the work.

The Happiness Project, 2018. StARTup Art Fair LA, Acrylic on Cardboard, 96”H x 192”W x 192”D.

OPP: Tell us about the Happiness Project.

MK: The idea was to make an installation that felt like the positive energy that was in the paintings. The Happiness Project started while I was preparing for StARTup Art Fair LA and was trying to figure out how I could transform a hotel room into a full immersive experience. I decided the way to accomplish this would be to fill the entire room by lining every square inch of the walls with painted cardboard panels. I began by taking two word positive affirmations, running them through my analog program and then painting the resulting angles on cardboard shipping pads. Over 30 panels were cut and fit around all the furniture, light switches and outlets.

After the initial installation, I had the opportunity to install the panels again this time at Chandra Cerrito Contemporary. For this iteration I decided to further cut the panels down and to also rotate them creating more complexity to the installation as the lines now ran both vertically and horizontally and the joints became more complex and varied.

The third iteration was as a Special Project Artist at StARTup Art Fair SF.  This installation became the backdrop for their panel discussion series and broadcast on Facebook live. This most recent version included much smaller pieces while still playing with the complexity of the previous version.

16.058. Acrylic on Paper. 40"H x 26"W. 2016

OPP: What does the phrase “spirituality hacking” mean to you?

MK: I started looking at different forms of religion and certain religious movements during a time I attended a series of events at the Rubin Museum in New York City. Most religious belief systems seem to have a short cut to attaining enlightenment or a closeness with God. Saying a certain prayer, doing a certain form of meditation or the spinning of a prayer wheel are all ways to cheating the system in a sense.

So this Idea of “spirituality hacking” became an element that I started incorporating in my work. I began by using the analog program I developed, which enabled me to take a prayer or mantra and to use it as the input. This then gave me a series of numbers that I could use as direction to paint from. This also led to incorporating rotations of the canvas during the painting process to create a painting as a representation of a spinning prayer wheel.

Mantra (Om Ami Dewa Hrih) 17.040. Acrylic on linen. 12"H x 12"W x 1-1/2"D. 2017.

OPP: But it sounds like the precise complexity of your process isn’t really a short cut at all. Perhaps the focus and flow of the studio is the direct path to enlightenment. . .

MK:  Although there are elements of my work that have a very spiritual jump off point, I feel like the work truly needs to be viewed as an abstract piece of art first and foremost. Throughout art history spirituality has played a very specific role. When abstraction began in painting, that role did not diminish; it just went unspoken. I have chosen to be vocal about the influences of spirituality in my practice. But if I am not there or if the wall label doesn’t tell you, then the work simply becomes a painting to be judged on its formal qualities.

Many people think that making this work must be meditational. Making these paintings means making the same type of mark thousands and thousands of times. Muscle memory aside, if I just leave the present for a moment while painting, I will make a mistake. It can be very stressful and physical. I endure the struggle because the end result contains such an amazing vibratory power. I hope the work brings joy and physical beauty into the lives of others and maybe helps them find a direct path to enlightenment.

See more of Mikey's work at mikeykelly.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center. Where Do We Go From Here? just closed at Robert F. DeCaprio Art Gallery (Palos Hills, Illinois). In conjunction with this improvised installation, Stacia invited eight OPP artists—Kathryn Trumbull Fimreite, Brent Fogt, Melinda Thorpe Gordon, Jaclyn Jacunski, Jenny Kendler, Meg Leary,  Geoffry Smalley and Erin Washington—to respond to the text "Where Do We Go From Here?" Each artist approached the question from a different angle, emphasizing that both the We and the Here are not the same for each of us. For Chicago Artist Coalition's annual benefit Work in Progress, Stacia will create a one-night installation that solicits the help of benefit attendees.

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tag:blog.otherpeoplespixels.com,2013:Post/1281727 2018-05-09T12:43:40Z 2018-05-09T13:02:48Z OtherPeoplesPixels Interviews Nahúm Flores

Double Vision, 2011. Mixed media on canvas.

NAHUM FLORES (@nahum_a_flores) explores human emotion in drawing, painting and ceramics. His human figures and faces, often rendered in simple black lines, are profoundly expressive of the emotions associated with despair, loss, paranoia, dislocation and alienation, but they are not devoid of hope. The barren landscapes from which the characters emerge reflect Nahúm's personal experiences growing up in Honduras, surrounded by social upheaval and war, as well as his emigration from Honduras at the age of 14. Nahúm earned his BFA in Drawing and Painting at Ontario College of Art & Design in Toronto. He exhibits internationally with group shows in Canada, Honduras, United States, El Salvador, Mexico, Croatia, Guatemala and Costa Rica. His solo exhibitions include Los Herederos at Museum of National Identity (Honduras, 2016) and Inheritors at Articsók Gallery (Toronto, 2014). Nahúm has been the recipient of a Pollock–Krasner Foundation Grant (2012), a Toronto Arts Council Mid-career Project Grant (2014) and a Sustainable Arts Foundation Grant (2016). He is one-third of Z’Otz Collective, a collaboration with artists Ilyana Martinez and Erik Jerezano. Together they created Greeting Silence (2017) at Two Rivers Gallery in Prince George British Columbia. Nahúm lives and works in Toronto, Ontario, Canada.

OtherPeoplesPixels: The figures in your work are simply drawn, but evoke complicated human emotions. How does your drawing style contribute to the emotional intensity? 

Nahúm Flores: Over a long time, I have been making ink drawings in small sketchbooks in a diary-like manner and in mixed media on canvas and wood panels where I fuse drawing and matter. In my drawings, I work quickly from one to the next, spontaneously filling sketchbooks with minute line depictions that are simple or naïve in nature, but evoke issues from a subconscious level. Little figures or characters appear on the surfaces animated by their surrounding environments. Some of them are in dialogue with one another. Some seduce me to respond viscerally to them with phrases that I write. Others mock the viewer and blur out words.

I find great freedom and comfort working in this impromptu fashion because I feel I establish a genuine communication with myself. It is like a mirror reflecting images of memory, which surfaces as a poetic language of drawing and matter. The merging characters are sometimes funny and other times somber, showing both a dark and soft side of humanity. The landscapes they inhabit are barren and reference my personal history growing up in Honduras.

Untitled drawing

OPP: The figures are often really elongated or crouched down. Can you talk about these exaggerations?

NF: The process in which I work gives birth to characters in sequences. These characters dialogue with each other and linger in undefined spaces. They are characters of shifting identities that lure my imagination with ideas, interpretations and questions. Honduras is a country with both Indigenous and Catholic beliefs, and a lot of hybrid customs make their way into my work. The myth of the Cadejo is one I remember hearing the most when I was a kid. The Cadejo is a spirit that resembles a dog. There is a good one that is white and an evil one that is black. The Cadejo would appear to people at night, and it would transform from small to a big animal according to the curiosity of the viewer. They would visit houses in search of charcoal to eat in the bonfires. They loathed piloncillo (powdered brown sugar). The evil one would get you lost and make you crazy. This duality of good and bad is a theme that continually surfaces in my work. I see it as a metaphor of life. The dichotomy in my work is rooted in my beliefs, upbringing, and life experience.

from series Shaped by the Journey, 2013. Mixed media on flattened pop-cans.

OPP: Tell us about the drawings on found garbage like sardine cans and crushed soda cans.

NF: My ongoing series Dwellings (sardine cans) and Shaped by the Journey (soda cans) consists of drawings on objects I picked up from the streets. These discarded cans contain environments and history; they are symbols of waste. The drawings comment on some of the conditions of im/migration: disorientation, alienation, displacement, dehumanization, hope and adaptation. 

As a child in Honduras, I was influenced by, the social, economic, historical and environmental issues that shaped Central America in the 70s and 80s during the Cold War. Our everyday lives were affected by fear, paranoia, violence, poverty and war propaganda. I left my country of origin on my own at the age of 14, determined to find a better life, and experienced a challenging and incredible odyssey. I spent some years in Mexico and in the USA undocumented. This experience as a migrant drives me to reflect it through my work. 

A dwelling or home is associated with permanence, stability and a sense of place, often lacking in many migrants’ lives. In these drawings set within the objects, characters or dwellers peek out of their homes wearing mask-like faces. They appear to conceal their true nature.

In the series, Shaped by the Journey I use beverage cans that have endured hardship (e.g. being squashed by cars). I animate their beat-up discarded forms with characters that reveal multiple emotions. With tender irony and humor, my goal is to communicate a sense of containment and intimacy with these objects.

Clouds in the House, mixed media on canvas, 2017

OPP: The large paintings seem more about place and artifact than about the figure or human emotion. I’m thinking about Stones of LightPuddlesWindows of Wonder (all 2011), as well as In the Distance (2013). Can you talk about these works?

NF: A lot of my work is about memory and history. Memory of places, journeys, time, music, foods, books and people. When I work in large formats, I employ layers over layer of water-based and organic materials. The juxtaposition of these layers of materials mirrors terrains that denote history and buried pasts that yields to new realities and way of interpretation. The works you mention remind me of travels in Mesoamerica and Mexico to pre-Columbian archeological sites, such as Copan, Teotihuacan, Xochicalco. I am mesmerized by ancient Mesoamerican mythologies. When I travel to this region I feel their powerful presence. 

Stones of Light, 2011. Mixed media on canvas. 24" × 30."

OPP: I love the terracotta sculptures that are conglomerations of animals and humans all mashed together. The rendering of the animals and faces is certainly reminicent of Mesoamerican art. When did you first start working in ceramics? What does this new avenue add to your work that wasn't there before?

NF: I started working in ceramics in 2007. I find the material flexible and it allows me to explore with different visual elements. It also connects me to memories of childhood. When I was a child, I played with clay with my cousins in my village. We created characters from our imagination. Those characters would form part of our game worlds. 

Terracotta

OPP: Is working in 3D changing the way you make drawings?

NF: One of the amazing things with clay is that it allows you to draw, to play with volume, to add and subtract, to play with different spaces. Working in 3D teaches me different alternatives to do drawings, using different tools, but it also connects me to pre-Hispanic people, to the animistic elements of their culture.

Greeting Silence, work in-situ by Z'otz* Collective at Two Rivers Gallery, Prince George B.C.

OPP: Tell us about Z’Otz Collective.

NF: Z’otz* Collective is group of artists formed in 2004 by Ilyana MartinezErik Jerezano and me. We all have Latin American backgrounds. I first met Ilyana in 1999 at Ontario College of Art and Design University, and I met Erik in 2001 in Toronto. We use to belong to other collectives but for the purpose of exhibiting together. We meet weekly to collaborate on multi-media works, which include drawing, painting, collage, sculpture and site-specific drawing installations. 

Z’otz* is characterized by a collaborative spirit and the playfulness of our subject matter. Our quirky and often outrageous images use humor to explore ideas of transition, displacement, containment and evolution. We use multiple media to create works that denote a variety of visual elements. We implement a system of rotation, where everyone works at the same time but on different pieces. Our drawings are reigned by an intuitive drive as we spontaneously respond to each other’s marks. This allows us to exchange ideas and to observe the transformation of the work. We are interested in chance as a starting point, to establish a link between our individual subconscious. We play a game of riddles and improvisation where the only rule is that there are no rules. We have always been enamoured by characters of fables and popular tales from our heritage, that have the possibility of becoming something else and transforming into another body. Our fascination with these beings is multilayered; we often reflect upon the wonder of these transitional states. Mutation and transformation are key subject. . . a line can be a road to a fantastic universe where a snake becomes a monkey and a box a vehicle to catch dreams. Our work connotes the dynamism of the natural world and a close spiritual link to animals associated with many Indigenous Mesoamerican cultures. 

To see more of Nahúm's work, please visit nahumflores.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indiana 2017). Her most recent installation Where Do We Go From Here? just closed at Robert F. DeCaprio Art Gallery (Palos Hills, Illinois). In conjunction with this improvised installation, Stacia invited eight OPP artists—Kathryn Trumbull Fimreite, Brent Fogt, Melinda Thorpe Gordon, Jaclyn Jacunski, Jenny Kendler, Meg Leary,  Geoffry Smalley and Erin Washington—to respond to the text "Where Do We Go From Here?" Each artist approached the question from a different angle, emphasizing that both the We and the Here are not the same for each of us. For Chicago Artist Coalition's annual benefit Work in Progress, Stacia will create a one-night installation that solicits the help of benefit attendees.

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OPP
tag:blog.otherpeoplespixels.com,2013:Post/1279492 2018-05-02T12:52:50Z 2018-08-15T16:50:25Z Family-friendly Residencies

Momm and Popp Residency at Popps Packing — Detroit /Hamtramck, Michigan

Deadline: Applications are accepted on a rolling basis, but we typically schedule residencies 4-6 months in advance.
Application Fee: none
Residency Fee: $1000/ month
Length: 1-2 months; occasional 2 week residencies on a case by case basis
Stipend: none
Food: none

The Momm and Popp family residency, launched in 2016, invites parent artists into our unique arts ecosystem, to explore hybrid forms of life and work, in which children can become an intrinsic part of the workspace and creative experience.With the help of neighbors, local artists and past residents, we have been reimagining the various underused spaces that surround us into an artistic hub, creating a platform for local and visiting artists to explore installations, architectural interventions, and research based projects while also stabilizing our neighborhood.  Artists who participate in our program are generally interested in the unique context of Detroit and the many layered narratives that exist here. 

Families are housed in the Guest House (GH), a single family house across the street from Popps Packing and adjacent to our expansive green spaces and different workshop spaces. The (GH) is equipped with all the basics for small children (baby gates, playpen, crib, stroller, toys and books) and Popps staff can help coordinate childcare when needed. Artists have access to the Popps workshop (includes table saw, compound miter saw, oxy/acetylene torch, drill press, bench grinder, belt/disc sander, various other power and hand tools),  our gardens, and the Popps Mobile Sauna.  We provide bikes for guests to use during their stay. (Public transportation is questionable in Detroit, so we recommend a rental car, or in the warmer months, a bicycle).

Popps Packing offers artists many different environments to work in. In addition to the communal studios, we offer the various structures and empty lots around the Popps compound as sites for exploration. The abundance of land, raw materials and structures around Popps give artists many opportunities to realize ambitious site specific projects that could not be accomplished in a traditional studio environment.  

In addition to the housing, studios and facilities offered here at Popps, we also connect residents to our large network of local artists, resources, and organizational and institutional partners through informal gatherings, open studios, exhibitions and performances.

Popps requires that resident artists put in 10 hours per month to pitch in and help around the compound: general cleaning, building and grounds maintenance, building renovation projects, publications, p.r. and administrative assistance are some of the areas we always need help with*

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The Virtual Artist Residency at Millay Colony Residency — Austerlitz, New York

Deadline:  October 1 or March 1st
Application Fee: $37
Residency Fee: none
Length: just weekends for 1 month
Stipend: $1000
Food: Our chef cooks healthy delicious dinners and also provides food for residents to cook their own day-time meals.

The Millay Colony is an artists residency program in Upstate New York. We welcome 6-7 visual artists, writers and composers each month between April and November. We offer a number of flexible residency formats. all including a private bedroom and studio as well as all meals. We welcome artists of all ages, from all cultures and communities, and in all stages of their career. We offer ample time to work in a gorgeous atmosphere, organizing everything an artist needs for maximum productivity.

The Millay Colony will award one Virtual Residency each year. This residency is specifically for working artists and/or artists with children who could benefit from the support of a residency in modified form. The ‘Virtual Resident’ can participate in one of The Millay Colony’s month-long residency on weekends or no less than four total days during that month at the colony and will receive a stipend of $1,000 to assist in securing time off/childcare/art supplies or other resources necessary to the making of new work.*

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The Wassaic Family Residency — Wassaic, New York

Deadline: June 19th
Application Fee: $25
Residency Fee: $900 per month
Length: 1-8 weeks
Stipend: We may provide up to $300 per month in additional financial assistance based on artist need. Artists receiving financial assistance will be expected to donate  2 – 8 hours of their time per week working with our staff, depending on the level of assistance received.
Food: none

We recognize that artists who have families often opt-out of peer community building for practical reasons: residencies don’t often take children, events happen late at night, childcare is expensive.  Bowie, Jeff and Eve (Wassaic co-founders) have kids; they’re all artists.  They have families that they want to be with and not away from.  And they ALSO want to connect with other artist peer groups and build community.  While we can’t solve all these problems at once (yet!), we have solved the first one:  we now offer Family Residencies from November – April from 1 to 8 weeks in length.

Each Family will be provided with a private house complete with a kitchen, living room, dining room, bathroom, and three bedrooms. Artists will receive an adaptable raw studio space in the historic Maxon Mills. All studios are roughly 100 square feet. Artists will have 24 hour access to their studio and accommodations. Residents are required to bring everything they need for their creative practice. Each studio is provided with a table, chair and limited lighting. We do not provide any art materials.

We do not provide childcare for you child/children. They are expected to be under your care, the care of your spouse/partner, or a hired professional at all times over the course of your stay. We can, however, provide you with recommendations for babysitters and fun activities, like the Millbrook Zoo!*

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Marble House Project — Dorset, Vermont

Deadline: Applications are closed for the 2018 Season.  Please check back in early October, for the 2019 Season.
Application Fee: $30 
Residency Fee: none 
Length: 16 days (July 16th - August 1st) 
Stipend: none 
Food: Lunch is also provided so that the parent artists have more time to work uninterrupted in their studios. The staff at MHP also helps prepare dinner meals for the families.

MHP has one family friendly residency in 2018 that occurs from July 16th until August 1st.. This residency is for 16 days instead of 23.and is designed specifically for artist parents with children.   We understand that there are many parents who cannot or will not leave their children for a length of time and we realize that there are not many residencies that will allow children.  Marble House Project provides art and ecology programming and other physical and enriching activities for the children, weekdays, from 9 till 3pm. Lunch is also provided so that the parent artists have more time to work uninterrupted in their studios. The staff at MHP also helps prepare dinner meals for the families. 

Each family is provided one or two bedrooms depending on the age of the child and the needs of the parent.  Programming for the children is for 4yrs and older. If you are applying for this residency with a child who is younger than four you or your spouse may need to be responsible for the child’s care. If accepted, the family friendly residency is free to the artist and their child or children ages 17 and under. If you bring a partner or spouse who is not an accepted artist, there is a $200 fee to help defray the additional food costs. In addition, you will need to pay $100 upon contract signing as a place holder. This $100 is fully refundable at the end of the residency. Watch a video about this residency session.*

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The Luminary — St. Louis, Missouri 

Image courtesy of Brett Bloom and Bonnie Fortune Bloom

Deadline: July 31, 2018 
Application Fee: $25 
Residency Fee: none 
Length: 1-6 weeks 
Stipend: $500 + childcare stipend
Food: none

As a leading artist-run and artist-centric space, The Luminary supports exceptional ideas and initiatives by providing dedicated time, considered collaborations and a supportive working environment. The program is open to all artists, curators and critics, but uniquely supports the research, development and presentation of work that utilizes innovative forms and unconventional structures such as alternative spaces and economies, publications and writing, archives, collaborations, artist-led projects and experimental institutional practices.

Thanks to the support of the Sustainable Arts Foundation, we offer a dedicated residency for artists, critics and curators with children. While we are always supportive of proposals from artist parents, these select residencies will come with additional financial support, assistance with childcare, and a personalized environment for the unique needs of families. The Luminary, directed by parent-artists, offers an honorarium, childcare stipend, and a private family apartment during a dedicated summer session for parent-artists.

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Art Farm — Marquette, Nebraska

Deadline: passed; 2019 residency applications will open on Nov 1, 2018
Application Fee: $15
Residency Fee: none
Length: 2 weeks to 5 months
Stipend: none
Food: generally no. During the growing season, produce is available from an organic garden and if the chickens cooperate, there are eggs

Art Farm supports families/partners with up to two children by offering approximately 2000 square feet of studio and living space consisting of kitchen, bath, sitting and dining, two second floor private bedrooms and a fourth floor master bedroom with panoramic views of the countryside. The studio is on the third floor.

Art Farm’s mission is to support artistic vision, which may be impractical, obscure, and independent of commercial recognition—where failing is no less welcomed than succeeding. To offer artists, writers, performers, and others: studios, time, and resources for pursuing their range of expression, for experimenting, for developing projects, but most of all, for distilling the promise and potential of their creative enterprise, while working and living in a rural environment.

Art Farm's physical presence is in its buildings and land. More elusive to describe is the ambiance—the subtle influence of the environment's impact on time and space. The sun and stars measure your time, not clock and calendar. Space is shaped by proximity to sound and silence. The sky: your eyes: your ears will fill with the sound and shapes of an incredible number of birds and bugs. And, like it or not, the weather will be your collaborator in all undertakings.

Artists are expected to donate one piece of artwork to Art Farm’s collection. Everyone gives 12 hours assistance based on their skills, knowledge or interest to Art Farm each week in helping to run, build, or in some way improve the residency experience for those who will follow.*

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Caldera Arts Center — Sisters, Oregon

Deadline: March 15th for the following winter
Application Fee: $35 for individuals; $75 for collaborations; if this fee is a barrier, please call
Residency Fee: none
Length: 3.5 weeks (January-March)
Stipend: Depending on funding, stipends may be available for residents. We do not require a separate application for stipends and will let finalists for residencies know if funding is available.
Food: One shared dinner each week. Residents provide all other meals for themselves.

Every winter from January through March, creative individuals, collaborations, and performing ensembles are awarded the gift of time and space at our beautiful Arts Center in the foothills of the Cascade Mountains near Sisters, Oregon. Residencies are open to US-based and international artists in any discipline, as well as creative thinkers in culinary arts, design, and the sciences. Artists at any stage of their careers who are not current students are eligible. 

Residencies are also available for parent artists who would like to bring their children and another caretaker. Children and caretaker can come and go as needed. Artists-in-residence stay at Caldera for the entire duration of the residency. Families are assigned a private a-frame cabin with 3 or 4 beds and (if requested) a separate studio.Caldera has two pack and plays, two high chairs, baby gates and outlet covers for families to use in their cabin and/or studio. Winter in the mountains provides lots of opportunity for outdoor fun for children (sledding, snowshoeing, building forts, etc.). Caldera does not provide or arrange childcare, but there are providers that serve our area.

Residents are provided a private cabin with sleeping loft, living room/work area, kitchenette, bathroom with shower, and a porch overlooking Link Creek or with a view of Blue Lake. Wireless internet is available in all cabins. There is little to no cell phone service. Cabin kitchens have a coffee pot, two-burner stove, microwave, small refrigerator, dishes, and pots and pans. Residents also have access to a full commercial kitchen in the Hearth Building. Cabins are heated by electric heat and most include wood stoves (with wood provided).

Visual artists work in one of Caldera’s two studios. Campbell Studio is a semi-private space that holds two studios for visual artists of all kinds. One side of Campbell Studio has two kilns, drying shelves, a work table, sink and counter; the other side has large walls, a work table, a large and small sink and counters. Studio B has large walls, a sink, counter, work table, a darkroom with related equipment, and an etching press. Both studios include natural light and large loft spaces above the main floor.

Caldera has identified the following as priorities for our Artists in Residence Program, and selection is made with these in mind: (1) Supporting artists of color: Caldera’s AiR cohorts will be made up of at minimum 50% artists of color. (2) Supporting community-engaged work and teaching artists: Caldera prioritizes supporting artists who wish to engage with our youth and broader community through teaching or other activities. (3) Supporting parent artists: Caldera is one of the few residencies that allows parent artists to attend with their children and an additional caretaker. (4) Supporting geographic diversity: Caldera values geographic diversity in our AiR cohorts – i.e. rural and urban, artists from both inside and outside Oregon, and international artists.*

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Previously highlighted residencies that are family-friendly:

The McColl Center — Charlotte, North Carolina

Partners and children of artists-in-residence may stay in the provided condominium during the residency term. However, partners will not be allowed to use McColl Center workspaces, facilities, equipment, or materials. Artist couples must apply individually; if both are accepted, each will be offered a studio. Pets are not allowed in the condominiums or studios. Exceptions may be made for registered service pets.

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OPP
tag:blog.otherpeoplespixels.com,2013:Post/1276965 2018-04-25T22:16:39Z 2018-04-26T12:20:47Z OtherPeoplesPixels Interviews Amy Babinec

Golden Rule Mine (Glass), 2016. Acrylic on panel. 12 x 16 in.

AMY BABINEC's (@amybabinecdrawings, paintings and plaster casts are driven by the recovery of memory. Informed by her educational background in Archeology, she emphasizes the fragment and the excavated object as poetic stand-ins for all that is lost. Amy earned her BFA in Painting and Drawing at School of the Art Institute of Chicago and her MFA in Visual Art from University of Chicago. Her solo exhibitions include Remnants (2015) at Moraine Valley Community College in Palos Hills, Illinois and Underlayer (2012) at Morton College Gallery in Cicero, Illinois. Amy's upcoming solo show Golden Rule opens at Riverside Arts Center’s FlexSpace (Riverside, Illinois) on June 2, 2018 and runs through July 7, 2018. The opening reception is on Sunday, June 3 from 3-6 pm. Amy lives and works in Evanston, Illinois.

OtherPeoplesPixels: Generally speaking, how do fragments relate to the whole in your work?

Amy Babinec: My work uses fragmentation as a metaphor for memory and the failure of memory. So many of my memories are fragmentary, particularly of my childhood. Images such as a wallpaper pattern, a book cover, and the smooth texture of a rock, conjure up a host of memories of my family, and a reminder of their loss over the years. Objects isolated from their environments can become artifacts, evidence and mementos. Subtracting context leaves the object open to fantasy and speculation. These fragments embody the nostalgia and longing I have for family relationships for those who have passed on. The objects become substitutes for keepsakes and stories from my own family. 

Reenactment 14, 2009. Oil on canvas. 24 x 18 inches.

OPP: In your 2017 artist statement, you say,"By combining elements of archaeology, personal history, and fiction, I set up an opposition between abstraction and figuration, past and present.” And I see this very much in the series Reenactment (2009-2010). Can you talk about this body of work in relation to this statement?

AB: I created the Reenactment paintings in graduate school at the University of Chicago. As an instructor of a beginning painting class, I found stacks of paintings that college students had discarded after the class ended. Many of the paintings were abstract, thus presenting an opportunity to use them as a free-association prompt. I selected and cropped the abandoned student paintings that had compositions, spatial relationships, or colors that reminded me of a place, person, or situation from my early life in Belleville, Illinois, the town in southern Illinois where I grew up. For example, a vivid orange geometric abstractioncould be turned into the orange brick cul-de-sac behind my elementary school. I intervened in the paintings with the minimum I needed to do in order to visualize that memory. The resulting paintings remain abstractions, but with my memories (the figuration) embedded within it.

Wildwood Mine, 2015. Plaster, 4 15/16 x 4 5/16 x 3/4 inches.

OPP: When did you first start making work based on artifacts found in abandoned coal mines?

AB: I started my research into this topic in 2009 when my parents discovered cracks in their basement foundation in their house in southern Illinois. The cracks were caused by subsidence, or the collapse of coal mines under the surface. Unfortunately, the area under their house, and most of the town, was undercut by underground coal mines which had been operated by individual owners or small companies from the late 1800s to the 1950s. Buildings and roads on the surface could prove unstable because of hidden processes under the earth and could cave in at any time. I was struck by the metaphorical possibilities of that phenomenon, that events in the past could affect the present, sometimes suddenly and drastically.

I used Illinois State Geological Survey maps, Google Earth maps and historical records, and triangulated the location of mines, then drove out to find them. These sites were largely on private land. Many had been completely erased from the surface, but some had pits, coal and slag piles, railroad tracks, and other evidence of the coal industry. I discovered that many of the abandoned mines had been used as a trash dump for domestic items such as plates and cups from the 1880s to the 1960s. As part of my studio practice, I visit the abandoned mine sites throughout the year, conduct surveys and digs and bring artifacts and documentation back to my studio in Evanston, Illinois.

Hill Mine Grid 3, 2013. Acrylic. 30 x 30 inches.

OPP: You work in a variety of drawing and painting media, as well as cast plaster. How do you make choices about which fragments should be painted in watercolor or oil versus cast in plaster? Does the object dictate this?

AB: I am a materials and techniques nerd. I enjoy the process of experimentation (most of the time!) to find the technique that fits the idea. In the Subsidence project, I have used a variety of materials to interpret the data I have found. I document the mine sites through drawings, video, and photography, and collect personally resonant objects to bring back to my studio. My focus on particular facets of this process leads to the media that will reflect my investigation.

Abandoned, Golden Rule Mine, Lenzburg, Illinois, 2017. Watercolor, colored pencil, and charcoal on paper. 11 1/4 x 15 inches. 

OPP: In both Golden Rule and Remnants, the found objects are isolated from their original context in backgrounds of (almost) black or white. Is this an erasure of the sites that inspire your work? Why or why not?

AB: My background includes a masters degree in Art History and Archaeology at the University of Maryland and twenty years’ experience as a museum professional. I use archaeology as a touchstone throughout much of my work. The white background evokes the practice of archaeological illustration of objects uncovered at a dig, and the photographic documentation of objects in a museum. I also use the square format as a reference to an archeologist’s grid. I often show objects in a meditative, quiet manner echoing the precision of archaeological drawings. I repeat certain objects, such as a spoon, to provide a sense of scale, following the archaeological practice of including a ruler or penny in photographs of finds.

Unlike an archaeologist, I am selective about what I collect at a site and represent in my work. Recently I have been most drawn to domestic artifacts dating from my grandparents’ generation in the early to mid-twentieth century. For example, a small triangle of colorful glazed ceramic, which had been broken off from a figurine of a house, takes on further resonance for me. I feel the pathos of this object, once highly valued by someone, but now abandoned by its owner to be buried in the dirt and be subjected to the elements. 

To see more of Amy's work, please visit amybabinec.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indiana 2017). Her most recent installation Where Do We Go From Here? just closed at Robert F. DeCaprio Art Gallery (Palos Hills, Illinois). In conjunction with this improvised installation, Stacia invited eight OPP artists—Kathryn Trumbull Fimreite, Brent Fogt, Melinda Thorpe Gordon, Jaclyn Jacunski, Jenny Kendler, Meg Leary,  Geoffry Smalley and Erin Washington—to respond to the text "Where Do We Go From Here?" Each artist approached the question from a different angle, emphasizing that both the We and the Here are not the same for each of us. For Chicago Artist Coalition's annual benefit Work in Progress, Stacia will create a one-night installation that solicits the help of benefit attendees.

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tag:blog.otherpeoplespixels.com,2013:Post/1274171 2018-04-18T12:36:25Z 2018-04-18T20:50:55Z Residencies with a Cause: Social Justice

The art residencies in this week's post each support artists whose work addresses social justice. In some cases, the entire organization is devoted to social justice. In others, residencies that accept all kinds of artists make an intentional space for artists working at the intersection of art and social justice. We also highlight two fellowships.

WITHERS RESIDENCIES AT CROSSTOWN ARTS — Memphis, Tennessee

Deadline: July 15, 2018
Application Fee: $10 (applicants may apply for an economic hardship waiver)
Length: 20 days - 3 months
Stipend: $1000 stipend for each artist.
Food: Meals are provided six days a week at the Crosstown Arts cafe which is open to the public. Breakfast and lunch are taken at the resident's choosing; dinners are communal. All meals are plant-based and feature seasonal and organic ingredients.

The multidisciplinary artist residency program at Crosstown Arts in Memphis, Tennessee, offers residencies for visiting and Memphis-based visual and performing artists working in any creative discipline as well as musicians, filmmakers, and writers in all genres. Withers Residents, in particular, are individual artists of color working in any discipline who ambitiously addresses the intersection of race and social inequality in their work.

All residencies include a private studio workspace with meals provided six days a week. Live/work residencies also include a private bedroom/bathroom next to a common living area and a shared kitchen for all residents. A family housing option is available, as well as accessible housing for residents with disabilities. All residencies are offered at no cost to participants, who are responsible to cover their own studio materials and travel expenses to and from Memphis.

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SANTA FE ART INSTITUTE THEMATIC RESIDENCY— Santa Fe, New Mexico

Deadline: The 2018 deadline has passed. SFAI typically announces the annual theme and open call for applications in early October with the deadline to submit in early February. These dates are subject to change. 
Application Fee: $35 
Residency Fee: a refundable $150 security deposit is required 
Length: 1-3 months 
Food: We provide basic foodstuffs (such as, olive oil, bread, cereal, peanut butter jelly/jam, coffee and tea), however residents are responsible for all other groceries and preparing their own meals.

The Santa Fe Art Institute (SFAI) is a hub for creative engagement and social change. At SFAI, we are artists, innovative thinkers, and engaged citizens. We cultivate creative leadership and invest in community, culture, and place to re-imagine a more equitable world.

We fulfill our mission through our artist residency and fellowship programs, workshops and trainings, community projects, and events. Much of our programming relates to an annual theme, which is focuses on relevant social issues such as Equal JusticeWater Rights, and Immigration / Emigration. The 2018-2019 theme is Truth and Reconciliation.

SFAI sponsors more than 80 residencies and fellowships per year for creative practitioners from all over the world, and offers visionary, social justice theme-focused programming that addresses pertinent questions facing diverse regional and global communities.

As part of our sponsored international thematic residency program, SFAI offers, at no cost to residents, a furnished private room and bath; communal kitchen, dining room, lounge and laundry facilities; semi-private studio, common work spaces, gallery/event space and art library; wireless internet, breakfast foods and bicycles. SFAI does not have specialized facilities, but provides basic tools and a membership to MAKE Santa Fe.

The month of July is reserved expressly for our Family Residency, which provides living and working space for parent-artists, their spouses/partners, and children.  All parent-artists interested in attending the Family Residency must apply for and be accepted into the thematic residency program.*

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THE LAUNDROMAT PROJECT: CREATE CHANGE RESIDENCY— New York, New York

Havanna Fisher Newby, Harlem Motion, 2016. © Marisol Diaz, 2016

Deadline: passed; check back at the end of 2018 
Application Fee: none 
Residency Fee: none 
Length: 6 months 
Stipend: $7500 in honoraria and up to $2500 in production funding

The Laundromat Project offers residencies for artists interested in developing and mounting a socially-engaged, socially-relevant, and participatory public art project in their local laundromat and/or other community public spaces. This opportunity is intended to move artists from a conventional public art model of simply placing static art objects in public spaces to one that emphasizes the ways art and artists can serve as catalysts for social action, problem-solving, and relationship building in their own communities.

The Laundromat Project supports up to five Create Change residencies for 6 months a year. The residency is for artists and makers of all disciplines, including cultural producers, community organizers of color living in or deeply invested in Bedford-Stuyvesant, Harlem, and Hunts Point / Longwood, our three anchor neighborhoods. This residency is designed to deepen the community engagement practice by participating in our intensive workshop series while developing and mounting a socially-engaged and participatory public art project in their local laundromat and/or other community public spaces. This is an ideal opportunity for artists in the early to mid stages of their careers that have experience doing socially-engaged art.

Also Available: The Create Change Fellowship Program is for up to 15 artists and makers of all disciplines including, cultural producers, and community organizers residing in New York City or near, who may not necessarily have experience doing socially-engaged creative projects. The Fellowship offers an intensive learning environment on how to do community-based work better and to deepen their creative practice. The fellowship takes place at our learning spaces in our three anchor neighborhoods: Bedford-Stuyvesant, Harlem, and Hunts Point / Longwood.

The Fellowship runs from April to October. Participation in the program requires a significant time commitment of roughly 200 hours. Thanks to the generosity of the Andy Warhol Foundation and the Andrew Mellon Foundation the Create Change Fellowship is free of charge. However, upon acceptance into the program, participants will be required to put down a refundable deposit of $100 that will be returned upon successful completion of the program. The Fellowship does not include a stipend*

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EMMANUEL COLLEGE ARTIST RESIDENCY — Boston, Massachusetts

Deadline: February 1 
Application Fee: none 
Residency Fee: none 
Length: 8 weeks (June - August) 
Stipend: $1000 dollars and reimbursement for travel and visa up to an additional $1000 
Food: none

The Emmanuel College Art Department offers an eight-week artists residency to four artists each summer. The residency supports a diverse group of artists, providing time and space for established and emerging artists to develop their work. However, the Art Department specifically aims to award a residency to one individual from each of the four categories: ceramics, photography, printmaking and social justice. Fostering creative and artistic excellence, the residency also plays an important role in advancing the visual arts on the Emmanuel campus, providing an important educational program on contemporary art accessible to students, staff, and faculty.

Lodging is provided in the college dorms, with access to a small kitchen. Residents have access to communal college studio facilities with ample space sharing - ceramics, wood shop, print shop, darkroom, design lab and drawing studio. Emmanuel will host a closing exhibition for all resident artists to participate in and show the larger community the end result of your work.

Artist Responsibilities: •Artist must agree to give a presentation during the 2018/19 academic year - two artists may be invited back based on teaching needs •Artists must devote 3 hours to Emmanuel’s summer art history course, Contemporary Art and Artistic Practice, discussing their own process. •Artists will donate one piece to Emmanuel College at the end of the residency*

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BLUE MOUNTAIN CENTER — Blue Mountain Lake, New York

Deadline: Our next application period will open November 1, 2018 for the 2019 season.
Application Fee: $25
Residency Fee: none
Length: 4 weeks
Stipend: In 2017 generous BMC alumni and the Adirondack Foundation established a Resident Support Fund to provide financial assistance to 2018 applicants who require additional resources to participate in BMC's Residency program and meet criteria specified by donors. Upon acceptance to a Residency, qualified applicants will be invited to request funding if needed. One applicant will be awarded the Boren Chertkov Residency for Labor and Justice.
Food: Yes

Blue Mountain Center, founded in 1982, provides support for writers, artists, and activists. A 501(c)(3) nonprofit organization, the center also serves as a resource for culturally-based progressive movement building. We expand and deepen conversations among cultural workers and support projects that emerge from these dialogues.

During the summer and early fall, BMC offers three month-long residency sessions. These sessions are open to creative and non-fiction writers, activists, and artists of all disciplines—including composers, filmmakers, and visual artists. Applications are reviewed by accomplished authors and artists. They are particularly interested in fine work that evinces social and ecological concern and is aimed at a general audience.

Blue Mountain Center also hosts several weekend conversations during the spring and fall months each year. They bring together individuals to talk about pressing social problems such as civil liberties, environmental health and safety, peace, and economic justice.

Guest rooms are simple and comfortable. Residents are lodged in individual bedroom/studies in the Main House or the Grey Cottage.

Please note that cell phones are prohibited at Blue Mountain Center. We've found that cell phones and the constant connectivity they entail conflict with our mission and detract from the experience of being here. We have a phone booth with unlimited long distance calling available for resident use. There is no Wi-Fi.*

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Fellowships, unlike residencies, generally do not provide space. Fellowships usually include unrestricted, larger chunks of money awarded based on merit. Fellowships usually have some kind of limitation in regards to subject matter, geography, medium or identity. This follows along with the idea that a fellowship is in pursuit of some joint goal. Halcyon Art Labs is an exception, as it is a unique model, a hybrid residency/fellowship. (More on Fellowships in a later post!)

HALCYON ARTS LAB — Washington, D.C. 

Deadline: April 4
Application Fee: none
Stipend: A competitive financial scholarship to support living and material costs
Length: September 10, 2018 - June 28, 2019
Housing: Nine months of off-site residential accommodation (eligible for non-D.C. residents only)

At the intersection of art and social change, this nine-month residential fellowship is designed to provide support and resources to emerging artists working on projects which address issues of social justice, civic engagement, and community building. Arts Lab fellows strive to hone their practices and grow as leaders in their respective fields. Adapting the well-honed methodology of the Halcyon model, Halcyon Arts Lab fosters creativity through a supportive environment of space, access, and community. The program accepts six national and international fellows as well as two Washington, DC-based artists in each cohort. 

Halcyon is committed to the vibrant community of artists living in Washington, DC. We see tangible value in supporting artists whose projects may require ongoing community relationships that last beyond the nine-month residency. For that reason, Halcyon has chosen to allocate two of the eight fellowships to DC-resident artists.<

Halcyon Arts Lab Fellows have access to the following: Dedicated studio space; a program of classes, artist talks, studio visits, civic engagement opportunities, and critiques; mentorship and critique from an experienced arts professional in the fellow’s field; opportunity to mentor DC high school students to provide guidance and inspiration in developing the next generation of socially-engaged artists; collaboration and networking with fellow artists, social entrepreneurs and our program partner organizations in Washington, D.C.*

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A BLADE OF GRASS FELLOWSHIP

Deadline: September
Stipend: Artists receive $20,000 in minimally restricted support.

We look at the process and relationships of socially engaged art projects.

We see the aesthetic qualities of socially engaged art in how alliances are formed and maintained, the way disparate stakeholder groups are coordinated, how power dynamics are navigated, and how bridges are built between many different types of people within a socially engaged art project.

We create content that illuminates and deepens understanding of these relationships. A primary goal of ABOG is to make the “invisible” parts of socially engaged art visible. We do this through documentary films and field research that are artist-led, and are grounded in the perspective of project participants, as well as publications, web content, and public programming.

We also use this focus on process and relationships to advocate for a more expanded sense of what art is, how artists can work in communities, and how art might be integrated into everyday life. Our field research, documentary films, and other content serve as the basis for curriculum, toolkits, and consulting that enable more artists to work in partnership with non-artist stakeholders.*

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NEXT UP: Family-friendly Residencies

*Please note: italicized text is taken directly from the informational websites of the residencies.


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tag:blog.otherpeoplespixels.com,2013:Post/1271423 2018-04-11T15:33:43Z 2018-04-11T15:36:35Z OtherPeoplesPixels Interviews Hector Arce-Espasas

Dancers (Metallic), 2015. Fruits, Flowers and Porcelain. Dimensions Variable.

HECTOR ARCE-ESPASAS explores the relationship between desire and exploitation by employing the loaded symbols of tropical paradise in paintings, ceramics, and screenprints. Hector earned his BFA at The School of the Art Institute of Chicago and his MFA at Hunter College in New York. He has had solo exhibitions at Taymour Grahne (2016) in New York, Evelyn Yard (2015) in London, and Luce Gallery (2014) in Turin, Italy. In 2016, he was named one of 10 Exceptional Milennials to Watch by artnet.com. Hector lives and works in New York. 

OtherPeoplesPixels: Can you talk about the myth of the Tropical Paradise and how you use it/subvert it in your work?

Hector Arce-Espasas: Throughout the history of mankind, different cultures, in their pursuit of the ideal, have invested symbolic meaning into objects and elements of their environment. In the process of exteriorizing inner quests, these objects have become sensuous representations, i.e. symbols that express intangible truths or states. A symbol corresponds to a precise time in history and it transcends history to become universal in its function as an image. Universality of the symbolic image enables the transformation and adaptation of the symbol by different cultures, but this process also carries numerous misconceptions, misappropriations and colonial fantasies.

The idea of the Tropical Paradise is the present day transmutation of the ancient historical myth of the Garden of Paradise. The concept of Paradise as a garden is found in most eastern cultures: a secure, everlasting place in which Man can transcend his frail human condition. In biblical terms the notion of Paradise became associated with the Garden of Eden. Its earthly representation became a walled garden with dominant water features and planted with date palm trees. In western societies, this idyllic garden idea was often associated with the Latin term Locus Amoenus, a pleasant place which in time became a poetic convention for a description of an idyllic setting where a romantic encounter could occur or which belies an impending threat. 

The transformation of the eastern idea of the Garden of Paradise into the western version of Eden as Paradise combined with the notion of the Locus Amoenus became the seeds for the creation of the new Tropical Paradise: an exotic, idyllic place with palm trees by the sea. Unlike its theological version, this Paradise is within easy reach, ready to be appropriated, consumed exploited and spoiled. In present times, commercial media and the advertisement industry have successfully reconfigured some of the Paradise images, within different contexts, transforming their traditional meanings, adapting them and making them trans-cultural, with far more reaching and readily consumable results.

Untitled (red) Clay Paintings, 2014. Stoneware and Acrylic on Linen. 60" x 72"

OPP: Palm trees and pineapples are recurring images in your work. Are these symbols stand ins for Tropical Paradise?

HAE: All the compositional elements from this garden are transfigured and transubstantiated to recreate the new Paradise. The river becomes the sea. The coconut palm tree, brought from the Pacific Islands by the Europeans to the coasts of West Africa and the islands of the Caribbean, replaces the date palm tree as the official iconic image for this new exotic landscape. The insertion of the pineapple as the attainable, sensuous new fruit of this Tropical Paradise emerges. My images visually demonstrate how easy the association and transition from the date palm tree to the pineapple might have occurred; thus becoming the fruit associated with the coconut palm tree. 

No, these are not paintings they are Pineapple Decor, 2015. Acrylic on Canvas. 60" x 79"

OPP: Can you talk about the abstract screen print works? I have a sense that this is representational imagery, but blown up so large that its referent disappears?

HAE: Some of the work deals with the deconstruction and recombination of images of the pineapple, in order to demystify its meaning as a fruit representative of the Tropics. The images lure and repel while playing with the idea of the pineapple as the easily attainable commercial fruit of the Tropical Paradise. This idea is extended metaphorically in regard to having viewers question their expectations of a Tropical Paradise in itself: at what cost, to their own reality or to that of the place to stand for their fantasies.

Still of Paradise (Purple Shade of Light), 2017. Acrylic on Canvas. 24" x 29"

OPP: You’ve recently shifted into more painterly representations, whereas in the past, the palm tress have been more graphic and reproduced through printmaking processes, which connects them to mass produced media. What led to this shift?

HAE: After a few years of working with printmaking, I wanted to take a shift from the mechanical to the hand-made process without loosing the elements that I was working from. The paintings that I did in the past are created by photographing palm tree leaves then zooming in to create an abstraction. Then the images were made into transparency that get exposed into a screen. The end result is painting with acrylic and the use of large format screen-printing. I use a similar process with the derriere paintings. First a model derriere wearing jeans gets directly painted, later she makes a mono print using her derriere in the canvas leaving the in prints by her moves (similar to Yves Klein). Later these are photographed and altered using the same method as the palm tree paintings.

Dancers (White), 2016. Fruits, Flowers and Porcelain. Dimensions Variable.

OPP: It’s really jarring to see the body—well, the hips and ass, in particular—as a vessel for serving fruit. How does this work speak to exploitation of the Caribbean world?

HAE: My intention is to leave interpretation open to the viewer. Sometimes I like to ignite dislike, discomfort, disagreements with the elements I choose. A good example is the derriere sculptures. Its an image we constantly see exploited, usually direct in the Latin culture. As once the pineapple or this idea of the tropical paradise was a coveted and luring concept, in today’s culture it is the derriere. My last installation of the sculptures, named Ode to Paradise was made into a pyramid like stage/shape with a lot of tropical foliage on the top with the idea of empowering the figure, which I feel is what our culture has greatly done.

To see more of Hector's work, please visit hectorarceespasas.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indiana 2017). Her solo installation Where Do We Go From Here? is on view at Robert F. DeCaprio Art Gallery (Palos Hills, Illinois) through April 20, 2018. In conjunction with this improvised installation, Stacia invited eight OPP artists—Kathryn Trumbull Fimreite, Brent Fogt, Melinda Thorpe Gordon, Jaclyn Jacunski, Jenny Kendler, Meg Leary,  Geoffry Smalley and Erin Washington—to respond to the text Where Do We Go From Here? Each artist approached the question from a different angle, emphasizing that both the We and the Here are not the same for each of us. 

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tag:blog.otherpeoplespixels.com,2013:Post/1268815 2018-04-04T12:22:10Z 2018-04-04T12:28:07Z Residencies with a Cause: The Environment
Here at OPP, we know that you'd rather spend your time in the studio, not researching ways to get more time in the studio. Today we're highlighting residencies in the U.S. that are oriented towards environmental concerns and a more intimate relationship with nature. Keep in mind, this list is by no means exhaustive. It's really just the tip of the iceberg. In two weeks, we'll highlight residencies with an orientation towards social justice. 

Recycled Artist in Residence — Philadelphia, Pennsylvania

Deadline: 2018 call has closed. 2019 applications will open in Fall 2018
Fee: none
Funding: none
Application fee: July 1st- 30th:  $15; August 1st- 31st: $20; September 1st- 30th: $25
Length: standard residency is 1-3 months; the Biggie Shortie is 2-4 weekends

Situated inside a construction and demolition waste recycling company in northeast Philadelphia, RAIR offers artists studio space and access to more than 350 tons of materials per day. Since 2010, RAIR has provided a unique platform for artists to work at the intersection of art, industry and sustainability, while producing content that challenges perceptions of waste culture.

THE STANDARD RESIDENCY: a longer, more traditional studio based program. Standard residents are given access to waste materials and a studio space. THE BIGGIE SHORTIE: a shorter, more project based residency. Big project in a short amount of time. The flexible nature of Biggie Shorties allow for projects to be customized to fit each residency. This residency includes partial access to shop and studio as well as full access to outdoor installation/workspace, but does not a private studio.*

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Recology — San Francisco, California

Deadline: Applications are accepted June 1 – September 1
Application Fee: $20
Residency Fee: none; artists also receive a stipend
Length: 4 months
Stipend: $1200 a month

The Artist in Residence (AIR) Program at Recology San Francisco is a unique art and education program that provides Bay Area artists with access to discarded materials, a stipend, and a large studio space at the Recology San Francisco Transfer Station. By supporting artists who work with recycled materials, Recology hopes to encourage people to conserve natural resources and promote new ways of thinking about art and the environment.

At this time, we accept applications from local, career-level, professional artists. Students currently enrolled at any university, college, or other educational institution will not be considered. We also do not accept applications from artists who reside a driving distance of more than one hour from San Francisco.

During their residencies, artists have scavenging privileges and 24-hour access to the company’s well-equipped art studio. Artists speak to elementary school classes and adult tour groups about the experience of working with recycled materials. At the conclusion of their residency, Recology hosts a two-day public exhibition and reception for the artists featuring the artwork made during their residency. When the residency ends, artists contribute artwork to the program’s permanent collection and these pieces continue to be shown in off-site exhibitions that promote recycling and reuse.

Recology AIR Programs now operate in three other cities (the above stats are only for San Francisco): Portland, Seattle, and Astoria. GLEAN in Portland is a collaboration between Recology, crackedpots, an environmental arts organization, and Metro, the regional government that manages the Portland metropolitan area’s garbage and recycling system. In Astoria, the Coastal Oregon Artist Residency (COAR), is a collaboration between Recology and Astoria Visual Arts.*

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Signal Fire — based in Portland, Oregon

Deadline: January 2019
Application Fee: none
Residency Fee: Sliding scale ($150-300); two full fellowships available
Length: 1 week

Signal Fire was started in 2008 by activist Amy Harwood and artist Ryan Pierce. Both wanted to find a way to bring their communities closer to foster more collaboration. As avid backpackers, they imagined small groups traveling together into threatened wildlands, discussing ways to shift the dominant views of land in the American West. They gathered together a group of friends for dinner to ask for input, and Signal Fire was born.

Signal Fire builds the cultural value of the natural world by connecting artists to our remaining wild places. We believe in artists as agents of change. Our projects foster resilience, creative energy, and interdisciplinary collaboration. We advocate for land justice and the protection of threatened land and water. 

Signal Fire provides opportunities for artists and creative agitators to engage with our remaining wildlands. Our projects foster self-resilience, creative energy, and interdisciplinary collaboration. We utilize public lands to advocate for equitable access, and protection of, wild and open places.

Three ways to participate:
Residencies: are self-directed, with Signal Fire staff nearby to provide safety, support, and optional day hikes. Residencies are our least physically demanding programs. Participants are selected through competitive, juried application, based on quality of work and written statements. Our finalists tend to be established or emerging professional artists.
Retreats: are group experiences, backpacking, canoeing, and camping together in wild places. Signal Fire guides provide instruction on backcountry safety, low impact camping techniques, and short activities to invite perception of the landscape and invite creative breakthroughs. These trips can be ephysically and socially demanding and rewarding. We curate a reader to provide entry points for discussion, but all non-essential activities are optional. Participants are selected through competitive, juried application, based on quality of work and written statements. Our finalists tend to be established or emerging professional artists.
Wide Open Studios: is our one-of-a-kind arts and ecology field institute. These trips are curriculum-rich, with projects, readings and discussions happening throughout the trip. They offer immersion education intended to catalyze creative discovery and personal transformation, and can be both physically and socially demanding. Wide Open Studios participants are selected by Instructors based on assembling a diverse and unique cohort. We generally get a mix of current students (both graduate and undergraduate, art students and otherwise), non-students, and working artists.*

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A Studio in the Woods: Adaptation Residencies— New Orleans, Louisiana

Deadline: April 16, 2018
Application Fee: $15
Residency Fee: none
Length: 6 weeks
Stipend: $2000 as a stipend and $2000 towards materials
Food: yes

New Orleans and the region are frequently invoked as one of the areas most vulnerable to the effects of environmental change. Our highly manipulated landscape can be seen as a microcosm of the global environment, manifesting both the challenges and possibilities inherent in the ways humans interact with urban and natural ecosystems. With nearly half of the world’s population living within 40 miles of a coastline with rising seas, the concerns of Southern Louisiana resonate globally. Adaptations Residencies invite artists to examine how climate driven adaptations - large and small, historic and contemporary, cultural and scientific - are shaping our future. Adaptations Residencies will provide artists with time, space, scholarship and staff support to foster critical thinking and creation of new works. The call is open to artists of all disciplines who have demonstrated an established dialogue with environmental and culturally related issues and a commitment to seeking and plumbing new depths. We ask artists to describe in detail how the region will affect their work, to propose a public component to their residency and to suggest ways in which they will engage with the local community.

ASITW provides full room and board including food, utilities for living and studio space to selected residents. Residents are expected to cover personal living expenses, additional materials and supplies, and any other expenses relating to the cost of producing work incurred while in the program. Travel and shipping expenses to and from ASITW for the residency are also the responsibility of the artist.*

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Sitka Center: Artist and Ecologist Residency — Otis, Oregon

Deadline: April 17, 2018 for Fall 2018-Spring 2019
Application Fee: $15
Residency Fee: none
Length: WE OFFER A VARIETY OF RESIDENCY LENGTHS BUT ENCOURAGE APPLICANTS WHO CAN PARTICIPATE FOR A FULL 3.5 MONTHS
Stipend: none
Food: none

Tucked in the forest near Cascade Head, Sitka is an ideal location to withdraw from the distraction of daily life, finding the solitude needed to push through creative boundaries and chase artistic pursuits. We revere this practice. Our intention is to offer residencies of three and one half months with living spaces and studios that enhance this experience. The Sitka Center hosts approximately 14-20 residents each year. Some residents are emerging voices while others are mature professionals who are internationally recognized in their disciplines. Residents come from across the U.S. and (to date) seventeen nations.

The Sitka Center also offers four specialized residencies: the Howard L. McKee Ecology Residencythe Recorder Residencythe Jordan Schnitzer Printmaking Residency (for non-printmakers) and the Artist at Sea Residency.*

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Wormfarm Institute—Reedsburg, Wisconsin

Wormfarm Institute Resident Artists 2017

Deadline: rolling, but our primary review period is January through February and selected applicants will be notified in mid-March
Application Fee: none
Residency Fee: none
Length: 1-5 months
Stipend: none
Food: Fresh farm produce from our 4 acre garden that artists help to grow is provided. We also provide many staples such as rice, pasta, flour, grains, dry beans, oils, spices and occasional bonus items from friends and neighbors. Residents can expect to purchase their own supplemental foodstuffs.

We look for artists and writers with an interest in sustainable systems and our place in the natural world. The Wormfarm Residency season runs from May through Oct and we can host up to three artists at a time, with residencies running from one to five months. The most successful Residencies usually last a minimum of two months, but we will consider shorter stays.

Each artist is provided with accommodations, use of our evolving facility and time and space to create. In exchange, we ask each to participate in farm operations for 15 hours per week and to share the results of their creative efforts with the local community.

The 40-acre farm is located in the unglaciated region of south central Wisconsin about an hour drive north of Madison. The surrounding land consists of rolling hills and thousands of acres of beautiful woods and farmland. 

Each artist is provided with a private, screened-in studio space in the barn. The barn also has large open common areas as well as a stage. There is a ceramics area that includes electric kilns and kick wheel. A variety of outbuildings may serve as work space depending on artist’s needs. There are also woods, pasture and gardens for those interested in environmental projects. We share the land with a variety of animals: cows, chickens, a dog, and barn cats.

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Rocky Neck Art Colony Environmental Installation Art — Gloucester, Massachussettes

Deadline: February 10th
Application Fee: $35
Residency Fee: none
Length: 1 month
Stipend: none
Food: none

Newly established in 2017, this program is an effort to bring art out of the studio and make it both visible and accessible to the public. We encourage the creation of site-specific installations that engage the public and draw attention to questions and challenges posed by environmental policies, politics, and/or social change. Through our partnerships with local non-profits and community programs, artists are asked to respond creatively to the concerns of the greater Gloucester/Cape Ann Community.

Information on this year’s Environmental Installation Artist’s topic and our partner, Ocean Alliance www.whale.org. The Committee places exceptional value on the year-round work performed by the Alliance. Their continuing efforts to protect existing whale populations while educating the public about the fragility of our oceans resonates with the entire world.

One gifted artist will be awarded a month-long residency term which includes a waterfront live-work studio space and access to a rich cultural community. Residents chosen are requested to host an opening and closing talk to engage with our community.*

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Willowtail Residency— Mancos, Colorado

Deadline: February 20, June 05, August 20 
Application Fee: $25 
Residency Fee: Artists can apply for full or partial fellowships to cover cost of program. 
Length: 1-3 weeks 
Stipend: none 
Food: Breakfast items are provided (homemade bread, cherry/raspberry jam, organic juice, butter, cream, milk, eggs, fruit, fresh ground coffee, tea, homemade granola, fruit, olive oil and spices). Residents are responsible for other food/meals.

Willowtail Springs Nature Preserve and Education Center provides a backdrop where The Arts and Nature can integrate. Within the vast beauty supporting the intimacy of this unique setting, the Nature Preserve and the Education Center has been structured to sustain into perpetuity the availability of a special experience to work without distractions.

Residents: You bring your projects, curiosity, knowledge, talents and pioneering thought.  We provide the place and the space to explore. We offer you time to stretch your talents, in an extremely special adventure. Each resident is required to deliver a community offering within one calendar year of their residency. Whether this takes the form of a lecture, presentation, demonstration, teaching, slideshow of work, exhibition in the local community, is up to the resident.

Participants will have a choice of one of three available living spaces, all with wifi, fireplaces, fully equipped kitchens, and outdoor decks overlooking the lake.We can accommodate painting, drawing, photography, mixed media, sculpture, performance art, film making, composers, songwriters and practicing musicians. The Working Studio space is 600 sq. ft, and can hold up to three people per day for self directed work. It is a separate building nestled in the gardens next to the Lakehouse and looks out to the lake, gardens and small pool with fountain.*

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NEXT UP: Residencies with a Cause: Social Justice
*Please note: italicized text is taken directly from the informational websites of the residencies.


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tag:blog.otherpeoplespixels.com,2013:Post/1266112 2018-03-28T12:55:14Z 2018-04-29T16:21:24Z OtherPeoplesPixels Interviews Zoe Hawk

Dreaming As The Summers Die, 2017. Oil on aluminum.

ZOE HAWK's allegorical paintings and drawings are populated by adolescent girls in knee-socks and and Peter Pan collared dresses. Matronly women in veiled funeral garb sometimes stand guard, representing an oppressive and depressing future. These paintings point to a dominant narrative of idealized American girlhood and the nuances of  navigating inherited gender expectations. In these paintings, growing up female is an unfolding process of resisting and participating, subverting and submitting. Zoe earned her BFA in Studio Art from Missouri State University and her MFA in Painting from the University of Iowa. Her work has been included in exhibitions both in the United States and abroad, and reproduced in publications such as New American PaintingsThe Oxford American, and ArtMaze Mag (London). She has attended artist residencies in Belgium, Norway, and the United States. Her latest residency experience was at the Doha Fire Station in Qatar, which culminated in group exhibitions both in Doha and Berlin. Her work was recently included in the current issue of Create! Magazine. Zoe lives and works in Doha, Qatar.

OtherPeoplesPixels: Do you think of your paintings as allegories? If so, for what?

Zoe Hawk: I do see them as allegorical. Ultimately my work is about the experience of girlhood, the transition to womanhood, and ways we learn our roles in society. The paintings are like stage sets, or dollhouses—little social microcosms where various stories can play out. All of the poses, facial expressions, colors and scenes are carefully chosen to represent different aspects of the girlhood experience. Many of the decisions are made to function as metaphors, and I often include references to classic stories, films, games, folk songs, etc. I want the narratives to seem sweet and familiar, like a story in a children’s book, but at the same time cause a bit of unease in the viewer, as if something is not quite right. 

In Her Willows, 2017. Oil on aluminum. 17.5" x 23"

OPP: Can you talk about the difference between girls and women in your work?

ZH: Most of the girls in my paintings are at the transitional age of adolescence, when the realization hits that womanhood won’t be all excitement and romance, but that there will be violence, fear and unrealistic expectations to bear. This is where my depiction of the veiled women in black funeral dresses comes from. They are mourning the death of their childhood freedom and innocence. But from the point of view of the young girls, the women are something mysterious and unknown, both alluring and foreboding. Often the women are confining the girls, trying to rein in their wild energy, or looming over them with a watchful eye. Other times they are leading them by the hand towards the inevitable.

Aqua Culture, 2016. 11 x 16.5"

OPP: Very few of your paintings feature girls alone. This Way Over Obstacle (2016), Aqua Culture (2016) and Dream Home (2014) really stand out. In each case, the solitary girl is totally focused on something that has nothing to do with the group. How are these girls different from the rest? 

ZH: The girls in groups are learning how to navigate their social environments. They sometimes work in tandem, like a flock of birds, while other times there is frustration, rebellion and contention between them. The solitary girls are more about introspection and curiosity—showing that girls have scientific minds, deep inner lives, and a sense of self that maybe conflicts with social expectations. Aqua Culture is about an intense moment of awe, wonder and a dark realization about the future. The girl in Dream Home is engaged in an act of curiosity, peeling back the artifice of her environment, exposing darkness, while symbols of domestic perfection are looming over her. I think the isolation of the figures feels much more stark and dramatic when seen in contrast to the group images. It becomes less about interactions and more about the potency of one singular action, and about the impact of the surrounding environment. 

Cry, Sally, Cry, 2014. Oil on aluminum. 15 x 17"

OPP: Tell us about the clothing in your paintings. Lots of white knee socks, white collars, skirts and dresses. I don’t think a single pair of pants. They seem like school girls, but not contemporary teenagers.

ZH: The clothing the girls wear represents different modes of feminine identity: the uniforms are a metaphor for socialization, institutional power and conformity, while the floral patterned dresses and white bridal/baptismal dresses represent femininity, purity and innocence. I like to reference clothing from the 1930s through the 1960s—like the white collars and pastel dresses—because to me it is the epitome of American idealized girlhood, and represents the gender ideals that are still woven into the fabric of contemporary culture. I think imagery from the past functions well as a stand-in for the current social climate, because it allows distance from our daily lived experience. And as much as the paintings are a critique of these gendered constructions, I acknowledge my own pleasure that I take in these things—the childhood joy I felt as a girl in a puffy, pink dress—and the internal conflict I feel as a result. 

Waterway, 2015. Oil on aluminum. 16.75 x 18.5"

OPP: I think about these paintings as about the conflict between wanting to belong and wanting to assert individuality. Sometimes the girls fall in line and sometimes they rebel. To what degree do these characters have choice in the matter?

ZH: I think adolescence is so interesting because of this conflict between the desire to fit in and a need to rebel. I want that tension to add to the overall sense of uneasiness in the paintings. I often like to paint the girls’ faces and actions in a way that expresses their curiosity, sadness, fear and frustration, in spite of the rigid idealism of their clothing. The question of choice is interesting, because I think we are all a product of environment, upbringing and circumstances. But I love the idea that some of these girls can break free. 

Rite of Passage, 2014. Oil on aluminum. 16.5 x 19"

OPP: I agree about each of us being a product of our environments, upbringing and circumstances. So how does that fact relate to the dominant cultural narrative of “idealized American girlhood,” which seems to be predominantly white, middle class and suburban? How do we deal today with this inherited—and limiting—storyline about how girls should be?

ZH: Yes, I definitely see that idealized narrative as a misrepresentation of the broader girlhood experience, and something that has been an oppressive force for many. It certainly differs from my own experience growing up, but it is a narrative that I consumed along with most other girls because it was the only one offered by the mainstream. For me, the discovery of alternative female voices in books, music, comics and art was essential. I think diverse options are more accessible to girls now, thanks to the Internet and social media, but we still have far to go. Representation is important, so I think we need to amplify the creative voices of women—especially women of color, trans women, immigrant women, and others who have traditionally been denied a place at the table—in order to culturally redefine what it means to be a girl. 

To see more of Zoe's work, please visit zoehawk.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indiana 2017). In March 2018, her solo installation Where Do We Go From Here? will open at Robert F. DeCaprio Art Gallery (Palos Hills, Illinois). In conjunction, the atrium will exhibit two-dimensional artwork by artists who were invited by Stacia to make new work also titled  Where Do We Go From Here?

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tag:blog.otherpeoplespixels.com,2013:Post/1263830 2018-03-21T12:15:28Z 2018-03-23T14:38:34Z OtherPeoplesPixels Interviews Andy Mauery

patriarchal orifice #2: Boloria frigga (Frigga Fritillary), 2016. Thread stitched on human hair, insect pin, styling products. 18”h x 16”w x 1”d

ANDY MAUERY constructs delicate crownscurtains and clouds from human, acrylic and horse hair. Shed regularly and replenished anew by the body, hair highlights the impermanence of life. In her recent work, human hair is just barely held together by thread drawings of extinct and endangered species. These fragile objects point to our interconnectedness and remind us that we, too, are not immune to extinction. Andy earned her BFA from Indiana University of Pennsylvania and her MFA from West Virginia University. She has been at artist-in-residence at Haystack Mountain School of Crafts, Vermont Studio Center and Tesuque Glassworks. In 2017, she won an Artist’s Resource Trust Fund Individual Award from the Berkshire Taconic Community Foundation, which funded the work in her upcoming solo exhibition devolve. The show opens in the summer of 2018 at the Lord Hall Galleries at The University of Maine. Currently she is an Associate Professor of Art and the Foundations Coordinator at The University of Maine. Andy lives in Veazie, Maine with her husband, son and two nocturnal kittens.

OtherPeoplesPixels: You’ve worked with hair for many years. When did you first use it in your practice?

Andy Mauery: I think the first fully realized works that used hair came near the end of grad school, although it had been part of my sketching practice longer. I’ve always had braids lurking around—in hair, different fibers and drawings. One series of pieces was based on fishing lures, but spoke more to luring human attention, looking at some cisgender society roles and mating rituals with a bit of skepticism/cynicism, and some humor. So I made people-sized lures of steel and fibers and turned the hair/fur—pretty common on fly fishing lures—into human hairdos. 

With the more recent rapunzelsI went back and indulged myself in making bigger versions of works that I have been repeatedly remaking for years in smaller, varied formats.  

little red rapunzel, 2013. Acrylic fiber, scissors

OPP: How do you think about the hair materially?

AM: As a material, hair is simultaneously an extremely personal part of each of us and a widely shared mammalian feature. There’s my hair, which I groom in a manner that culturally address a sense of self in many ways. And then there are more than 5,000 species of mammals that, yeah, all have the same stuff, yet it’s considered so completely, utterly foreign and “animal.”  Many artists have tapped into the politics of hair. It’s complex and very real. I have frizzy auburn hair, and it has garnered a surprising amount of attention, both positive and negative, from the time I was very young. My paternal grandmother had a beauty shop, too, and I loved it when she let me style this one ratty, mod auburn wig. 

patriarchal orifice #1: Vertigo morsei, 2016. Thread stitched on human hair, insect pin, styling products. 16”h x 19”w x 1”d

OPP: The most recent hair work is crowning glories. Can you talk about the juxtaposition of human hair with the stitched outlines of extinct butterflies, snails and mussels?

AM: The crowning glories, an ongoing project, took shape when I was trying to clarify the relationship I have with these species works and simplify my approach. I wanted the works to resonate personally with each viewer, without presupposing an existing empathy with the critters being pictured. I started with really direct representations of or symbols for the central subjects or ideas: power, you/your human body, the species we humans are harming. I worked with this straightforward equation; the human is [combined with] the other species. I was drawing from photos and graphics of various endangered species, including some plants, and started creating tracery layouts and patterns. 

I experimented with different techniques to hold the works together, including hand and machine stitching, knotting, wrapping, some felting. The first of the series that survived my experiments was an actual crown made of human hair, whose form is created entirely of simple silhouette drawings of protected and endangered (and some extinct) species stitched in thread, on/through/around the hair. 

The hair is this actual DNA record of a person, a wearable memento mori and a self-portrait, all those things and more made into this delicately drawn version of an object representing power. I’ve actually under-engineered the pieces a bit, too, to make sure that they aren’t permanent: they are meant to come apart eventually. I liked the crown works when they were flattened out as patterns, prior to being shaped, so I’ve moved some of the later versions of the series into wreath-like wall pieces, where the repeated butterflies and snails can be more clearly seen. So they are also these contemporary versions of the Victorian mourning jewelry, lamenting the mussels, plants, moths that we are wiping from the earth.  

A Species of Special Concern: Northern Leopard Frog (Rana pipiens), 2017. Human hair, mirror vinyl, petri dish, water, watercolor pencil, soluble starch. Frog is life size.

OPP: What role does fragility play in your practice? 

AM: Plural roles, definitely, as it is entwined in so many aspects of my practice. Addressing the physicality first, at times I am so intent on working right up to the edge, as if I have to find out first just how far a material can be pushed before it fails. I have so many examples of objects that didn’t survive their own making, when I pushed just a bit too hard. Or sneezed on them. It turns out that a frog made of starch does, indeed, dissolve in those circumstances. 

The crowning glories are the husky, strong works in my oeuvre, comparatively. I was talking with an artist friend about having a hair work badly damaged in a shipping accident, and when she suggested some tougher materials, I said, “oh yes, on it already. I’m doing a collaboration in glass.” Then I heard the sentence outside of my head, through her laughter: when glass is your “tougher” material. 

I’m drawn to materials and structures that are vulnerable, and delicate, and ephemeral. Of course it’s lovely when they are paradoxically strong and fragile, too. Horsehair is a great example. That seeming contradiction is what I keep poking at with each sculpture, drawing, installation. I want materials that degrade and age, that have a life span, that need to be cared for to survive, that are analogous to the subject matter or theme of the work. Fragility and mortality are really driving the train, so to speak. 

Years ago I worked with these same ideas through the lens of boundaries, how we imagine, create, enforce boundaries out of ignorance/unknowing/fear, instead of trying out new ways of experiencing where we as individuals start/stop within our world. Now I continue working on those same concepts but with a shift in perception, still acknowledging my impulses toward the phenomenological and ontological, but now stepping more firmly into what a friend identified as, “good, old-fashioned ethics.” I sometimes wonder if my approach has led me to materially working my way through my own clumsy understanding of Philosophy 101 coursework, manifested through studio practice. If so, I embrace it, with general apologies to philosophers everywhere.

crowning glory 2 (hopping mouse), 2013. human hair, thread. 7"h x 7.5"w x 8" d

OPP: Human mortality and animal extinction are themes in your work. Does one concern you more than the other?

AM: Is it too irreverent to say my level of worry between the two is comparing apples and oranges? Human mortality became more of a concern when I became a parent and as I lose a continually and irreversibly larger number of friends and family to human mortality. We get such a short time on earth, even the most long-lived of us; it’s healthy to use that time well. At this point, I don’t worry about it every day, but it certainly shapes my actions. The human condition, you know…we work our way outward from our biological and self-concerns to eventually—in theory—worrying about how our societies work and how they impact the environment. 

OPP: Are you concerned with human extinction?

AM: I do have real, daily concern with animal and human extinction, and those two are inextricably linked. After an incalculable number of animal species die, we humans die. I believe that they have a right to live whether their deaths impact our future survival or not. But for those who don’t think that bats, for example, deserve that consideration, perhaps you could get behind supporting them as a part of the biodiversity that sustains all life? 

Science has made a very strong case that humans are primarily responsible for the current extinction crisis, this “sixth wave” being unlike the naturally occurring mass extinctions in the sheer numbers of species lost to avoidable conditions like the introduction of invasive/exotic species, habit loss due to a wide variety of land practices that result in pollution and destruction. And of course there is global warming. Our ability to address those big questions involved in the human condition—are we made to be selfish, can we be altruistic, should we live in hierarchical societies, how do we treat the environment—affect our chances of making it as a species. We can’t really survive as humans without non-human species. There is no realistic scenario that supports that; we are part of a vastly complex system of living things.

extinction as parlor game, 2017. Wallpaper, endangered Maine butterfly stitched in thread on human hair, insect pin, styling products. paper is 11' high.

OPP: How do viewers respond to your work?

AM: Some people are really drawn to them and find them beautiful and strange. Others get very angry with these works in gallery shows. They say things like, You’re allegedly so upset about this, but you’re showing bats made of hair in a gallery. This is terribly—choose one—entitled, mercenary, elitist, timid, limited, inefficient, preaching to the choir, naïve … Social and political activism takes place in many venues. It must. It has a lot of different forms; it must. These works are not my only actions towards halting species extinction, habitat degradation, but they are a portion of it. 

OPP: Do you have a favorite piece by another artist?

AM: So many favorites. . . there’s an ever-changing list of faves for different reasons, I will give you  some currents. An artist and scientist who works with the threat of extinction, Brando Ballengée’s Collapse is so beautiful and threatening and sad. It’s thousands of preserved species in gallon jars stacked in a pyramid, in response to the damage to the Gulf of Mexico following the Deep Horizon spill. Leonor Antunes' I stand like a mirror before you (2015) for her her brilliant riff on Modernist forms and her deep forays into structure, I love grids, nets, knotted strings and often use them as well. Her work is often so clean and restrained, and politically on point about women artists’ roles to be both practical in effect and socially/politically radical. Speaking of socially active artists, I am really looking forward to showing this summer with elin o’Hara slavick, she does stunning work including a series of cyanotypes done in Hiroshima with objects that were left after the A-bombing in 1945. They are like exquisite, blue x-rays of loss.

Artificial Simplicity 2, 2009. acrylic fiber, steel, plastic. fiber 12' length

OPP: What's your favorite piece of your own work? Consider the difference between most successful in terms of audience response versus your personal experience making the piece.

AM: The crowning glories are ok with me right now. I’m pretty invested in them, and audiences are responding in varied but strong ways, which is pleasing. But I feel some of my curtains have been the most successful in terms of audience response, such as the two installations in the Atmospheric Conditions exhibit. They are large, visually transparent screens that sway with air currents, can be touched, they reference the body in somewhat odd but still accessible ways. My personal experience making them has, well, pros and cons. For example the materials are very tactile and pleasing to handle, which is great because they take some time to construct so there is plenty of handling opportunity. They are also quite frustrating to make because in most of the studios I’ve worked in, and certainly in my current studio, the ceiling is not high enough to build one vertically, or hang it after initial construction to work on; so the logistics are somewhat involved, and I don’t get to see if it’s really worked until it’s installed into the taller gallery space. I’m currently making a crowning glories version of a curtain, may as well go all in and try to merge the two.  

To see more of Andy's work, please visit andymauery.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indiana 2017). In March 2018, her solo installation Where Do We Go From Here? will open at Robert F. DeCaprio Art Gallery (Palos Hills, Illinois). In conjunction, the atrium will exhibit two-dimensional artwork by artists who were invited by Stacia to make new work also titled  Where Do We Go From Here?

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tag:blog.otherpeoplespixels.com,2013:Post/1261272 2018-03-14T13:04:00Z 2018-04-07T17:58:27Z Fully-funded Residencies with Stipends!!!!!
Here at OPP, we know that you'd rather spend your time in the studio, not researching ways to get more time in the studio. So we're kicking off a series of posts to get you started. Over the next six months, we'll highlight a variety of residencies, organizing them by type, including studio-only, fully-funded, solitary retreats and media-specific residencies. Keep in mind, this list is by no means exhaustive. It's really just the tip of the iceberg.


Sadly, some of the current deadlines for these fully-funded residencies have passed. But they are in such high demand, that it's a good idea not to rush the application. Do your research now and start planning to apply next year.

Headlands Center for the Arts — Marin County, California

Deadline: application generally opens around April and is due in June
Application fee: 
$35
Stipend: 
optional monthly stipend of $500
Length: 
4-10 weeks

The Artist in Residence program awards fully sponsored residencies to approximately 45 local, national, and international artists each year. Residencies include studio space, chef-prepared meals, comfortable housing, and travel and living stipends. AIRs become part of a dynamic community of artists participating in Headlands’ other programs, allowing for exchange and collaborative relationships to develop within the artist community on campus. Artists selected for this program are at all stages in their careers and work in all media, including drawing, painting, sculpture, photography, film, video, new media, installation, fiction and nonfiction writing, poetry, dance, music, interdisciplinary, social practice, and architecture.* 

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Arts/Industry Program at John Michael Kohler Art Center — Sheboygan, Wisconsin

Deadline: May 31, 2018
Application fee: none
Stipend: 
round-trip transportation, and a modest weekly stipend
Length: 
2-6 months

Each year up to 16 artists are selected for residencies in the Pottery and/or Foundry areas of the factory through a competitive jury process. No experience with clay or cast metal is required, just an interest in pursuing a new body of work and being open to new ideas. Arts/Industry offers artists the time and space to focus on the creation of new work, and a unique location for their studios. Artists-in-residence work at the Kohler Co. factory in the Pottery and/or Foundry. Artists need not have experience with clay or metal, just an interest in materials and the potential for the industrial environment and processes to influence their creative practice.* 

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Ox-bow — Saugatuck, Michigan

Deadline: Next deadline is May 1, 2018 for the Fall Artist and Writer Residencies; deadline for Summer Residencies is in February
Application fee: 
none
Stipend: 
$200/ per week
Length: 
2-13 weeks, depending on type

Ox-Bow’s residency program offers artists and writers, at various stages in their career, the time, space, and community to encourage growth and experimentation in their practice. The Arts Faculty and MFA residences are held during the summer while our core classes and community programs are in session. The small group of residents is a part of Ox-Bow’s artist community of students, faculty, and Visiting Artists. The Fall Artist and Writers' Residencies are held for five weeks in September and October. This larger group of artists enjoy a more intimate community. If you are a current Undergraduate or MFA student, we also offer a 13-week summer fellowship.*

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The Rabbit Island Residency — an island in the middle of Lake Superior, Michigan

Deadline: Midnight EST, January 28th, 2018
Application fee: 
$25
Stipend: 
variable, recent awards have averaged around $1800
Length: 
2-4 weeks

The Rabbit Island Residency is a platform to investigate, expand, and challenge creative practices in a remote environment. By living and working on Rabbit Island residents engage directly with the landscape and respond to notions of conservation, ecology, sustainability, and resilience. 

Approximately three to four supported residencies are awarded per summer period (mid-June until late-September). Selected applicants will receive an unrestricted honorarium which they may use to facilitate research, cover travel expenses, and materials. Residents may also be awarded an exhibition at the DeVos Art Museum in Marquette, Michigan, two and a half hours from the island. A publication featuring work and research of the awarded residents is produced annually in partnership with the museum.* 

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Djerassi — Santa Cruz Mountains, California

Deadline: March 15, 2018 for residencies in 2019
Application fee: 
$45; $65 up to one week after deadline
Stipend: 
Ford Family Foundation Residency, available to visual and media artists who reside full-time in Oregon, will reimburse fellows for the cost of air travel and shipping of materials.
Length: 
4-5 weeks

Residencies are awarded competitively, at no cost, to national and international artists in the disciplines of choreography, literature, music composition, visual arts, media arts, and science. There are 6 residency sessions each year: 5 are 4 weeks long and 1 that includes Open House/Open Studios is 5 weeks long. One session is devoted to Scientific Delirium Madness and the intersection of art and science. No shortened or partial residencies are offered. 

Djerassi Program is designed as a retreat experience to pursue personal creative work and share collegial interaction within a small community of artists. In this spirit residents are expected to commit themselves for the entire residency session they are awarded.

Our Program chef prepares communal dinners Monday through Friday, and provisions both kitchens. Residents prepare their own breakfasts, lunches, and weekend dinners using ingredients supplied by the Program.

Djerassi Program offers residencies during the regular season, which run from mid-March through mid-November. Winter Residencies for alumni of the Djerassi Program designed to be far more independent and substantially different from the regular residency.* 

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Bemis Center for Contemporary Arts — Omaha, Nebraska

Deadline: May 1, 2018 for sessions beginning in January 2019
Application fee: 
$40
Stipend: 
$1000 monthly stipend + $500 travel stipend
Length: 
2-3 months

For more than three decades, the Bemis Center’s core mission has been to provide artists from around the world dedicated time, space, and resources to conduct research and to create new work. Frequently cited as one of the top international residency programs, the Bemis Center offers artists private live/work studios, financial support, technical/administrative assistance, and opportunities for intellectual discourse about contemporary art through free public programs, such as panel discussions, lectures, and knowledge-sharing workshops. To date, nearly 900 artists have participated in the residency program. No meals are provided, but each live/work studio has a kitchen. Private housing (individual apartment/cabin/house) is located in downtown Omaha’s historic Old Market, the Bemis Center's 110,000 square foot facility accommodates a broad range of artistic activity. Artists-in-residence have 24-hour access to extensive installation and production spaces and the Okada Sculpture & Ceramics Facility, a 9,000 square foot industrial space used for large-scale sculpture fabrication.* 

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Roswell Artist-in-Residence Program — Roswell, New Mexico

Deadline: 10 p.m. MDT, June 1, 2018
Application Fee: $25
Stipend: $800 per month is offered along with $100 for a spouse/partner and $200 per child living with the grantee.
Length: 1 year

The studios are large, open spaces that measure approximately 30 'x 25 'x 10'. These areas are well-lighted and convertible to the artist's requirements. Artists are housed in a complex of six houses and 10 studios located on fifty acres of land. Each artist is provided with a house that can amply accommodate either a single person or a family. Rent, utilities (except telephone), repairs and maintenance costs are borne by the Program. Houses are furnished with major furniture items, appliances and utensils within reason. The printmaking facility is a small, fully operational studio - basically lithographic/etching in nature. No dogs. Cats allowed, but should be kept inside due to coyotes.*

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Joshua Tree Highlands Artist Residency — Adjacent to Joshua Tree National Park, California

Deadline: applications open in October 2019 and close January 10, 2019 for summer 2019
Application Fee: $35
Length: 7 weeks
Stipend: Up to $1000.
Food: no meals provided

JTHAR is a nonprofit artist residency, which invites 4-6 artists from around the world to create work amidst the beauty of Joshua Tree National Park and connect to the vibrant local artistic community. The residency provides scholarship funds, individual housing for each artist, studio space, a gallery exhibition and runs April - June. There is also a shared art studio. The area is a spectacularly beautiful and quiet environment in which to create. The residency is open to artists worldwide working in all media, including painters, photographers, writers, musicians, etc.

Artists unable to attend the Residency Program may apply for a 6 week individual stay at JTHAR between late June and mid March. Make sure to choose your dates listed below if you are applying for the 6 week solo program. The six week solo artist fellowship does not have scholarship awards.*

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Soap Factory Midwest Artist Residency — Minneapolis, Minnesota

Deadline: February 28th, 2018 @ 3PM!
Application Fee: 
none
Residency Fee: 
none
Length: 
3 months; Round 1, June 4th - August 25th, 2017; Round 2, September 7th - November 30th, 2017 
Stipend: 
$500 for materials; $1,500 for travel reimbursement
Food: 
none

The Soap Factory aims to provide an opportunity to research, produce, and exhibit during a three month residency in our building. This three month residency program asks emerging to mid-career artists, or collectives from the Midwest to develop and share their practice with our audiences.

The Midwest A-I-Rs are provided a material stipend, private studio, and access to our woodshop and workshop spaces. Free accommodation during your visits to Minneapolis (only available for artists residing outside of the Twin Cities). Studio visits by visiting curators and artists will be offered once a month.  All participants are asked to present work developed during their residency; culminating in an exhibition, performance, public event, or publication. Work presented will be exhibited in our new residency gallery spaces.

Artists from all disciplines are welcome to apply. This residency aims at strengthening the practice of, cultural exchange between, and career development of Midwest artists; Artists currently working in the MN Metro area, Greater MN, and Midwest region are encouraged to apply.*

Soap Factory Solo Exhibition Residency — Minneapolis, Minnesota

Deadline: February 28th, 2018 @ 3PM!
Application Fee: none
Residency Fee: none
Length: June 4th – November 30th, 2018; solo show runs November 17th, 2017 – January 6th, 2018
Stipend: $3,600 honorarium paid at end of residency; $1,500 for travel reimbursement
Food: none

The Soap Factory (TSF) aims to provide a rare opportunity to contemporary artists looking to exhibit their work in the three main floor galleries of the Soap Factory. This six month residency program asks one mid-career or established artist, or collective, to develop an exhibition in the Soap Factory’s 12,000 sq. ft. main floor exhibition space.

The Solo Exhibition will be supported financially and administratively; accompanied by documentation and an exhibition catalog. A-I-R’s are asked to participate in an artist talk or open dialogue, and in our podcast.

Please note, artists working in all disciplines are encouraged to apply to this opportunity though the Soap Factory is especially interested in artists practicing experimental and/or interdisciplinary work.*

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McColl Center for Art + Innovation — Charlotte, North Carolina

Deadline: June 6, 2018 for Winer/Spring 2019
Application Fee: $35
Residency Fee: none
Length: 3-4 months
Stipend: $6000 living allowance; $2000 for materials; reimbursement for one round-trip economy-class flight
Food: none

McColl Center for Art + Innovation is a nationally acclaimed artist residency and contemporary art space in Charlotte, North Carolina. Its mission is to empower artists, advance communities, and contribute positive impacts to its broad public audience by introducing a range of current artistic practices. Located in the former Associate Reformed Presbyterian Church in Uptown Charlotte, McColl Center houses nine individual artist studios, more than 5,000 square feet of exhibition space, and multiple common-use spaces, including a studio for large-scale sculpture fabrication. We invite artists to take risks in their processes and explore their ideas within the context of Charlotte. We welcome the visiting public to connect with contemporary art and artists through exhibitions and public programs. Artists live in a furnished one-bedroom condominium with Wi-Fi and have a private workspace (230–819 square feet) with Wi-Fi. Other perks: a group exhibition on the second or third floor of McColl Center with photo and video documentation.

In addition to the core Artist-in-Residence Program (open call or invitation), McColl Center offers an annual Environmental Artist-in-Residence Program (invitation only), a Carolinas HealthCare System Artist-in-Residence Program (spring season; open call), a residency for a UNC Charlotte art professor (fall season; invitation only), a Summer Affiliate Program for artists living within a 50-mile radius of Charlotte (open call), and a new exhibition residency that transforms McColl’s first-floor gallery into an open studio for artists to explore processes and projects (invitation or open call).

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Plyspace Residency — Muncie, Indiana

Deadline: March 15 for Summer 2018 
Application Fee: $25 
Stipend: $500 travel stipend for regular residents; $1500 for Resident Fellows to be used for travel and living expenses and up to $1000 in funding toward their proposed collaborative project 
Length: 4-12 weeks 
Housing: accommodations on the second floor of PlySpace, a post-victorian house built in 1916, in the Emily Kimbrough Historic District of downtown Muncie, Indiana. The living quarters will include a private bedroom, private or shared bath, a shared living space, shared laundry facilities, and a shared full kitchen.

PlySpace is an artist-in-residence program dedicated to offering visual artists, writers, performers, designers, and other creative individuals time and space to investigate and pursue their own practices. Additionally, it serves as a platform for experimentation and provocation by catalyzing conversation and collaboration with various Muncie communities. PlySpace facilitates various opportunities for residents to engage with the public through partnership and programming that is tailored to their area of interest.

Each resident will propose a personal project as well as a project to be completed in partnership with a community collaborator. PlySpace will work with both parties to encourage a successful and fulfilling collaboration. For more information on community partners and collaborations, take a look at the Community Collaborators page.

Selected residents will be offered one of two types of residency. The type of residency offered will be determined by the Admissions Panel and Final Selection Committee during the admissions process. All residencies include living space in PlySpace and studio space across the street at Madjax, a center for innovation and design. 

PlySpace Residents will be offered living quarters, studio amenities, and will be paired with a community collaborator based on their personal and collaborative project proposals and interests. Residents are expected to complete a public talk about their work and complete a project in partnership with their Community Collaborator. Resident Artists will have full access to the PlySpace studio spaces at Madjax as well as limited access to the School of Art (SOA) facilities at Ball State University. They will receive a $500 travel stipend for their residency period, between 4 and 12 weeks.

PlySpace Resident Fellows will be offered living quarters, studio amenities, and will be paired with the Ball State University School of Art as their community collaborator. Resident Fellows are expected to conduct multiple public programs connected to their practice through their partnership with the SOA. Resident Fellows will have access to the SOA facilities necessary to complete their projects as well as the PlySpace studio spaces. Resident Fellows will receive a $1500 stipend provided by PlySpace to be used for travel and living expenses and up to $1000 in funding toward their proposed collaborative project and supplies. Resident Fellows must plan a 9 to 12 week residency stay.

Three individual or collective applicants will be accepted for each residency term (one PlySpace Resident Fellow and two PlySpace Residents).

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NEXT UP: Residencies with a Cause: The Environment

*Please note: italicized text is taken directly from the informational websites of the residencies.
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tag:blog.otherpeoplespixels.com,2013:Post/1257993 2018-03-07T13:34:59Z 2018-03-19T06:10:11Z OtherPeoplesPixels Interviews Jenn Smith

Untitled (Flashlight), 2017. Acrylic and oil on panel. 22" x 20"

JENN SMITH's paintings and drawings feature Adam and Eve, a very chill Jesus Christ and a silly serpentagainst a rural Midwest background. Corntractors and signs of worship also populate her oeuvre. Her style is simple, evocative of a child's Sunday school drawings. But her exploration of evangelical belief and her own upbringing as an evangelical Christian is anything but simplistic. Humor and sincerity are both present, proving that you can take something seriously without believing in it. Jenn earned her BS in Studio Art at Illinois State University and her MFA in Painting from The School of the Art Institute of Chicago. She has exhibited at Carrie Secrist Gallery (Chicago), the Back Room at Kim’s Corner Food (Chicago) and Julius Caesar (Chicago). Her work was most recently on view in Winter Romance at Andrew Rafacz Gallery (Chicago). Jenn lives and works in Chicago.

OtherPeoplesPixels: What’s your relationship to Christianity?

Jenn Smith: I was raised evangelical Christian in the rural midwest. We attended the kind of church where people would spontaneously begin speaking in tongues or fall down in a trance-like state. They call it being “slain in the spirit.” We thought we were living in the end times and the Rapture would happen at any moment, so there was a lot of excitement and fear. I’m no longer a believer, but many of the ideas and images from that time in my life continue to fascinate me.

Book of Acts, 2017. Acrylic and oil on panel. 20" x 26"

OPP: Your painting style is silly, cartoonish, and evocative of a child’s drawings. Have you always painted this way? Or is it a style that is particularly suited to the content of your recent work?

JS: I learned how to draw and paint representationally as an undergraduate, but pretty soon after that I started making abstract paintings, drawings, and collages. I continued to make abstract works off and on for about ten years. Then, in grad school, I decided I needed to paint figuratively. It was a big jump. I was pretty sure I’d forgotten everything I learned as an undergrad, but I knew it was the only way I could wrestle with more personal content in my work. So, I started to paint figures, animals, cars, cornfields, angels and snakes from my imagination, very simplified and without too much fuss. I’m not very interested in realistic representations of things. I like diagrams, game boards and flat, matte shapes and symbols. I look at a lot of medieval paintings. I like how they’re so often flat with a confusing sense of space. A too-short arm, an awkward gesture, or foreshortening gone wrong keeps things interesting. 

OPP: More than just being visually interesting, it seems to suggest that the reality you think you know is a lie. . . which brings me to the recent snake drawings, like Soon and Very Soon (Snakes #16) and Soon and Very Soon (Snakes #3). How do your goofy snakes relate to Eden’s snake?

Soon and Very Soon (Snakes #7), 2017. Colored pencil on paper. 11" x 8.5"

JS: I found the inspiration for the snakes in a deck of Bible character memorization cards a friend gave me as a gift. The cartoon serpent was depicted on the Adam and Eve card, slithering in and out of oval-shaped holes in a flat green cartoon tree. The cards were meant to be straightforward educational materials, but I felt there was some level of (unintentional?) sexual innuendo. . . I mean, snakes going in and out of holes and so on. . . It was kind of funny, but it also hit on my interest in the complexities of what is hidden and what is visible in a painting or drawing. My snake drawing series has allowed me to explore these ideas within a very limited framework, in almost a diagrammatic way, using a set of symbols including snakes, boxes, holes, lines, dotted lines. 

OPP: And what about your version of Jesus? Does he have a different backstory than what the bible taught?

JS: Well, he retains his biblical backstory—there’s no way to separate him from that, even if I wanted to. But it’s interesting to put him in other contexts to see what happens. There’s so much emphasis in evangelical culture that we should strive for a personal, intimate relationship with Jesus. So for believers, they don’t think about him as a historical figure or a far-away savior; they think of him as their best friend who they talk to every day. So I feel like I got know him pretty well when I was growing up. When I first started to include a Jesus-looking figure in the work I wasn’t exactly sure why I was doing it. But now I’m starting to wonder if the Jesus in the paintings is actually a version of me, in the same way the Jesus a Christian talks to every day is actually just a part of their own mind. 

Untitled (figure and Jesus), 2016. Oil on canvas. 22" x 20"

OPP: What does the word irreverent mean to you and do you consider your work to be irreverent?

JS: I think irreverence and a sense of humor have served me well in my life, but I’m still getting used to the fact that they’ve made their way into my work. As I said, I was making abstract paintings, which were pretty safe (also sort of boring) before grad school. I know that people find my recent work irreverent, and I think it probably is. But I also try to make it complex and layered and to allow a lot of space for the unknown.

OPP: Tell us about the Demons. They are the most abstract works. I interpret the titles as referring to dates, so I imagine that these works represent some kind of event or “dangerous influence.

JS: That’s a good guess! I usually don’t say much about the demon paintings because I think part of what makes them interesting is their ambiguity.

Demon '87, 2016. Acrylic and oil on canvas. 22" x 20"

OPP: You’ve been out of grad school for a little over a year. I remember my own first year out as particularly difficult. How’s it been? Has anything changed in your practice?

JS: It has been a real rollercoaster, but I feel very lucky that I’ve been able to continue making my work and have had opportunities to show it. I draw a lot more now, as a way to develop ideas and plan paintings, but also as an end in itself. I have intensified my practice of collecting Christian ephemera, which I share on Instagram. Painting is still the center of my practice and I don’t think that will change. I’m still excited about it every day.

OPP: What are you excited about in the studio right now?

JS: I’m working on a series of paintings on the front sides of wooden boxes about the size and shape of cereal boxes. They are hollow inside and have coin slots on top. They resemble the collection boxes we used to have on the walls of our church. I’m interested in the idea of having these paintings/boxes on a gallery wall where anyone can drop a coin or a folded-up note or anything else into the slot, and whatever is dropped inside becomes a permanent part of the piece forever. 


To see more of Jenn's work, please visit thejennsmith.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indiana 2017). In March 2018, her solo installation Where Do We Go From Here? will open at Robert F. DeCaprio Art Gallery (Palos Hills, Illinois). In conjunction, the atrium will exhibit two-dimensional artwork by artists who were invited by Stacia to make new work also titled  Where Do We Go From Here?

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tag:blog.otherpeoplespixels.com,2013:Post/1254225 2018-02-28T13:04:39Z 2018-03-19T06:10:11Z No-Fee Residencies, but you'll have to pay to get there
Here at OPP, we know that you'd rather spend your time in the studio, not researching ways to get more time in the studio. So we're kicking off a series of posts to get you started. Over the next six months, we'll highlight a variety of residencies, organizing them by type, including studio-only, fully-funded, solitary retreats and media-specific residencies. Keep in mind, this list is by no means exhaustive. It's really just the tip of the iceberg.


Sadly, some of the current deadlines for these fully-funded residencies have passed. But they are in such high demand, that it's a good idea not to rush the application. Do your research now and start planning to apply next year.

Kimmel Harding Nelson Center for the Arts — Nebraska City, Nebraska

Deadline: March 1 and September 1
Application Fee: $35
Length: 2-8 weeks
Stipend: $100 a week
Food: none, but apartments have kitchens

The Kimmel Harding Nelson Center for the Arts offers approximately 70 juried residencies per year to visual artists, writers, composers, and interdisciplinary artists from across the country and around the world. Nebraska artists and those transitioning from graduate school receive special consideration by the Kimmel Harding Nelson Center.

KHN features living space for five residents in three apartments. Two large double-occupancy apartments feature private bedrooms with en suite baths, and spacious shared kitchen, living, and dining rooms. Composers stay in the garden-level efficiency apartment, located under the composition studio.

All apartments are furnished with basic necessities such as dishes, pots and pans, and kitchen appliances, and a basic spice pantry. Bedroom and bath linens are provided. Each apartment has private control for heating or air conditioning. Onsite laundry facilities are available for residents. The Center maintains two bicycles for residents' use.

Visual artists work in one of three studios, two of which are approximately 425 square feet and one that is 258 square feet, outfitted with work tables, running water and storage shelves. Hand tools, a table saw, a hand saw and painting easels are available. The studios feature full-spectrum LED track lighting with moveable fixtures, as well as overhead daylight fluorescent fixtures. The two larger studios have garage doors which may be opened to face the alley.*

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Haystack Mountain School of Craft Open Studio Residency — Deer Isle, Maine

Deadline: March 1st
Application Fee: $50
Length: 2 weeks (May 27 - June 8)
Stipend: none
Food: included

Haystack’s Open Studio Residency fosters a dynamic exchange of ideas among peers and provides two weeks of studio time and an opportunity to work in a supportive community of makers. The program accommodates approximately 50 participants—from the craft field and other creative disciplines—who have uninterrupted time to work in six shared studios (ceramics, fiber, graphics, iron, jewelry, and wood) to develop ideas and experiment in various media. Participants can choose to work in one particular studio or move among them depending on the nature of their work. All of the studios are staffed by technicians who can assist with projects. Please note that technicians will not be leading workshops. If you are interested in learning specific skills, you may want to apply to one of our sessions. Housing will be assigned at random from among the various accommodation options available at the school. If you have particular physical needs, please note these on your application so that we can best accommodate you.*

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Yaddo — Saratoga Springs, New York

Deadline: January 1 and August 1
Application Fee: $30
Length: 2-8 weeks
Funding: accepted applicants may apply for financial aid to help with travel and materials
Food: Breakfast and dinner are taken communally, while lunch is packed for each artist to carry away.

Artists who qualify for Yaddo residencies are working at the professional level in their fields. An abiding principle at Yaddo is that applications for residency are judged on the quality of the artist’s work and professional promise. Yaddo accepts approximately 200 artists each year in the artistic disciplines represented at Yaddo: Literature, Visual Art, Music Composition, Performance, and Film & Video. Each artist has a private bedroom in one of several buildings on the estate. Linens are provided, and laundry facilities are available.  Although the kitchen cannot offer meals for special diets, vegetarian alternatives are provided. Since Yaddo is a working community, it offers no formal social activities. There are winding roads and paths through the woods. There is a swimming pool, a pool table, a ping-pong table, and a supply of bicycles to be shared by guests.*

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Millay Colony Residency — Austerlitz, New York

Deadline: March 1 for August-November and October 1 for April-July of the following year.
Application Fee: $35 fee or $50 for the Extended Deadline
Length: 2-4 weeks
Food: Our chef cooks healthy delicious dinners and also provides food for residents to cook their own day-time meals. We are happy to respond to food allergies as well as vegetarian, vegan and other diets. We have a barbecue for outdoor grilling and get-togethers.

The Millay Colony is an artists residency program in Upstate New York offering one-month and two-week retreats to six visual artists, writers and composers each month between April and November. We also offer a select number of group residencies for collaborating artists and virtual residencies for those who can’t spend prolonged time away from home. We welcome artists of all ages, from all cultures and communities, and in all stages of their career. Each residency includes a private bedroom and studio as well as ample time to work in a gorgeous atmosphere. We do not emphasize events or production goals. We believe we can offer artists nothing more precious than the chance to work, and we provide everything an artist needs to organize her time for maximum productivity.*

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The Josef & Anni Albers Foundation Residency — Bethany , Connecticut

Deadline: January 1
Application Fee: $40
Length: 2 months
Food: none

The Foundation maintains two residential studios for visiting artists who exemplify the seriousness of purpose that characterized both Anni and Josef Albers. Residencies are designed to provide time, space, and solitude, with the benefit of access to the Foundation's archives and library.

Each studio is in an independent building equipped with a 400 sq/ft workspace with 16-ft ceilings, a kitchen, bath, and bedroom. There is no stipend. The residency is designed to provide time, space, and solitude, with the benefit of access to the Foundation’s archives and library. We will work with accepted artists to find a time that works both with our schedule and theirs. Artists working in any discipline are welcome to apply. No aesthetic connection to the Alberses' art is necessary.*

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I-Park — East Haddam, Connecticut

Deadline: January 22
Application Fee: $35
Length: 4 weeks
Food: Chef-prepared dinners 4 nights per week. Cooking/kitchen facilities are also available for residents.
Travel: A limited number of $500 international travel grants will be available in 2018.

A quiet, retreat-type environment conducive to the creative process. I-Park is set in a rich, expansive nature preserve with ponds, fields, teaming wetlands, miles of stone walls and a pristine river running through it. Other fun features include: bonfires by the pond, an outdoor shower (in addition to the real ones), an aerial drone and a floating living room. The 6-7 artists who populate each session arrive together as a group, share the time and space together and, at the end, leave as a group. The program is open to those working in the following creative disciplines: visual arts, creative writing, music composition/sound art, architecture/landscape design and moving image. Self-directed residencies will be offered from April 25 through December 10, 2018. International applicants are welcome.

I-Park provides comfortable, private living quarters in a remodeled 1850’s era farmhouse, a private studio space and a food/meals program. In addition to attentive staff support, shared workshop space and a stimulating natural environment - a wide array of tools, equipment and materials are available upon request. Two new, large visual arts studios were added in 2017.*

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Saltonstall Foundation — Ithaca, New York

Deadline: January 2, 2019
Application Fee: none
Length: 2-4 weeks
Stipend: $250 or $500 (based on a 2- or 4-week session)
Food: A delicious communal vegetarian supper is served Monday – Friday, and the kitchen is kept stocked with groceries so that residents may make other meals for themselves.

Each residency session includes the same combination of five artists and writers: 1 poet, 1 fiction or creative nonfiction writer, 1 photographer or filmmaker, and 2 visual artists. Each group of five arrives and leaves together. These residencies are designed for individual artists and writers; we cannot accommodate collaborations or partners working together.

In an effort to include and serve artists and writers who cannot participate in a month-long residency, we offer two-week sessions in addition to three (3) month-long sessions, as we have since 2014.* 

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Marble House Project — Dorset, Vermont

Deadline: December 31, March 31
Application Fee: $30
Length: 3 weeks
Stipend: none
Food: The organization provides a welcome and goodbye dinner. Residents pair up during the week and cook for each other. There is a large onsite organic garden which residents freely use.

Marble House Project is a multi-disciplinary artist residency program that fosters collaboration & the exchange of ideas by providing an environment for artists across disciplines to live and work side by side. Our residency program is uniquely curated to bring together a diverse group of artists to facilitate exchange of different expertise, histories, techniques and perspectives.  With a focus on conservation of natural resources, integration of small-scale organic food production and the arts, residents sustain their growth by cultivating and participating in the surrounding grounds, working on their artistic vision and forging partnerships within the community. Marble House Project is founded on the belief that the act of creating, whether in the studio or in nature, is how human potential expands and community thrives.

Applications are accepted in all creative fields. This includes but is not limited to visual arts, writing, choreography, music composition, performance and the culinary arts. Each session has eight to ten artists, creating small, dynamic interactive groups.*

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Virginia Center for the Creative Arts — Amherst, Virginia

Deadline: January 15, May 15, September 15
Application Fee: $40
Residency Fee: Artists are accepted without consideration for their financial situation. We ask Fellows to contribute according to their ability. The actual cost to us of a residency is $180 per day.
Length: 2-8 weeks
Stipend: Numerous fellowships available.
Food: All/most meals are provided by organization. There is a vegetarian option at every meal. There are four small kitchens where residents may keep small quantities of food and do minimal cooking.

Typically, our artists find they accomplish far more at VCCA than they are able to in at their home studios. There is plenty of time for solitary work, but what so many of our Fellows find so valuable is the community of 24 other highly accomplished artists in residence at the same time with fresh insights, new ideas and stimulating conversation. All of this happens far from the distractions and disruptions of everyday life in quiet, spacious, light-filled studios. The commute is not bad either: a short walk from the Fellows' Residence though the beautiful grounds and up a gravel path to the Studio Barn. On the return trip, the august Blue Ridge Mountains provide the backdrop.

VCCA exists to support the creative work of the world's best artists. Residential fellowships at Mt. San Angelo in Virginia form the foundation of our program. Many of our special programs directly support that core mission; other programs complement it by offering unique opportunities to our Fellows. Regional initiatives have been established in partnership with foundations and organizations that understand the benefit of supporting the work of artists from their area.

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IN TWO WEEKS: Fully-funded Residencies that include stipends!

*Italicized text pulled from residency websites or other promotional materials.


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tag:blog.otherpeoplespixels.com,2013:Post/1250907 2018-02-21T20:36:21Z 2018-03-19T06:10:11Z OtherPeoplesPixels Interviews Lauren Carter

The One with the Rainbow, 2016. Ceramic rainbow, broken mug, peach pit, Shrinky-dinks, beads, toothpicks, foam tubing, hydrocal, expandable foam, acrylic paint, silicone, epoxy clay, glitter, pigment, steel rod. 26” x 16” x 14”

LAUREN CARTER transforms found objects and personal possessions into kitschy and profound assemblage sculptures. These memorials to sentimentality are both serious and silly. Her effort to preserve and honor discarded, once-loved objects shows up in the marks left by her hand in the hydrocal, silicone, expandable foam and epoxy claycast plaster that holds these works together. Lauren earned her BFA from the University of Louisiana at Lafayette and her MFA with Distinction from the University of New Mexico. She has exhibited at Non-Fiction Gallery (Savannah, Georgia), Chicago Art Department, Hyde Park Art Center (Chicago) and Chicago Artists Coalition. She was a 2013-14 HATCH Projects Residentand a 2017 Center Program ArtistSurface vs. Sap, a two-person exhibition with Nico Gardner, opens March 31st at Comfort Station in Chicago. Lauren is a teaching artist at Marwen in Chicago, where she lives.

OtherPeoplesPixels: Your most recent body of work, Offerings or Clusterfucks, seems to be more about material culture and its detritus than earlier bodies of work like Flux (2015) and Pre/proscribed (2012), which are more bodily and visceral. What changed?

Lauren Carter: A lot, actually. Pre/proscribed is a body of work from grad school that was mostly introspective. I was examining a subconscious desire to preserve a notion of myself while unpacking ideas of othering, unmaking, loss, vulnerability, and nostalgia. My mother has a chronic illness that was directly influencing my work and research at this particular time in my life. I spent a lot of time thinking about pain and identity, and the work was really personal and kind of tough to talk about. I was also spending a lot of money making these things that were process oriented and took a lot of time to complete. So when I moved to Chicago immediately after finishing my master’s program, I figured it was a good opportunity to change my practice a bit, and make objects that are more financially and emotionally sustainable for me.

Effigies, 2015. Beeswax, pigment, hair, satin, wood. Approximately 8'w x 11'h

OPP: Was Flux the transition?

LC: Yes. I was looking for a way to continue to communicate the corporeal experience, but by utilizing symbols I found outside of my personal realm and the body. For example, I think deflated balloons found tied to mailboxes and fence posts are super loaded metaphors for loss and nostalgia. They are a kind of memorial for whatever celebratory event has passed. They’re incredibly sweet and sad things to me. It’s most likely that the person who put them up just forgot to take them down after the party, but I tend to assign sentimental meaning to just about anything. So the installation Effigies is a funeral or sorts for what those balloons signify. 

From there I started looking at flower bouquets and roadside memorials, which leads to this new work. I’ve continued to explore vulnerability and nostalgia, but now through personal items and found objects that embody ambiguous narratives of commemoration.

The One on Astro-turf, 2016. Ceramic seashell, broken ceramic lady, amethysts ribbon, beads, plastic flowers, pantyhose, broken glass flower, metal brooch, old earrings, ceramic swan, parts of a stuffed animal, picture   frame, glitter paper, a cut up old exhibition card, acrylic paint, expandable foam, marbled shelf paper, hydrocal, epoxy clay, expandable foam, wreath stand, Astro Turf. 30" x 24" x 20"

OPP: What role does kitsch play in this newer work?

LC: Formally, I use kitsch as a medium, just like the other materials I use in my work.  But I’ve been a collector of kitschy things since I was a kid, which I’m sure is something I share with many people. It started with those stupid Precious Moments figurines that I’d receive every birthday from a member in my family. Then it was porcelain dolls and unicorns. Then Treasure Trolls. . .  and the list goes on. Keeping a gift from someone is a way to preserve a memory of a person or of a specific time. And I think that we end up collecting things because objects become symbolic. No matter how tacky or worthless they may be, sometimes they’re just too precious to throw away. Because the things we collect and keep carry a lot of weight, I think of the objects I use in my work as signifiers for a universal language of sentimentality that anyone can draw from or relate to.

OPP: I imagine you shop at thrift stores. Is that true? What’s your collection process like for the found objects?

LC: Yes, very true! I have a slight obsession with obtaining other people’s discarded possessions. I’m always drawn to objects that spark my own memories or remind me of someone from my past, but I have a couple rules that I’ve made for myself when gathering materials. I’ll choose an object that has a nice form, color, or texture; but it must be mass produced, and either be broken in some way, or have some kind of obvious history attached to it. If it doesn’t prompt me to ponder who owned it and how it ended up where it is, I put it back on the shelf.

The One with all the Pearls (If You Need It), 2018. Peach had cream container, ceramic jesus, fake roses, jewelry display, tape, pearls, expandable foam, epoxy clay, silicone, acrylic paint, plastic wrap, found table. 36” x 12” x 16”

OPP: Can you talk about your repeated use of furniture as pedestals?

LC: I think of collecting as a domestic ritual of the act of remembering. Using found furniture instead of traditional pedestals reiterates that idea. The cabinet or table that supports a sculpture has its own history and is a necessary component to the work. Also, finding a piece of furniture that’s perfect for a specific sculpture is way more fun than building pedestals.

I Sincerely Appreciate the Gesture, 2017. Paper pulp from greeting cards I received from loved ones over the years, found frame, gold gilding wax. 53" x 28" x 9"

OPP: I deeply LOVE I Sincerely Appreciate the Gesture (2017), which is made from all the greeting cards you’ve received from loved ones over the years. I’m interested in the excess of it, the weight of it, the desire to both honor the gesture and to get rid of the cards. Will you talk about how you conceived of this piece?

LC: Oh thank you! You definitely described exactly what I was trying to achieve with this piece. I think a lot about honoring the vulnerability in the act of giving. I think we are just as vulnerable when we give as we are when we grieve, it just looks much different. Maybe that’s another reason it’s so hard to purge our homes of the things we don’t want, but feel obligated to keep because they were given to us with love. Greeting cards are just that. They are so cliché, but yet filled with so much thought and sentiment and history. And they’re a tricky thing for me because, in theory, they don’t take up much space. Unless you never throw them out and you end up with this burden of lugging around a box containing every card anyone has sent you in the last decade, and that box just keeps getting bigger and heavier. Which is exactly what was happening. I’ve lived in four states over the last ten years, and I’ve taken some of these cards everywhere with me.

OPP: What was the process like?

LC: I took the box to my studio, sat on the floor, read each one and ripped it up, and of course cried the whole time. I found this process pretty cathartic, and it’s probably the most important part of this piece for me. Because the content is literally in the material, I decided to create a self-portrait of sorts that honors the material made by my loved ones’ vulnerability, while simultaneously conveying the burden of sentimentality that I often feel. 

The One with the Little Owl, 2018. Ceramic owl, alligator foot, part of a stuffed animal, vase, rubber grapes, beads, rubber ball, fuzzy ball, old jewelry, expandable foam, epoxy clay, brass rod, Plastidip, acrylic paint. 13” x 11” x 6” 

OPP: You have an imminent two-person show with Nico Gardner. What can you tell us about it?

LC: Surface vs. Sap is our first collaboration together. Nico and I continuously shift between the personal and the general, the specific and ambiguous, creating new work in conversation with one another. With a primary focus on desire, ritual, identity, and the expression of human need, Surface vs. Sap addresses the power and persuasive nature of mundane, domestic objects. Our use of found or purchased items is a starting point to explore themes that ultimately result in a collaboration of both material culture and making. The exhibition features wall mounted and freestanding mixed media sculptures that engage the floor, ceiling and walls. Independently created, the works echo each other's voices through the nature of consumer objecthood, both domestic and commercial. Household artifacts lost in the hurricane of one of my arrangements is excavated and embodied into one of Nico’s new works. Simultaneously, an object in its prime depiction in one of Nico’s reliefs finds itself mirrored and absorbed into one of my clusterfucks. It should go without saying, but Nico's the Surface, and I'm the Sap.  We are incredibly excited about this opportunity to work together, where we are continually throwing wrenches into each other's practices. And we get a chance to do it again in the fall! We'll have a second, larger, exhibition with additional works at Heaven Gallery in Chicago.  

To see more of Lauren's work, please visit laurencarterart.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indiana 2017). In March 2018, her solo installation Where Do We Go From Here? will open at Robert F. DeCaprio Art Gallery (Palos Hills, Illinois). In conjunction, the atrium will exhibit two-dimensional artwork by artists who were invited by Stacia to make new work also titled  Where Do We Go From Here?

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tag:blog.otherpeoplespixels.com,2013:Post/1247603 2018-02-14T19:24:14Z 2018-03-19T06:10:11Z Studio-only Residencies across the Nation (a few have a live/work option)
Here at OPP, we know that you'd rather spend your time in the studio, not researching ways to get more time in the studio. So we're kicking off a series of posts to get you started. Over the next six months, we'll highlight a variety of residencies, organizing them by type, including studio-only, fully-funded, solitary retreats and media-specific residencies. Keep in mind, this list is by no means exhaustive. It's really just the tip of the iceberg. Please feel free to share links to other studio-only residencies in the comments.

Creative Alliance — Baltimore, Maryland

Deadline: Monday, February 27
Residency Fee: $675-$815/month
Application fee: $15
Length: 1 - 3 years
Stipend: none

This live/work residency accommodates eight resident artists or artist groups, one in each of the studios, for terms of one to three years. It is intended for emerging artists as well as mid-career artists whose goal is to reinvigorate their work in an intensive creative atmosphere. Artists are encouraged (but not required) to use the studios as their primary residence.*

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BOLT Residency — Chicago, Illinois

Deadline: March 15, 2018
Residency Fee: CAC is eliminating the fee-based model for BOLT Residency in an effort to reduce barriers to application and participation. A security deposit and nominal cost for insurance purposes will be required to confirm your participation.
Application fee: $15
Length: 1 year
Stipend: CAC offers a small stipend for production costs in preparation for the solo exhibition.

You must be a resident of Chicago to apply for this studio-only residence. BOLT Residency is a highly competitive, juried, one-year artist studio residency program offering emerging and established artists the opportunity to engage the Chicago arts community and its public in critical dialogue about contemporary art. Located at the Chicago Artists Coalition’s brand new 6,700-square-foot facility in the vibrant Kinzie Industrial Corridor, BOLT provides workspace, creative community, exhibition opportunities and professional development for Chicago-based, contemporary artists. Benefits include: One-on-one studio visits with prominent members of the greater arts community and a solo exhibition in a dedicated, 400-square-foot gallery space.*

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Sharpe-Walentas Studio Program — Brooklyn, New York

Deadline: February 15, 2018, 11:59PM
Application Fee: none
Residency Fee: none
Length: 1 year
Stipend: none

The Sharpe-Walentas Studio Program awards rent-free, non-living studio space to 17 visual artists for year-long residencies. Its mission is to provide working studio space and community for artists. Artists are selected annually based on merit from a competitive pool of applicants by a professional jury comprised of artists and members of the SWSP Artists Advisory Committee.*

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Lower Manhattan Cultural Council — New York, New York

Deadline: yearly, the last Thursday of January
Residency Fee: none
Application fee: none
Length: 9 months
Stipend: A one-time stipend of approximately $1,100 is provided, depending on available funds.

Emerging visual artists, performing artists, and writers working in all media and genres are eligible to apply to this nine-month studio residency program that focuses on creative practice development for emerging artists working across all disciplines, LMCC’s Workspace program offers space for experimentation and dialogue with peers and arts professionals, as well as career-advancement opportunities. Workspace encourages creative risk-taking, collaboration, learning and skill-sharing at a critical early stage of an artist’s career and serves between 15 and 20 individuals or collaborative groups annually.

Salon evenings are required weekly participant meetings on Monday nights that include one-on-one studio visits, professional development workshops, a guest artist lecture series, potluck dinners, and more. Open Studios are required events where the general public is invited to visit your studio and learn more about your process and work.*

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Flux Factory — Long Island City, New York

Deadline: Applications now closed. Please check back in March 2018
Application Fee: none
Residency Fee: $725 - $1000, depending on studio size
Length: 3, 6, 9 or 12 months, depending on availability
Stipend: none

Flux Factory provides a welcoming community of artists and arts administrators, as well as a number of useful facilities at our residents’ disposal. The building is equipped with a wood shop, silk screen studio, craft room, co-working office, expansive gallery space, and audio visual equipment. The gallery houses exhibitions, weekly events, and workshops, and residents are encouraged to participate in the development of our annual major exhibitions. Through Flux, Residents are also granted access to Materials for the Arts, New York City’s premier reuse center.

In addition to cultivating residents’ personal practices, the residency program schedules monthly studio visits with curators and offers its participants opportunities to exhibit artwork, shape Flux Factory’s diverse programming endeavors, contribute to the Flux Factory collaborative projects, and be immersed in the thrilling cultural landscape of New York City.

As a part of a community run center for artists, Flux Factory residents are asked to take part in the creation and maintenance of its facilities and programming. On Monday nights, all Flux Factory residents and administrators attend a weekly meeting (which also includes a gigantic dinner!) so that we may foster a sense of community and discuss the evolving needs of the program.

Residents are asked to put in volunteer hours toward space renovation and a weekly chore.  We are frequently renovating our building–a process that would be impossible without our dedicated network of volunteers.  A constantly changing physical and social environment, Flux is always a work-in-progress, and there are many opportunities to leave one’s mark.*

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Artspace Regional Emerging Artist Residency — Raleigh, North Carolina

Deadline: March 30, 2018  (for July 2018 –  January 2019); September 15, 2018  (for January –  June 2019)
Application Fee: $25
Residency Fee: none
Length: 6 months
Stipend: none

Every six months, Artspace selects two artists in their early professional careers to participate in the six-month residency. Artists must be U.S. citizens or permanent residents over 18 years of age and must currently reside in the Southeast (Alabama, Florida, Georgia, Kentucky, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, and West Virginia). Resident artists receive 24-hour access to a private rent-free studio. The Residency concludes with a one-month solo exhibition at Artspace.

During the Residency, artists benefit from opportunities for professional development and collaboration with peers. Residents actively contribute to Artspace’s artistic and educational programming by participating in First Friday, being available for studio visits and tours, and working in their studios during Artspace’s business hours. Residents are also required to give a presentation, artist talk and/or demonstration to the public to coincide with their residency or exhibition.

Artspace strives to be fully accessible to artists with disabilities. Artspace’s facilities are fully accessible and we encourage all artists to consider submitting for our residency opportunities.*

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Space + Time Artist Residency — Guttenberg, New Jersey

Deadline: Winter and Summer 2019 program open call begins June 2018.
Application Fee: none
Residency Fee: none
Length: 3 months
Stipend: $1,200.00

STAR provides artists with stipends to cover materials, travel and access to a professionally equipped workspace for the visual arts including printmaking and ceramics.  Artists work is supported with a group show at the end of the residency and three studio visits with arts professionals. Each artist will present a public lecture on their work or conduct a free public workshop towards the close of their three month residency.  Guttenberg Arts promotes each STAR fellow in print and on the web, through exhibitions and art fairs. 24/7 shared access to a 4,500 sq ft. professionally equipped workspace for the visual arts including printmaking, dark room and ceramics for three months.  Artists will also be given a one month final group show. Each artist is required to give a free and open to the public artist lecture or workshop towards the close of their three month residency. We highly recommend a site visit to our building. Artists are selected by a blind jury of arts professionals on the merits of their work.*

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Crosstown Arts — Memphis, Tennessee

Deadline: July 15, 2018
Application Fee: $10 (applicants may apply for an economic hardship waiver)
Residency Fee: none
Length: studio-only: up to 10-months; live/work: 20 days to three months
Stipend: Three Withers Residencies—for an individual artist of color working in any discipline who ambitiously addresses the intersection of race and social inequality in their work—are awarded each year and include a $1000 stipend for each artist.
Other perks: Residents receive a free membership to the on-site YMCA, a full-scale fitness facility with limited childcare, cardio equipment, weights, group exercise classes, and yoga. Residents who do not have health insurance may receive free health care coverage through Church Health, a non-profit organization which operates a walk-in clinic on-site.

The multidisciplinary artist residency program offers residencies for visiting and Memphis-based visual and performing artists working in any creative discipline as well as musicians, filmmakers, and writers in all genres. All residents are asked to participate in a limited number of public engagement activities while in Memphis such as an informal artist talk or public performance/project, open studio event, or exhibition.

Residents are provided with on-site access to Crosstown Arts’ shared art-making workspace with a range of analog and digital fabrication and production resources, including a woodshop, multiple CNC/laser cutters, a Mac-based computer lab, a large-format digital printing service, a silkscreen/print shop, a small recording studio, and individual editing bays for video/audio production.

Founded in 2010, Crosstown Arts (501c3) recently completed the renovation of Crosstown Concourse, a one-million-square-foot former Sears & Roebuck distribution warehouse. The Concourse building is now home to Crosstown Arts’ contemporary art center that includes the artist residency program, multiple galleries, large-scale exhibition/installation spaces, screening rooms, and a listening room dedicated to live music performance. Crosstown Arts also operates an after-school program, a community-organized exhibition/performance venue, a café, and bar. A 425-seat black box performing arts theater is currently under construction on-site and scheduled to open in the summer of 2018.

Crosstown Concourse is also home to a major health and wellness initiative, including a walk-in clinic for the uninsured and a fitness facility inside the building, both available to participants in Crosstown Arts’ residency program.*

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Recology — San Francisco, California

Deadline: Applications are accepted June 1 – September 1
Application Fee: $20
Residency Fee: none; artists also receive a stipend
Length: 4 months
Stipend: $1200 a month

The Artist in Residence (AIR) Program at Recology San Francisco is a unique art and education program that provides Bay Area artists with access to discarded materials, a stipend, and a large studio space at the Recology San Francisco Transfer Station. By supporting artists who work with recycled materials, Recology hopes to encourage people to conserve natural resources and promote new ways of thinking about art and the environment.

At this time, we accept applications from local, career-level, professional artists. Students currently enrolled at any university, college, or other educational institution will not be considered. We also do not accept applications from artists who reside a driving distance of more than one hour from San Francisco.

During their residencies, artists have scavenging privileges and 24-hour access to the company’s well-equipped art studio. Artists speak to elementary school classes and adult tour groups about the experience of working with recycled materials. At the conclusion of their residency, Recology hosts a two-day public exhibition and reception for the artists featuring the artwork made during their residency. When the residency ends, artists contribute artwork to the program’s permanent collection and these pieces continue to be shown in off-site exhibitions that promote recycling and reuse.*

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18th Street Arts Center — Santa Monica, California

Deadline: rolling, but acceptance depends on studio availability
Residency Fee: Price is based upon square footage. Rents are subsidized with prices at ranging between $1.00 and $2.00 square feet – which is well below market value for comparable studio space in the area. Most of our studios range from 400 to 1,000 square feet.
Application fee: none
Length: 1-2 years
Stipend: none

Local studio artist residencies are open to local artists who wish to rent either live/work or day studios at the center for terms of 1-2 years with a possibility for renewal. These studios are subsidized in part by 18th Street Arts Center at far below market rate in an effort to provide local artists with affordable rental properties within Santa Monica. The program is open to artists of all disciplines, as well as small, artist-run initiatives. Participants are selected through an application process on the basis of availability.

The Artistic Director reviews applications when they are received, and applicants are chosen by an outside selection committee of experts. However, until a studio space is open, the selection committee will not evaluate applications for consideration. Studios open up on average every 2 to 3 years. Potential candidates for the Local Studio Artist Residency are invited for an in-person interview with the selection committee and 18th Street Arts Center staff as a prerequisite to occupancy.*

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NEXT UP: No-Fee Residencies, but you'll have to pay to get there

*Italicized text pulled from residency websites or other promotional materials.


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tag:blog.otherpeoplespixels.com,2013:Post/1244109 2018-02-07T21:10:25Z 2018-04-04T11:58:23Z OtherPeoplesPixels Interviews Shanti Grumbine

Permeable (Broken Clover), 2017. Cast FGR 95. 5 x 10 feet.

SHANTI GRUMBINE transforms everyday objects including broken castoffs found on the side of the road and the New York Times, which is both revered and thrown away daily. Through the slow, repetitive actions of cutting, gluing, screen-printing and casting, she leaves the impression of her hand to be the lens through which the viewer can reconsider systems of value and knowledge dissemination. Shanti earned her BFA in 2000 at The School of the Art Institute of Chicago and her MFA in 2005 at Penn Design, University of Pennsylvania (Philadelphia). She has attended numerous artist residencies, including those at the Saltonstall Foundation (Ithaca, New York), Bemis Center for Contemporary Art (Omaha, Nebraska) and Vermont Studio Center (Johnson, Vermont) with a full fellowship. Most recently she was a 2016-2017 RAIR Fellow in Roswell, New Mexico. In 2017, she presented two solo exhibitions: Zeroing at Smack Mellon (Brooklyn) and pilgrim, approaching wordlessness at Roswell Museum and Art Center in New Mexico. Her work will be included in Summer Reading, an upcoming group show at The Woskob Family Gallery at Penn State. Shanti lives and works in Brooklyn, New York.

OtherPeoplesPixels: You’ve worked with The New York Times as material for years. Where did you start and how has the work changed over the years?

Shanti Grumbine: I started using the New York Times newspaper as source material in 2011. In 2009, I was diagnosed with late stage neurological Lyme Disease and I spent much of the following two years in bed, isolated and not capable of continuing the sculpture practice I’d finally found my footing in. My world slowed down, and due to cognitive difficulties, so did my reading. I wasn’t able to hold onto information, my word recall was impaired, and my focus was shot. My experience of reading had shifted into something so slow and non-linear that it no longer resembled reading. I wondered how to recreate this experience visually. At the same time I was really trying to get out of my own head and connect with the world at large. Newspapers create a simplified/organized microcosm of the world. Computer screens hurt my eyes, so I had to stick with reading the paper version. I wondered what it would be like if each word disappeared after being read. Would I, the reader, hold onto the words more dearly out of desperation? Would my comprehension increase? Would the authors approach to narrative or information sharing shift? Would language become more meaningful? At first I wanted to create a stop motion animation of a newspaper article disappearing word by word. But the pain I dealt with in my joints made the action of erasure difficult. So I started to excise each line with an X-Acto knife. Because what we read inevitably affects what we see, I started to cut away at the images as well. What started as a personal gesture grew into a much larger exploration of censorship, marketing and the historical precedents for western journalism. 

Surplus, 2017. De-acidified New York Times newspaper, matte medium, UV spray coat, newspaper stick, spray paint.

OPP: Transformation is important in your work. And there are many different kinds of transformation—redaction of text, material and scale shifts, recreating two-dimensional images as three-dimensional objects. Is transformation content or process? 

SG: I think it’s both, a process that leads to content. I believe strongly in the way that the body can think—I discover the world around me with my hands. My mind is curious, and my hands investigate. It’s no different from when I was a kid taking things apart to see what they were made of. So to redact text is also a way of trying to understand how the page functions. Through that type of removal, the margins become more visible and so does the structure of the page. This redaction of the newspaper page led me to a project called Score, where I translated redacted newspaper pages into a musical score. When I redacted the individual lines of text, the words and shapes of the pull quotes became more prevalent. When I screen-printed the redacted page – I saw the pull quotes as medieval square notes asking to be translated into a melody. By turning the pages into a score and performing them, I was able to experience the flow of information more clearly from when a story breaks to when it disappears from the public eye. I could hear how journalism functioned. This type of transformation is a very slow, very elemental way of knowing that isn’t appreciated in today’s digital, fast paced information age. By allowing for slow repetitive processes, I tapped into the systems of western information dissemination that preceded journalism including illuminated holy books and oral traditions of information dissemination such as Gregorian chant. 

In my newer project, I focus on the act of walking and the collection and recreation of broken things. When I am drawn to a random object on the side of the road, I have a choice. The moment of finding can remain my own personal discovery, a fleeting momentary but unconscious encounter, or through its recreation and enlargement, it can become something permanent, and more monumentally visible. Through the transformative act of recreation, I commit to a bent piece of metal, privileging the margins of culture and the throw away. 

Melt, 2015. screen print. 22 x 30 inches.

OPP: In Zeroing (2017), your solo show at Smack Mellon, what’s the relationship between the fashion accessories rendered in print and sculpture—watches, jewelry and shoes—and the news images that point to serious problems in our world—guns, melting glaciers and refugees seeking asylum

SG: In Zeroing, I wanted to focus on the ways we establish and maintain value through advertising and how those techniques affect our ability to seek, communicate and understand “truth.” I’m interested in the black and white advertisements for luxury items that congregate in the margins of news journals providing a peripheral narrative. Even in The Marvelous Mrs. Maisel, Mrs. Maisel, an upper class 1960s house-wife turned comedienne has the epiphany that the shoe ads are strategically placed to distract women from the content of the articles. The New York Times is a truth seeking institution and it’s also a commercial product, funded by advertisers and aimed toward a specific class, which is made more obvious by its advertisements. The pieces of jewelry, watches and vases are intended to be passed down from generation to generation, reinforcing the relationship between profit, media and legacy. 

Throughout the show I created relationships between the news images and the luxury items in the advertisements. For instance, in front of a screen print of a melting iceberg in Antarctica, I placed a Baccarat crystal vase as if to ask, “Which crystalline structure will last longer?” And I paired a Chanel pump with an image of women and children escaping from Syria in Turkey, pointing out the blatant irony of functionality as well as gesturing toward the mythic quality of alienation and longing in Dorothy’s ruby slippers and Cinderella’s glass slippers. I was interested in desire in general, how it functions and what types of insidious forces shape that personal landscape of longing. I wanted to understand these luxury items at a more formal level. By enlarging, inverting the values and screen-printing them to look like X-Rays or ghosts, I was able to uncouple them from branding. By recreating them by hand as white objects and presenting them in a non-profit gallery space, I shifted their materiality, context and value. 

Asemic Prayer #2, 2015. New York Time plastic delivery wrapping

OPP: You call Brooklyn home, but you spent 2017 in Roswell, New Mexico as a RAIR Fellow. What was surprising, difficult or thrilling about New Mexico? How did the environment affect your work?

SG: I’ve loved New Mexico since I first went hiking and camping there in my 20s. I love the vast, dry expanse of high plains and desert that surrounds Roswell. When the land is endless and quiet, your mind attunes to that. Roswell is equidistant from the Southern parts like Carlsbad and White Sands and northern towns like Santa Fe, Taos, Abiquiu and Ojo Caliente, so I got to explore many different aspects of the New Mexican landscape and culture. But mainly I was in Roswell, working, reading, writing and learning my own internal rhythms. In Roswell, there was time for everything. Time for stretches of disciplined studio time, time for feeling totally lost, time to be supported by friends, time to start over and lots of time to see things through. 

Since I was diagnosed with Lyme, my main source of exercise, well-being and pain management has been walking. Every residency I do, I establish my 2-3 mile daily walk. It’s my top priority, and everything else—food, studio, socializing—organizes itself around that. In Roswell, I started to think and read more about pilgrimage and the history of walking. Though I spent my first four months focusing on Zeroing and some other group shows in New York, my next project was forming itself in my daily walks and reflexive collection of detritus from the side of the road. That winter, I found out about an annual holy pilgrimage to El Santuario de Chimayo, a small adobe Church in Chimayo, that occurs on Good Friday and was grateful to incorporate that experience into my research. Rebecca Solnit described pilgrimage in her book Wanderlust as a “liminal state – a state of being between one’s past and future identities and thus outside the established order, in a state of possibility.” Despite moments of hopelessness, this is often how I felt when I first got sick, and it is also how I felt in Roswell. Witnessing that pilgrimage affected the content and format of my work for the rest of the residency.  

Liminal, 2017. Gel pen on black paper. 20 x 28 inches.

OPP: Tell us about your most recent solo show at the Roswell Museum and Art Center, pilgrim approaching wordlessness (2017).

SG: pilgrim, approaching wordlessness was comprised of two distinct but related parts dealing with aspects of liminality. One part consisted of drawings and wall sculptures based on the ubiquitous and overlooked decorative architectural features such as breeze blocks that can be found in almost any rural or urban community regardless of class. With Trump commissioning border wall prototypes, I couldn’t help but start thinking about borders and boundaries, who and what we let in, how and why and who gets to decide. I started thinking about permeability and rigidity, the power of empire and the incredible risks people take to create sanctuaries. And the visible role that architecture plays in creating these various value systems. These layered thoughts are bound up in my material explorations of breeze block patterns, an affordable and aesthetically pleasing decorative concrete block, originally designed to keep out the sun and let in the breeze. The other part of the show consisted of drawings and sculptures based on the broken, rusted things I found on the side of the road. A collection turned collective as friends and neighbors began dropping off bits and pieces of broken things found from their own walks.

C, 2017. Foam core, fiberglass veil, FGR 95, taxidermy clay, iron B metal coating, patina, found object.

OPP: In what way are those objects “souvenirs [that] point forward toward something still becoming?” 

SG: While I was working toward this show, I re-read parts of Susan Stewart's book, On Longing where she talks about the souvenir. I was trying to understand what these broken rusted objects were to me, why I felt drawn to picking them up and why I wanted to trace them as drawings and remake them as larger sculptures. Souvenirs are a reminder of something. They are “by definition always incomplete” because they are a trace of the original event and are therefore inherently nostalgic. The objects that I find are similarly incomplete, and hold a trace of what they used to be. But they aren’t a part of a whole, the way a bit of hair or cloth reminds us of the person or dress. And they are not the replica of anything such as the Eiffel Tower, nor do they feel nostalgic, not even for the particular walk or place in which I found them or the person who gave them to me. In their rusted brokenness, there is the sense of something new, something caught in the act of becoming. They become signifiers of transition, idols of possibility. According to Bill Brown, an object becomes a thing when it breaks, no longer neatly fitting into a category of functionality. We only see the window when it becomes dirty. In my act of collection, I came to understand my own objectness and as a result my own transformation into thingness. When the body is sick or broken, it no longer disappears into its functionality. We are all at one time or another, a thing among things, a liminal vessel straddling where we were and what we will become. 

To see more of Shanti's work, please visit shantigrumbine.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indiana 2017). In March 2018, her solo installation Where Do We Go From Here? will open at Robert F. DeCaprio Art Gallery (Palos Hills, Illinois). In conjunction, the atrium will exhibit two-dimensional artwork by artists who were invited by Stacia to make new work also titled  Where Do We Go From Here?

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tag:blog.otherpeoplespixels.com,2013:Post/1240758 2018-01-31T13:46:32Z 2018-03-19T06:10:11Z Short-term Residencies that offer some financial aid

Here at OPP, we know that you'd rather spend your time in the studio, not researching ways to get more time in the studio. So we're kicking off a series of posts to get you started. Over the next six months, we'll highlight a variety of residencies, organizing them by type, including studio-only, fully-funded, solitary retreats and media-specific residencies. Keep in mind, this list is by no means exhaustive. It's really just the tip of the iceburg.

And speaking of tips. . . some residencies offer solitude while others offer a more social experience. To get a sense of the culture at residencies you are interested in, follow them on Instagram. Links provided below. 

ACRE — Steuben, Wisconsin 

Deadline: 11:59 PM CST, March 4, 2018
Application Fee: January 4-12: free; January 13-February 26: $35; February 27-March 4: $50
Length: 2 weeks, 3 sessions
Residency Fee: $1,200
Funding: 15 half-scholarships; numerous full scholarships available. click here for eligibility. 
Food: Breakfast is provided each morning in the lodge, available from 8-10am, continental style. Residents eat lunch and dinner communally in a large screened-in outdoor dining hall/kitchen. Prepared by a large team of chefs and assistants, each meal is made from locally-sourced meats, veggies, and dairy. Options for vegans and vegetarians are available upon request, and food is prepared specially for those with other dietary restrictions.

ACRE (Artists’ Cooperative Residency and Exhibitions) is an artist-run non-profit based in Chicago devoted to employing various systems of support for emerging artists and to creating a generative community of cultural producers. ACRE investigates and institutes models designed to help artists develop, present, and discuss their practices by providing forums for idea exchange, interdisciplinary collaboration, and experimental projects. Please note that studios are set up as shared work-spaces. Private work spaces are limited to your apartment. If you are seeking a solitary residency experience or require private accommodations, ACRE may not be the right program for you.

Most residents stay in the sprawling Steuben Lodge, which houses around 40 people and contains a large central area that includes a library with limited wireless internet, breakfast area, computers, printers and scanners for everyone’s use, and more.* 
 

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Vermont Studio Center — Johnson, Vermont

Deadline: February 15th, June 15th, and October 1st
Application Fee: 
none
Length: 
2-4 weeks
Residency Fee: 
$3,950 for 4 weeks or $2,050 for 2 weeks
Funding: 
Financial aid is available. Full Fellowships are available and change each deadline. To see what is available at the February 15th deadline. Check here 
Food: We serve 3 communal meals a day Monday-Saturday, and brunch and dinner on Sundays. Fresh fruit, hot and cold beverages, and breakfast cereal are available 24 hours a day.

Each month, VSC welcomes over 50 artists and writers from across the country around the world to our historic campus in northern Vermont. Residencies include: a private room in modest, shared housing, 24-hour access to a private studio space in one of our 6 medium-specific studio buildings, a 24-hour Meditation House reserved for group and individual meditation, yoga studio. 

VSC's residency format includes six distinguished Visiting Artists and Writers per month. Each Visitor offers a public slide talk or reading, and is available for a private studio visit/writing conference with residents working in their medium/genre. Visiting Writers also offer a craft talk for the writing residents.*

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The Ragdale Foundation — Lake Forest, Illinois

Deadline: 11:59 PM CST, March 4, 2018
Application Fee: 
January 4-12: Free;January 13-February 26: $35;February 27-March 4: $50
Length: 
18-25 days
Residency Fee: 
18-day residencies cost $630 and 25-day residencies cost $875
Funding: 
Financial aid is available on a very limited basis. Applicants may request to apply for financial aid upon acceptance of a residency. Some fellowships available by separate application.
Food: Dinner is provided five nights a week, Monday through Friday. Our chef generally prepares vegetarian meals with meat dishes on the side. The Barnhouse and Ragdale House kitchens are available 24 hours a day and is fully stocked for residents to prepare their own breakfasts and lunches. 

Ragdale annually hosts approximately 200 visual artists, writers, composers, and interdisciplinary artists at all stages of their careers for 18 or 25- day residencies, making it one of the largest interdisciplinary artist communities in the country. Ragdale offers a retreat setting where at any given time, a dozen creative individuals experience uninterrupted time for dedicated work, a supportive environment, family-style dinners, and dynamic artist exchanges within a backdrop of 50 acres of idyllic prairie.* 

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The Studios at Mass MOCA — North Adams, Massachussettes

Deadline: The next deadline for general applications will be in July 2018, for fall/winter sessions. 
Application Fee: 
none
Length: 
1-8 weeks
Fee: 
$650/week
Funding: 
Many participants receive need-based and merit-based financial aid.
For Massachusetts-based artists only: currently accepting applications for a “Financial Wellness” residency session (up to 4 weeks) from November 7, 2018 – December 4, 2018. This subsidized residency opportunity offers a deeply discounted fee and additional professional development programming. Deadline: April 13, 2018, 11:59pm EST. Click here to learn more and apply. 
Food: One communal meal per day, in the company of other artists-in-residence.

We offer great studio space and housing, one group meal per day, access to MASS MoCA‘s exhibitions and to Makers’ Mill (a printmaking and fiber arts makerspace located a short walk from the Studios), and one-on-one professional development coaching with the staff of our "Assets for Artists" program. Housing is across the street from the museum, in newly renovated apartments (private bedroom/queen bed + shared kitchen and bath). We offer optional one-on-one artist-focused financial and business coaching through the staff of MASS MoCA’s Assets for Artists program, helping artists and writers in all disciplines strengthen the business side of their artistic practice.* 

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Follow on Instagram.

Anderson Ranch — Snowmass Village, Colorado

Deadline: February 15th
Application Fee: 
$60
Length: 
10 weeks; Fall Term: October 10th – December 20th; Spring Term: February 6th – 17th April
Residency Fee: 
$1,500
Funding: 
Four of the 28 residencies are fully funded fellowships awarded by the jury panel. One fully funded residency fellowship is available for an African American artist, made possible by the generous support of an anonymous donor.
Food: Breakfast and 5 dinners per week are provided; vegetarian meals available.

Anderson Ranch’s Artists-in-Residence Program fosters creative, intellectual and professional growth for emerging and established visual artists. Residents have access to world-class facilities and 10 weeks of studio time, free from everyday pressures. Residents can pursue interdisciplinary projects among a community of working artists, and gain feedback from prominent Visiting Artists and Critics. The Ranch setting is specifically crafted to aid artists in the production of their work. The residency is designed to allow artists to take risks and pursue new projects and ideas. Resident artists will be provided housing, studio space and meals.  Residencies are offered in ceramics, new media, photography, furniture design, woodworking, painting, drawing, printmaking and sculpture. Individual rooms in shared house, separate from studio.* 

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The Wassaic Residency Program — Wassaic, New York

Deadline: Applications for our SUMMER Residency Program open December 11th are due January 22nd. Applications for our WINTER Residency Program open May 15th and are due June 19th. 
Application Fee: $25 
Length: 1-6 months 
Fee: Winter: $600 per month, per resident plus $300 security deposit; summer: $900 per month + $200 security deposit 
Funding: Fellowships range from $100 – $400 and are awarded based on exclusively on need. We award 1 merit-based fellowships each season. The fellow receives a fully-funded residency for the month awarded. Unlike receiving financial assistance, the merit fellow is not expected to perform work in exchange. 
Food: no meals provided.

The Wassaic Residency Program cultivates and supports community for emerging and professional contemporary artists, writers and other creatives. Housed in historic, landmark buildings, the residency program offers nine artists each month the opportunity to live and work in the heart of a rural community. The Wassaic Residency seeks artists working in a diverse range of media who want to produce, explore, challenge, and expand on their current art making practices, while participating in a grass roots, community-based arts organization.

Residents may bring their dog. Dogs require an in-person interview and an additional monthly impact fee of $100 per month. You cannot bring your cat (too many allergies).*

Join the mailing list
Follow on Instagram

NEXT UP: Studio-only Residencies across the Nation (a few have a live/work option)

*Italicized text pulled from residency websites or other promotional materials.

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tag:blog.otherpeoplespixels.com,2013:Post/1236768 2018-01-23T19:02:01Z 2018-03-19T06:10:10Z OtherPeoplesPixels Interviews Liz Tran

Lightspeed Five. Mixed Media on Panel. 24" x 24"

LIZ TRAN's paintings and installations hum with vibrant, synthetic color, hovering between abstraction and representation. The versatility of her visual language—replete with circles, paint drips and swooping, sagging lines—allows the forms themselves to constantly shift meaning. Explosions become flowers. Party streamers become tent tops. Wreathes and beaded necklaces become an expanding and contracting universe. Liz earned a BFA in  Painting and Print Art at Cornish College of the Arts (Seattle) in 2002. In 2017, her work was included in exhibitions at The Brain Project (Toronto) and Parlor Gallery(Asbury Park, New Jersey). Also in 2017, her solo show JaWbReAkEr was on view at ZINC contemporary in Seattle. She has been an Artist-in-Residence at Babayan Culture House (Ibrahimpasa, Turkey), Baer Art Center (Hofsos, Iceland), the Association of Icelandic Visual Artists (Reykjavik, Iceland) and Vermont Studio Center with a full fellowship from the Clowes Foundation. In March 2018, her work will be included in Elation Station at Russo Lee Gallery in Portland, and she is working on multiple installation projects across the country. Liz lives and works in Seattle.

OtherPeoplesPixels: A defining element of your work is its multi-coloredness. It’s not just colorful, but rather explosively colorful. What do you love about color? How do you think about color?

Liz Tran: I make paintings that, because of their vibrancy, are extremely difficult to ignore. I love the emotions evoked by color and how the injection of color can completely change the way a space is read, even more so in my installation work. Adding vibrant pattern to monochrome structures and landscapes forces the audience to pay attention to something that would otherwise go unnoticed. I wrote a statement for the Seattle Art Museum Gallery’s Color Excursion exhibition that accurately sums up my feelings on the subject.

“The use of color in my work is an unapologetic form of escapism from the long stretches of grey weather that continually blankets my Pacific Northwest home. Each year my palette of luminous, unnatural hues provides a defiant objection to winter’s approach. Pulsing fluorescent paints massage the naked eye with ultraviolet light, creating an energized glow impervious to dull environments. Maroon does not belong to me. Tubes of brown remain unopened. There is safety in muteness. My paintings speak to extroversion, experimentation and play. Through color, I aim to activate.”

Current. Mixed Media on Canvas. 48" x 60"

OPP: That injection of color into a bleak landscape is present in much of the work you've done during residencies, especially in Iceland, where you've done at least six. What is it about Iceland that kept you returning year after year? How did the environment affect the work you made there?

LT: What draws me to Iceland is the sense of solitude, of being at the edge of the world. The naked shapes of the volcanic landscape create a vastness that leaves space for the mind to wander. There are few trees or structures obstructing the view, which makes it difficult to discern distances. What appears to be a short walk can turn into hours. The hot pots, the steam, the sulfur, the 24 hours of daylight in the summer and the harsh, low angle of the sun in the winter are all things that I can’t experience back home. I could wax poetic about Iceland for hours but, ultimately, the country is very conducive to creativity.

Extreme Boulder Makeover. Completed while in residence at Samband íslenskra myndlistarmanna / Reykjavík

OPP: What is more important in your process: control or surrender?

LT: The process is a constant conversation between control and surrender, push and pull. Surrender is the preferred action (or rather, inaction), where “flow” and intuition lives. However, control must step in occasionally, before things get completely out of hand. It’s not one of my strengths, but without control my work would bleed into complete chaos, which it often does. With the multitude of media and layers I work with, it’s easy to overwork. Quite a few of my paintings are sacrificed to complete surrender and therefore make their way to the burn pile. 

Swell. Mixed Media on Panel. 24" x 30"

OPP: The same recurring forms read differently in different paintings. What looks like a planet in one piece is a bauble, ornament or balloon in another. Sagging lines look like party streamers in Last Call but they become tent tops or waves in Swell. To me, this points to the connection between human culture—in the form of decoration and celebration—and the cosmic. Thoughts?

LT: Forms repeat and are re-purposed naturally and intuitively. This is my visual language, developed over decades and just like any language, there is repetition.

Not only does the work refer to the human connection, it refers to interconnectedness. In some ways, I’m reaching for an accurate portrayal of that universal connection, which is completely impossible but keeps me challenged. Interconnectedness IS something to celebrate. We are all in this together. 

Big Bang One, 2014. Mixed Media on Panel. 36" x 36"

OPP: What keeps you painting circles in particular?

LT: Circles are the shape of infinity, the world, the moon, the feminine, wholeness, self and to some, God. It’s the shape that comes most naturally to me. I’ve never been drawn to hard edges, geometric forms or angles. Circles leave things up to interpretation. 

OPP: About a decade ago, trees, especially with gnarled, curvy branches were recurring images in your paintings. Can you talk about how that body of work shifted into what you are doing now? Was it a slow evolution or an abrupt change?

LT: Although I still love the tree series, it came to the point where I couldn’t push it any further. It was time to move on. I became much more interested in imagery that couldn’t be defined as a particular object. Stripping away the trunk and branches left me with the rich material that I am still exploring today. Taking away the “tree” gave me unlimited possibilities.

From Whence We Came. Mixed Media on Panel. 60" x 144"

OPP: My favorite piece on your website is From Whence We Came. Can you talk about that central void in the composition in relation to the title?

LT: That’s one of my favorites as well. Because of the large scale (60” x 144”), there was automatically a physicality in the making of the piece. The title refers to the place where we all originate, the womb. To a certain extent, I am creating my own womblike environment and celebrating it. 

To see more of Liz's work, please visit liztran.com.

Featured Artist Interviews are conducted by Chicago-based artist Stacia Yeapanis. When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations. She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indiana 2017). In March 2018, her solo installation Where Do We Go From Here? will open at Robert F. DeCaprio Art Gallery (Palos Hills, Illinois). In conjunction, the atrium will exhibit two-dimensional artwork by artists who were invited by Stacia to make new work also titled  Where Do We Go From Here?
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