Last month’s £40mn auctions of the possessions of Freddie Mercury, late frontman of rock band Queen, revealed his fascination with Japanese art.
Among his collection was a prime work, coveted since a formative trip the British singer-songwriter made to Japan in 1975: a ukiyo-e, or woodcut print, by the Edo-period (1603-1868) master of the tradition Utagawa Hiroshige (1797-1858). Estimated to sell for up to £50,000, the piece went, to saleroom applause at Sotheby’s in London, for £292,100 (including fees).
Another auction, dedicated to 200 of Mercury’s Japanese prints, kimonos and other objects, made £2.6mn. Such demand, while benefiting from the Freddie factor, shone a light on Japanese art’s rise on the international market.
Mercury’s penchant for Japan chimes with a change in taste that specialists say has been taking shape over the past few years. “This market has gone in peaks and troughs but people are waking up to Japanese art again,” says Suzannah Yip, who founded the Japanese art department at Bonhams auction house in London in 2007. “It is cheaper and more intricate than its Asian counterparts so, in some ways, has been overlooked.”
She compares this mood swing with that of the 19th century, when Japan’s Meiji empire recognised the soft power of the nation’s art and promoted it heavily through international exhibitions. Notable fans at the time included the post-Impressionist painter Vincent van Gogh. The influence of Japanese art runs through the subsequent Art Nouveau and Art Deco movements in Europe.
Today, Yip says, the overseas market is back in force: “While Chinese art is mostly bought by the Chinese, Japanese art has a more diversified audience, including Americans, Middle Easterners and, of course, the Chinese too, as the cultures are so close.”
Oliver Moss, director of Asian art dealership Sydney L Moss, says the market for most Japanese works “took a blow” after Japan’s 1991 economic crash. Meanwhile, Chinese art has become pricey. “In the 1980s, you could get a really good collection of classical Chinese paintings for about £1mn to £2mn, now one Wu Bin [Ming Dynasty, 1368-1644] can cost at least £5mn.”
Some types of Japanese art have continued to sell well in the tougher times, notably ukiyo-e by Hiroshige and his predecessor Katsushika Hokusai (1760-1849). International demand has also stayed relatively strong for netsuke, miniature sculptures that were attached to traditional belts and popularised by Japanophile novelist Edmund de Waal in his The Hare with Amber Eyes (2010). Increasingly stringent rules around ivory have, however, “taken out about half this market”, Moss says.
Resurgent categories include arms and armour — particularly “sword furniture”, the functional and decorative fittings made for weapons. Calligraphy is “a wonderful area for investment”, Moss adds. “Zen-ga [Edo period ink paintings] are top-drawer, and still going for a song,” coming to market at under £10,000. Good quality ceramics, such as raku bowls made for tea ceremonies, can also be found at this level.
Fuelling demand is the growing emergence of Tokyo on the world art market and the success of some of its artists today. While Japan’s economy is hardly booming post-Covid, it is relatively stable and open to overseas investment after decades of tighter controls. Japan enjoys a marked influx of wealthy individuals, including from China, and global brands are taking note: witness the new luxury Bulgari hotel in Tokyo’s Midtown Yaesu complex.
Japan’s government is helping to stimulate its already-rich cultural sector. In July, a new art fair, Tokyo Gendai, became the first in Japan to secure bonded status, meaning that overseas exhibitors were the beneficiaries of customs and sales tax concessions on the value of their works.
Overseas galleries are responding. New York-headquartered Pace, one of the world’s biggest dealerships with outposts in London, Hong Kong, Los Angeles and Seoul, recently announced the opening of a branch in Tokyo’s new Azabudai Hills district.
“People keep saying that the international art world isn’t there, and I answer that’s exactly why we’re going,” says Pace chief Marc Glimcher. “Japan was one of the mother cultures of Modernism from the 1880s and the notion that Tokyo is off the beaten track is insane.” Glimcher’s represented artists include present day superstar Yoshimoto Nara and the teamLab art collective.
A wealth of Japanese-born contemporary artists are making their mark, including painter Chiho Aoshima and ceramicist Urara Tsuchiya. Dealers note the rise of animé in the film industry as helping to fix Japanese cultural style into the broader visual consciousness.
Japan has “an internationally-educated millennial generation looking to take the reins”, says Yip. In keeping with “consumer demand for high quality, sophisticated goods in all industries”, she adds: “Maybe this is its time for art.”
Mon, 02 Oct 2023 00:32:38 GMT (1696206758918)
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By Betsy Webster
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KANSAS CITY, Missouri (KCTV) — What once was a Chiefs-themed room of original paintings at Gaels sports bar now has a new painting of Taylor Swift in the mix.
The faces of Patrick Mahomes, Travis Kelce and now Taylor Swift all capture them enthusiastically screaming.
It’s been less than a week since pop superstar Taylor Swift was seen with Donna Kelce, Chiefs star tight end Travis Kelce, taking in a Chiefs game. Artist Nicholas K. Clark got to work quickly.
He’s working on another right now. It shows Kelce from behind in his #87 jersey, but the name on the jersey is “Swiftie.”
Clark calls himself a Swiftie “in training.” He likes her songs, but he only just started learning the lingo from his nieces.
He began doing Chiefs paintings in 2018. He’s been a Chiefs fan since he was a kid, but his Chiefs works stemmed from something not at all connected to sports.
He was doing a series of paintings based on 19th-century photographs by Edward Curtis. The photographer is well-known for his photos of the American West and Native American people.
Someone contacted him about that series. They wanted one, but in a certain color scheme.
“I did a painting for a client that was doing a Chiefs wall and they wanted a Native American Chief with a head dress because they were Native American,” he explained.
It hadn’t dawned on him that someone interested in sports-themed would want artwork in his style. He described his style as part pop art, part expressionism, with an 80s twist.
He’s painted many series over the years. He has movie characters and TV characters. Four Golden Girls paintings came from a painful breakup, because they lived their best life best buds despite being single.
He did a series of neon signs along Route 66. He does pet portraits. He started painting musicians 30 years ago, but they were his icons. He’s a child of the 80s. At Gaels, an LGBTQ-owned sports bar, he’s hung paintings of Madonna and Cher. They’re in a different room from his Chiefs series, what he calls the “queens” room. People encouraged him to do Taylor before. The romance rumors just turned those nudges into a push.
“Because she has such a fan base and because of the nicknames and lingo, it made it more fun for me to be able to create a series,” Clark said.
Some Gaels regulars are gaga over the latest addition. One woman, wearing a Chiefs jersey Friday, talked about the dating speculation as if she willed a romance to happen.
“I am a huge fan of both of them,” said Swiftie and Chiefs fan Cyndi Clark. “I have been dreaming about this since even before — We’ve been wanting this to happen for a very long time.”
Clark is also excited about the possibilities for a power couple.
“Their outward persona, I think, has really been super awesome,” he said. “I think they could be a good couple. They’d definitely make pretty babies if they just stayed together long enough.”
You can find his artwork on his web site, as well as on Facebook and Instagram.
Please note: This content carries a strict local market embargo. If you share the same market as the contributor of this article, you may not use it on any platform.
How can you make possibly the best smartphone for photography an even more capable cameraphone? Accessorize it!
That’s exactly what Xiaomi did for the 13 Ultra with the Photography Kit – a quirky set of accessories for the everyday phone user, but an invaluable work tool for the enthusiast photographer and videographer.
The Xiaomi 13 Ultra Photography Kit features a quality protective case with a lens cap, a 67mm filter adapter, a camera grip with Bluetooth, and a lanyard.
The whole package
You can just snap the case on the phone and put the cap on top. It protects the cameras from dust and other potentially-harming objects and it looks cool. The lens cap attaches with a push.
The grip accessory is pretty neat. You slide it onto the bottom of the case and it has a convenient locking lever to stay in place. The grip has a USB-C port so you can charge its built-in battery, a lanyard hole, and a full-on shutter button – it has half-press focusing and a zoom ring.
Press and hold the shutter for a second and the remote grip initiates pairing with the phone. From there it can launch the camera from a locked phone, control the zoom, and take pictures.
Lanyard eyelet and a zoom ring around the shutter button
With the case and grip attached, the Xiaomi 13 Ultra becomes a photography powerhouse! It’s very easy to fall into a rhythm of waking up the phone and moving between the different cameras using just your index finger. Taking the phone out of your pocket by grabbing the grip is very convenient too.
[embedded content]If you want to take your imaging further, twist on the 67mm filter adapter on the back of the case. This is the most popular filter thread on the market and you’ll get the widest selection of ND and circular polarizing filters around.
We happened to have a CPL lying around and we attached it to the phone to take some photos. Using a filter on the Xiaomi 13 Ultra feels fully professional. And it’s nearly impossible to twist the adapter off the phone’s case.
We found that the best use case for the Photography Kit is action shooting. It takes capturing your friends playing beach volleyball to a whole other level. Put the phone in either 3.2x or 5x, half-press to focus, and then wait for the ideal moment.
Here are a few samples we shot with the Xiaomi 13 Ultra with the Photography Kit attached.
Xiaomi 13 Ultra using the Photography kit
It’s hard to find the Xiaomi 13 Ultra Photography Kit online. It seems your best option is to import it from China. Prices range from around $130 to nearly $300. It’s a quality set of tools, but not amazing value for money.
The joy we get from using such accessories with a phone may well make it worth it, however. It brings us back to a few years back when phone and accessory makers were more imaginative, more daring. Remember LG and Friends, those were some fun days.
Now phones have become clinical tools. They perform a million tasks and they excel at most of them. Being great at photography is one of their key strengths. Using something like the Xiaomi Photography Kit can elevate one of the best phones around to a full-on professional tool.
Williamsport, Pa. — Photographs by Joanna Knox Yoder, instructor of photography at Penn College, were recently selected for exhibition in three juried shows — one in South Carolina and two in Georgia.
Yoder’s digital photograph, “The First President,” was selected for two exhibitions: “SlowExposures” at the historic R.F. Strickland Building in Concord, Georgia, and “Forgotten” at the Southeast Center for Photography in Greenville, South Carolina.
“SlowExposures” opened September 14 and runs through October. Now in its 20th year, the annual juried exhibition celebrates the rural American South. “Forgotten” is on display through September and offers artists’ representations of forgotten people, places, and belongings.
“The First President,” a digital photograph by Joanna Knox Yoder, instructor of photography at Pennsylvania College of Technology, is on display in two exhibitions: “SlowExposures” at the historic R.F. Strickland Building in Concord, Georgia, and “Forgotten” at the Southeast Center for Photography in Greenville, South Carolina.
Yoder captured “The First President” in Williamsburg, Virginia.
“I had the opportunity to explore and photograph a site which contains dozens of 20-foot-tall abandoned, deteriorating busts of almost every U.S. president,” Yoder explained. “I photographed George Washington’s sculpture from behind, to emphasize the cracks and deterioration juxtaposed with the barren landscape in front of him. To me, it was a metaphor for the fear of an unknown political future. I had a lot of fun making this photograph because it was extremely muddy that day, and I got to tromp around in knee-deep mud to get the shot.”
Yoder’s photograph “Out of Bounds” was selected for the “Small Works” exhibit at the South x Southeast Photo Gallery in Molena, Georgia. It is on display through September.
“Out of Bounds,” a medium-format black-and-white photograph by Joanna Knox Yoder, instructor of photography at Pennsylvania College of Technology, is included in the “Small Works” exhibit at the South x Southeast Photo Gallery in Molena, Georgia.
A medium-format black-and-white film photograph, “Out of Bounds” was shot near Williamsport at an abandoned drive-in movie theater.
“I created this image to preserve this historic relic before it disappears and is forgotten,” Yoder said. “I focused on the old signage arrows from the theater because of the mystery that they evoke about the history of the surrounding landscape.”
Yoder earned a Master of Fine Arts in photography from Savannah College of Art and Design, and a Bachelor of Arts in art education from University of Maryland, College Park. Her work has been exhibited nationally and internationally. In her photographs, she explores the connection between history, memory, and place.
I’ve spent countless hours walking streets both near and far from home with My Precious in my hand and a muscle memory for it in my fingers that made it effectively part of me — an extension of my arm. My Precious is, of course, my camera.
I realized I wanted to photograph time. You can’t see time, and you can’t touch it. That’s why it’s the furthest thing from our five senses. But with photography, I can capture time. —Miyako Ishiuchi, What Photographers Go Up Against 6: Time
Years ago I wrote about the “Zen” of street photography, by which I meant its meditative nature for me — how its practice enlivened my senses to the world around me, made me walk more slowly and observantly — excruciatingly (and often exhaustingly) mindful of the world around me. I wrote somewhere once that of every street photo I take — no matter how long ago, no matter how many 1000s of photos I’ve taken — I remember exactly where I was standing and what the scene sounded like around me. A synaesthetic frisson generated by a sea of sensory data in the depths of my physiology.
“The decisive moment” is a phrase often used to describe the essence of street photography as a practice and genre, coming from a canon work by Henri Cartier-Bresson in 1952:
Photography implies the recognition of a rhythm in the world of real things. What the eye does is to find and focus on the particular subject within the mass of reality; what the camera does is simply to register upon film the decision made by the eye[…] Photography must seize upon this moment and hold immobile the equilibrium of it. […] Photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms that give that event its proper expression. —Henri Cartier-Bresson, The Decisive Moment
What is this “mass of reality” and how is this decision made? Consider all the variables of environment and motion at play — the light at that exact time of day, the street corner that is turned (or not), the speed at which human bodies pass each other, the direction the eye is looking for a split second because a sudden sound was heard. The height of the standing photographer. The bend of a knee or wrist.
Somewhere in all that mass, that chaos — something in the mind and finger of the photographer makes a wordless, instant decision to take a photo — capturing a moment in time that never existed before and never will again. What is that recognition of a rhythm? It’s a profoundly human algorithm.
I once hacked my own photography practice by taking away almost all my own agency around it. I built a tiny camera that I could pin to my clothes and programmed it to automatically take a picture every 60 seconds, then simply went about my day. Later, it felt deeply weird to see the results for the first time — as though they were taken of my life by a stranger, a portable paparazzo. It was a fascinating experiment in loss of control, discerning where my artistic eye begins and ends, and feeling intimately witnessed by something outside of myself.
Lately, I’ve been seeing increasingly common rules in announcements for street photography competitions that say “no AI-generated images” and the like. The first time I saw this, it struck me as odd because it seemed obvious… like, of course, [by its very nature and definition] it can’t be AI-generated; it is necessarily of physical worlds and the messy people in it and time itself. AI does not exist in time or space.
Right?
A fellow street photographer I’ve been following for years recently and suddenly became an exclusively generative AI artist. My heart sank as I’d really loved his poetic, ethereal, and unusual work that had inspired me over and over again. His new style was glossy and almost wholly disconnected from his earlier aesthetic and point-of-view, seemingly (to my eye, anyway) entirely text-prompt-based and not using any of his own original work as material. It was still beautiful and imaginative work, but it told me nothing about what he’d seen or lived. There was still much to appreciate about it artistically and technically, but I realized that what I’d loved was the stories he told about the world — and how he, specifically and as a fragile and imperfect being, moved in it.
Above is legendary animator Hayako Miyaki on why computer-generated characters are not interesting to him.
While I can be a romantic about more traditional practices — and was initially tempted to immediately throw a rope between “real” and evolving tech in street photography — I’ve come to think that any difference is ultimately semantic vis-à-vis how we categorize art. I think it’s a lot more interesting to find intersections of human and machine, and all the literal and figurative shades of gray between them. What is a camera anyway but a mechanized eye invented by puny mortals to try to capture time?
During the early years (!) of the pandemic, I grieved the freedom of being able to travel freely through my own neighborhood and favorite places in the world. I began to digitally composite together photographs I’d taken — over different years and places —to create worlds both familiar and new, like Mt. Rainier of my Washington home emerging over Tokyo. It felt like time travel and it felt true to my soul. I could feel where I was. It felt like memories and testimony of places I’d walked… that don’t actually exist. Like fusion and bottled magic. And it was all real… just remixed, reimagined.
In my day job as a product designer in tech, I started working in AI in 2017 and am as ever in awe of it, in all the senses of that word. I mostly worked in the area of natural language processing and virtual assistants like Alexa or Siri, and have some exposure to its use in computer vision (CV), consumer robotics, and smart wearables. I both enjoy and am agape to imagine how we might deploy such tools with regard to photographic art and craft. I think of the tiny wearable camera I made and what if I had glasses like that. And I think about how much I’d love to train a custom AI model (for my use only!) with the tens of thousands of photos I’ve taken over the years to generate wild new versions of my own work free from temporal and geographical bounds, soaring creatively in a world of my own curation. All that visual data! My eyes gleam with the possibilities.
I used to spend hours editing and cropping and tinkering with my photos, something I no longer do because now I just program My Precious’ settings to take photos to my exact artistic aesthetic: the exact lighting and color effects, the exact level of grain, my preferred aspect ratio, and so on. I just now just compose and take the shot and it’s done right out of the camera. It’s not a huge leap to imagine that I could train it over time to detect what scenes I find most compelling, what angles I use, how I compose and frame, and ultimately how I share my life and how I see the world with others.
But, what would be the fun in that?
About the author: Jill Corral is an author, designer, and photographer who works at the intersection of visuals, sound, and transformative spaces. You can find more of her work on her website. This article was also published here.
Image © Bernhard Lang
Every month, Colossal shares a selection of opportunities for artists and designers, including open calls, grants, fellowships, and residencies. If you’d like to list an opportunity here, please get in touch at hello@colossal.art. You can also join our monthly Opportunities Newsletter.
BLINK Cincinnati Call for ArtistsFeatured
With the highly anticipated return of its massive public art spectacle, BLINK, Illuminated by ArtsWave, is calling for artists working in light-based experiential installation, murals, projection mapping, digital art, or animation to submit proposals for the October 17 to 20, 2024, event. BLINK plans to commission 12 to 15 new murals, 30 to 40 temporary lighted installations, and 30 to 35 projection/digital animation installations, and applications are open to artists from anywhere in the world.
Deadline: December 15, 2023.
Open Calls
BigCi Environmental Awards 2023 (International)
Two winners will receive $4,000 and a four-week BigCi residency. Artists working in visual art, installation, multimedia, performance, literature, music, photography, filmmaking, curating, are welcome to apply. There is a $35 entry fee.
Deadline: October 2, 2023.
The Bennett Prize (U.S.)
Women working in figurative realism are eligible for this prize, which provides $50,000 over two years to one artist. Ten finalists will be selected to participate in a traveling exhibition organized by the Muskegon Museum of Art (MMA) and the winner will be showcased in a solo exhibition at the close of her grant. $10,000 will be given to one finalist. There is a $40 entry fee.
Deadline: 11:59 p.m. MT on October 7, 2023.
City of Milwaukee Vel R. Phillips Plaza Commission (International)
In recognition of one of the leading Black woman jurists, politicians, and civil rights leaders, Vel R. Phillips, Milwaukee will commission an artist to transform a parking lot into a new social space. The project budget is $600,000.
Deadline: October 9, 2023.
Passepartout Photo Prize (International)
Open to photographers at any stage of their careers, the Passepartout Photo Prize is accepting submissions for its seventh edition. Winners receive exhibition and publication opportunities, with one 500 Euro award. There is a 25 Euro entry fee.
Deadline: October 10, 2023.
All About Photo Magazine 35 Colors
Color is the theme of this competition, and photographers are encouraged to submit a cohesive body of work exploring or related to pigment. Winners receive $1,000 cash and magazine coverage. There is a $30 submission fee.
Deadline: October 10, 2023.
Open Source Gallery: Exhibition Open Call (International)
Artists working with experimentation, sustainability, and social engagement are invited to submit exhibition proposals for 2025. Chosen applicants receive W.A.G.E.-certified fees, a production budget, and support in planning, production, and communication.
Deadline: 11:59 p.m. ET on October 13, 2023.
#CreateCOP28 (International)
CreateCOP28 invites creatives aged 14 to 30 to submit work that sparks conversations about the climate crisis and the need for action, particularly at COP28, the United Nations’ annual climate summit. Eight artists will win prizes of $10,000, $5,000, or $2,000.
Deadline: October 16, 2023.
Booooooom x Capture Photography Festival: Public Art Open Call (International)
For Capture Photography Festival, Booooooom is seeking submissions for a public art installation at Broadway-City Hall Canada Line Train Station in Vancouver. The work will be up from April to August 2024, and the artist will receive a $665 CAD stipend. There is a $15 entry fee.
Deadline: 11:59 p.m. PST on October 23, 2023.
Loewe Foundation Craft Prize (International)
The prestigious Loewe prize is accepting entries from artists and craftspeople. One 50,000 Euro award will be given to the top artist, with other winning works exhibited in Paris in spring 2024.
Deadline: October 25, 2023.
Arte Laguna Prize 18 (International)
This prize is open to artists working in painting, sculpture and installation, photographic art, video art and short films, performance and acting, and digital. Chosen applications will exhibit in Venice at the Arsenale Nord and win €10,000.
Deadline: October 26, 2023.
Beam Center NYC Open Call (International)
The center seeks proposals for public artworks that will be realized by a community of more than 100 young people in NYC. Artists receive a $5,000 award and $15,000 fabrication budget.
Deadline: 11:59 p.m. ET on November 6, 2023.
The 10th International Landscape Photographer of the Year (International)
This contest awards winners $10,000 in cash prizes, inclusion in a photo book, and NiSi filter outfits and tripods. Entry is free until November 8.
Deadline: November 15, 2023.
Third Annual Festival Dei Lumi Open Call (International)
Video artists working on pieces that explore the intersection of art, nature, and ecological thinking are encouraged to submit to this annual festival. There is a €10 submission fee.
Deadline: November 22, 2023.
Prisma Art Prize (International)
Open to emerging painters and artists, this quarterly competition awards €2,000 in cash and €3,000 in services annually, plus exhibition opportunities. There is a €29 submission fee.
Deadline: January 11, 2024.
Outwin Boochever Portrait Competition 2025 (United States, Puerto Rico, Guam, the Northern Mariana Islands, American Samoa, and the U.S. Virgin Islands)
This portrait competition is open to all media, including painting, drawing, sculpture, photography, printmaking, textiles, video, performance art, and digital or time-based art. One winner will receive $25,000 and a commission to portray a remarkable living American for the National Portrait Gallery’s collection. Other prizes range from $1,000 to $10,000, and all finalists will be included in an exhibition. There is a $50 entry fee.
Deadline: Midnight MT on January 26, 2024.
Sony Future Filmmaker Awards (International)
The Sony Future Filmmaker Awards elevates voices that bring a fresh perspective to storytelling. The shortlisted filmmakers are flown to Los Angeles for an exclusive four-day event to gain unparalleled insight into all aspects of the filmmaking process to advance their careers.
Deadline: February 15, 2024.
Grants
Monument Lab Re:Generation Initiative (U.S.)
Monument Lab’s Re:Generation supports teams of two or more individuals working together to create a new or expand an existing public-facing project. Each selected Re:Generation team will receive a total of $100,000 in unrestricted funding toward their commemorative campaign or project.
Deadline: October 2, 2023.
Creative Equations Fund (Brooklyn)
This fund offers $10,000 grants to community-engaged artists, organizations, cultural entrepreneurs, and researchers who are focused on social issues.
Deadline: 11:59 p.m. ET on October 8, 2023.
Alex J. Ettl Grant (U.S.)
This $5,000 grant is awarded by the National Sculpture Society each year to an established figurative or realist sculptor.
Deadline: October 9, 2023.
The Rbhu Gives Back Grants (International)
Rbhu Engineering offers artists in need of engineering $12,000 worth of free services.
Deadline: October 16, 2023.
Bronx Council on the Arts Community Engagement Grants (Bronx)
The Bronx Council on the Arts currently has three funding opportunities open: New Work, Arts Fund, and Community Arts grants ranging from $1,000 to $5,000.
Deadline: 11:59 p.m. ET on October 31, 2023.
California Documentary Project Grants (California)
This grant supports documentary film, audio, and digital media projects about California. Funding is available for research and development (up to $15,000), production (up to $50,000), and in DP NextGen Grants (up to $15,000).
Deadline: November 1, 2023.
The Adolf and Esther Gottlieb Emergency Grant (International)
The Adolph and Esther Gottlieb Emergency Grant program provides one-time interim financial assistance to qualified painters, printmakers, and sculptors whose needs are the result of an unforeseen catastrophic incident and who lack the resources to meet that situation. Awardees typically receive $5,000, up to $15,000.
Deadline: Rolling.
Adobe Creative Residency Community Fund (Ukraine or refugee)
Adobe’s Creative Residency Community Fund commissions visual artists to create company projects on a rolling basis. Awardees will receive between $500 and $5,000.
Deadline: Rolling.
Pollock-Krasner Foundation Grant (International)
The foundation welcomes applications from actively exhibiting visual artists who are painters, sculptors, and artists who work on paper, including printmakers. Grants are intended for a one-year period. The foundation will review expenditures relating to an artist’s professional work and personal expenses, and amounts range up to $50,000. The size of the grant is determined by the individual circumstances of the artist, and professional exhibition history is taken into consideration.
Deadline: Rolling.
Residencies, Fellowships, & More
Eyebeam Fellowship Open Call (International)
Artists interested in technology and decolonization, reframing history, language, and care are invited to apply for this six-month fellowship. Selected artists receive a $20,000 stipend.
Deadline: 11:59 p.m. ET on October 1, 2023.
Bruce Museum Artist-in-Residency Program (International)
Open to all disciplines, this nine-month residency starts in November 2023 and includes studio space, a $35,000 stipend, and ran $8,000 materials budget.
Deadline: 11:59 p.m. on October 7, 2023.
Art Omi Residencies (International)
Architects, artists, and writers are eligible for this round of Art Omi’s residencies, which provide food, lodging, and studio space.
Deadline: October 15, 2023.
2024 RAIR Open Call (International)
Applications are open for two Recycled Artist in Residency (RAIR) programs: The Standard is a four- to six-week traditional residency, while The Biggie Shortie is project-based. Both grant access to Revolution Recovery’s waste stream and RAIR’s staff. There is a $25 application fee.
Deadline: 11:59 p.m. ET on October 22, 2023.
Queens Museum Jerome Foundation Fellowship for Emerging Artists (New York)
This fellowship grants two emerging artists $20,000 each, studio space, and mentorship as they work toward a 2025 exhibition.
Deadline: 11:59 p.m. ET on October 29, 2023.
Moab Arts Reuse Residency (International)
For artists interested in waste management and sustainability, this residency offers housing, studio space, project and community facilitation, a stipend, and access to materials at local waste disposal sites.
Deadline: 11:59 p.m. MT on October 31, 2023.
A.I.R. Fellowship Program (New York)
Six underrepresented and emerging women and non-binary artists will be awarded a year-long fellowship to develop and exhibit a project at A.I.R. Gallery. Selected applicants receive a stipend, access to gallery space, and support.
Deadline: 11:59 p.m. ET on November 1, 2023.
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