Ornela Ramasauskaite artxchange global by Egle Senderoviene

Ornela Ramasauskaite artxchange global 2024

artXchange Global logo

Lithuanian art market expert earns global recognition. Ms Ornela Ramasauskaite, the founder of “artXchange Global”, is awarded for art wealth management.

VILNIUS, LITHUANIA, January 4, 2024 /EINPresswire.com/ — Lithuanian Art Market Expert Ornela Ramasauskaite – Among the Leaders in Global Art Investment

Even though Lithuania is a small country, its artists are recognized worldwide. In addition to artists, niche representatives such as Lithuanian art market expert and art investment consultant Ornela Ramašauskaitė is acknowledged as leaders globally. She was honoured with the “Leading Female Figure in Art Wealth Management” award at the “Wealth & Finance Awards 2023,” and her company, “artXchange Global,” received the “Art Investment Strategist of the Year – Europe” award at the “LUX Global Excellence Awards 2023.”

These awards place Lithuania on the art market map, connecting culture with economics and going beyond aesthetics. The global art market impresses with impressive art sales, and art investment competes with the S&P 500 stock index returns. While the works of Lithuanian creators are not yet widely considered global investment opportunities, art experts can draw attention to authors from this exotic country.

“It’s an honour to be recognized in international awards. The art market is very niche; everyone knows each other, relying heavily on reputation, scrutinized meticulously. However, awards provide visibility among the mass audience – part of my mission is to demystify art investment, showing that it’s an accessible option even for average-income individuals. Secondly, I want to attract the attention of corporations – it’s rare in our region for them to have their art collections,” says O. Ramasauskaite. Her expertise extends beyond asset management consultations; she also works with creative industries and technology in the cultural sector.

“I’ve been in the art market for almost two decades – during my UNESCO cultural management and cultural policy studies, I worked at art auction houses, served as an expert in the Council of Europe’s cultural policy monitoring project, and worked on managing art collections. I quickly realized that my field of work is the entire world, allowing me to choose interesting projects. I became an ambassador for the Amedeo Modigliani Foundation (Italy), rescued one Dubai bank with NFTs, talked at several international creative industries conferences, joined the CultTech association as a mentor and advisor for investors in art and technology startups, evaluated applications for the large cultural project Zmina: Rebuilding (Ukraine), helped lots of artists and galleries with marketing. In my doctoral studies, I delve into the impact of artificial intelligence on the art market and manipulations in shaping the prices of artworks. I have several prominent collectors with whom we gradually build amazing collections without compromising on quality. All my partners know I don’t favour specific galleries; I always remain objective, focusing on methodologies and indices. In other words, I’m in a new place each time, and I already consider Istanbul airport my second home,” O. Ramašauskaitė laughs.

The art expert is pleased that Lithuanians are increasingly recognized in the global art business – more and more young people choose international studies related to cultural economics, politics, or management, work in prestigious institutions, and specialize in narrow fields such as taxation. In the Baltics, interest in art is also growing, collectors are emerging, and a tradition of attending art exhibitions is being born. “It’s exciting to observe the careers of several artists – there’s a good chance that we will soon have globally renowned names whose works will be sought after by prestigious museums and serious collectors,” says the director of the “artXchange Global” art market agency.

Ornela Ramasauskaite
artXchange Global
+370 61262965
ornela@artxchange.global
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By Ritesh Ujjwal

Artificial intelligence has created a powerful impact on almost all modern industries, speeding up processes, improving the quality of work and increasing productivity and has revolutionized the way we live, work, and interact with each other. Forbes has projected that the global artificial intelligence market is set to grow at an impressive compound annual growth rate (CAGR) of 37% from 2023 to 2030. This growth is expected to catapult the industry to a massive $1,811 billion by 2030. We see this impact on influencer marketing as well, where the integration of AI is ushering in a new era of influencer marketing for brands, redefining content production, optimisation, and distribution.

Transformative role of AI: Unlocking a new segment in influencer marketing

AI and ML Roadmap to Influencer Marketing Strategies

The incorporation of automation and Artificial Intelligence (AI) technologies has significantly streamlined campaign management complexities for brands, providing AI-led analytical tools and platforms that autonomously track and optimize campaign life cycles. Integrating Influencer Relationship Management (IRM) software ensures meticulous oversight of influencer tasks, covering engagement, metrics, content, and results. In the past, marketers heavily relied on Facebook’s Open Graph to efficiently scout target audiences and identify ideal influencers instantly. However, following Facebook’s closure of this functionality, marketers dealt with the challenge of murky data, resulting in inconsistent outcomes. This shift has prompted the industry to explore alternative strategies, emphasizing the importance of adapting to new technological solutions, such as automation and Artificial Intelligence (AI), to maintain effective and reliable influencer marketing practices. AI facilitates strategic matchmaking, pairing brands with the right influencers based on well-defined success factors. ML acts as a feedback loop, pinpointing areas of improvement and guiding an ideal course of action. Additionally, Natural Language Processing (NLP) analyzes content sentiment and ensures compliance, while Artificial Neural Networks (ANN) predicts optimal incentives and identifies lookalike creators, collectively enhancing campaign reach. Ultimately, this technology-driven approach aims at fostering genuine connections between influencers and their audience, delivering value through tailored and engaging content.

The Generative AI Approach to Effective Marketing: The proliferation of AI applications has brought about a significant transformation in influencer marketing. One such application that has gained immense popularity is generative AI, which allows creators to generate realistic and high-quality content, including texts, videos, and pictures, thereby enabling them to engage with audiences more effectively. As per Statista’s report, over half of the marketers, which is about 55 per cent, have been making use of ChatGPT to meet their marketing needs. Similarly, 42 percent of marketers have been relying on Copy.ai, which is essentially a natural language processing software that generates social media content and product descriptions, to achieve the same goals. Moreover, AI has ushered in a new era of virtual influencers like Lu do Magalu, Lil Miquela, K/DA, and others. These digital entities, crafted through computer graphics software, possess unique personas, effectively functioning as influencers across various social media platforms.

The Authenticity Imperative

The rising popularity of influencers can be largely attributed to the genuine, relatable nature of their content. Thus, it is crucial to achieve a harmonious balance between human authenticity and AI automation. While artificial intelligence serves as a valuable tool for optimizing workflows and generating data-based insights, human interaction and customization continue to act as essential components that sustain the appeal of content creators in the modern era.The potential impact of artificial intelligence as a creative competitor is a topic of discussion within the influencer marketing industry, sparking concerns about content creators turning to AI for scriptwriting and marketing strategies. Brands often collaborate with influencers based on factors such as organic growth and the monetization potential of their followers, giving significance to authenticity. If influencers adopt AI for crafting pitches, the authenticity central to influencing may be compromised, resulting in a loss of trust for both influencers and brands and potentially affecting their livelihoods and financial performance. Considering the consumer perspective is vital, as user preferences play a substantial role in shaping the trajectory of influencer marketing. However, a nuanced dynamic emerges, with consumers showing a preference for both entertainment and authenticity on social media, blurring the lines between content generated by humans and AI. Additionally, legal concerns arise as AI usage, both in generating content and creating AI influencers, raises issues such as intellectual property, liability, and copyright problems.

Final Thoughts

The emphasis on authenticity in influencer marketing has primarily originated from consumer preferences rather than industry initiatives. This highlights the importance of influencers collectively addressing concerns related to AI misuse on social media. The term “AI influencer” itself introduces a paradox, as it challenges the historical consumer demand for authenticity in influencer marketing. The industry faces the ongoing challenge of balancing technological advancements with consumer expectations to ensure a harmonious evolution in influencer marketing practices. While AI has certainly assisted influencer marketing operations, relevant and authentic influencer appeal continues to be a crucial element that modern-day consumers actively consider. As marketers prepare for an AI-dominated influencer marketing business, it is this delicate balance that will drive development and success.

(The author is Ritesh Ujjwal – Co-Founder, Kofluence, and the views expressed in this article are his own)

From familiar classics to obscure treasures, a trove of literature, art, film, and music has just become easier to access. On January 1, thousands of books, films, plays, artworks, sound recordings, and more entered the public domain, which means they may be used freely without compensating or needing to obtain permission from the owner.

Most notable on the list this year are the very first adventures of Disney icon Mickey Mouse—and Minnie!—in Steamboat Willie and the silent version of Plane Crazy. These pieces in particular have stirred a lot of interest: in 1984, their copyright term was 54 years, but Disney pushed for an additional 20 years—derisively called the “Mickey Mouse Protection Act” by scholars—which brings us to its release in 2024.

‘Steamboat Willie’ (1928)

Some other phenomenal additions to the public domain this year include the perennial favorite picture book Millions of Cats by Wanda Gág, which has the distinction of being the earliest American children’s book still in print. Literary heavyweights like W.E.B. Du Bois’s Dark Princess, Virginia Woolf’s Orlando, Bertolt Brecht’s The Threepenny Opera, and D.H. Lawrence’s Lady Chatterley’s Lover—among many others—are joined by two of the first “all-talking” films ever released, Lights of New York and In Old Arizona.

And don’t forget about some of our favorite children’s book characters, like Peter Pan and the Darling children, who first appeared in a play in 1904, then in book form in 1911, in J.M. Barrie’s Peter Pan; or the Boy Who Wouldn’t Grow Up—now in the public domain because it wasn’t “published” for copyright in the U.S. until 1928. And, of course, there’s Christopher Robin and his friends in the Seven Acre Wood. E.H. Sheperd’s quintessential illustrations in A.A. Milne’s The House at Pooh Corner introduced us to Tigger.

Explore an in-depth list and stories behind more of these works by Jennifer Jenkins, director of Duke University’s Center for the Study of the Public Domain.

Poster for ‘The Circus’ (1928) directed by Charlie Chaplin

Left: Poster for ‘Lights of New York’ (1928). Right: First edition of ‘Dark Princess’  (1928) by W.E.B. Du Bois

E.H. Sheperd, “Tiggers Can’t Climb Trees” (1928) for ‘House at Pooh Corner’ (1928) by A.A. Milne

Frontispiece of ‘Peter Pan; or the Boy Who Wouldn’t Grow Up’ (1911) by J.M. Barrie, illustrated by Francis Donkin Bedford

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Thousands of Classic Films, Books, Illustrations, and Just Entered the Public Domain appeared first on Colossal.

One recognizable everyday object is given the spotlight in Tomohiro Okazaki’s painstaking yet playful stop-motion animation. His new video features more than an hour of meticulously staged optical gymnastics using matches (previously), from simple balancing acts to hypnotic transformations in which the wooden sticks and red tops interact with words and materials like paper or acrylic. As the montage progresses, Okazaki’s compositions become increasingly distorted, stretching the imagination through hundreds of uncanny scenarios.

See more the artist’s work on YouTube and Instagram.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Marvel at Tomohiro Okazaki’s Feature-Length Montage of Matches Performing Optical Tricks appeared first on Colossal.

Many of Tang Shuo’s paintings begin with a memory. “I recall a story from the past that left a deep impression on me, extracting a moment from the story and arranging the relationships between characters,” he says. Inspired by his childhood pastime of “playing house,” Shuo renders hunters, snake catchers, and shepherds, imagining himself taking on the roles of his forefathers.

The artist, who is now based in London, grew up in Boulder Hill, a small village on the edge of Guilin, China, that his ancestors founded more than a century ago. For many years, the area was home to the descendants of this single family who upheld many traditional, patriarchal values and farmed the land. Given the political upheaval of the country’s reforms and the Great Leap Forward policies of the mid-twentieth century, its inhabitants struggled for resources like water and food, particularly as famine spread rapidly.

The stories from Shuo’s childhood reflect these realities and are full of grief, labor, and strife, from “water disputes for irrigating rice fields in this agricultural society leading to murder (and) logging for cooking and heating during winter” to scouring the mountains for roaming sheep and children dying from uremia. While the artist’s earlier works looked primarily to the professional lives of his kin, his more recent paintings take an introspective approach.

“Shepherd’s Sorrow” (2023), oil on linen, 200 x 150 centimeters

“While the figures in the paintings still represent my image, I am using my physical form as a medium to depict others,” he says, noting that after identifying the narrative he wants to convey, he photographs himself in various positions to capture bodily movement and gesture. “I have become an observer and storyteller, merely recounting their stories—stories rooted in the realities I heard or experienced during my time in Boulder Hill.”

Following a round of sketching, Shuo moves to the canvas. He shares that finding the right shade of orange for clouds or deep greens for a jungly field is one of the most difficult parts of each painting, which he renders with a characteristic flatness. Replicating men with sleek, shoulder-length hair and long-sleeved shirts, the artist gravitates toward moments of difficulty and melancholy. For example, in “Fleeing Wanderer,” he depicts an exhausted figure slumped over a green sack asleep, while “Sheperd’s Sorrow” is one of many pieces reflecting the pains of agricultural life and features a herdsman searching for lost animals.

Shuo has exhibitions planned for June at Beers London and another later this year at Steve Turner in Los Angeles. He’s currently working on a book co-published with Fabienne Levy, where he’s represented. You can find more of his paintings and glimpses into his studio on Instagram.

“The Man Holding the Rope” (2022), oil on linen, 120 x 160 x 2 centimeters

“Fleeing Wanderer” (2023), oil on linen, 90 x 70 centimeters

“Magician” (2023), oil on linen, 150 x 150 x 3 centimeters

“Abuser” (2022), oil on linen, 180 x 120 x 4 centimeters

“Shepherd” (2022), oil on linen, 160 x 120 x 4 centimeters

“Grape Harvester” (2023), oil on linen, 90 x 70 centimeters

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Tang Shuo’s Vivid Paintings Conjure the Strife and Stories of His Native Boulder Hill appeared first on Colossal.

From the January 2024 issue of Apollo. Preview and subscribe here.

Last year I predicted that the art market would contract, that NFTs would be over from a market point of view, that new art-tech businesses with unwanted propositions would continue to launch then vanish, and that ‘greenwashing’ would continue. All of these proved reasonably prescient: the market has shrunk from 2022 levels, though overall is larger than in 2019, the last pre-pandemic year. NFTs remain of interest to experimental artists and curators, but the speculative market for them has collapsed, along with much confidence in cryptocurrencies. The rate at which art-tech start-ups gain financial backing appears to be slowing. And while the art world continues to support environmental campaigns, only a few businesses are doing more than paying lip service to them.

I also said that the gap between the taste of the market and curators would narrow, with a slew of exhibitions of canonical artists. There has indeed been a flight to safety in both the market and museums: the public last year was wowed by major exhibitions of artistic greats – including Vermeer at the Rijksmuseum, Rothko at the Fondation Louis Vuitton and Picasso shows to mark the 50th anniversary of his death.

Less accurate was my prediction that China’s growing authoritarianism would present challenges for the Hong Kong market – it appears to be consolidating after a rocky few months in the middle of last year. So, with the statutory health warning attached, here are some of the trends I think we will see in 2024.

The big picture

Last year was considerably weaker than 2022, with global auction results in the first six months down around 16 per cent. Still, totals were better than 2019 and it seems likely that the pattern – down on 2022 but stable in historic terms – will continue in 2024.

‘In 2023 we still had the aftershocks of the pandemic but essentially the economy is now settling down to what economists would consider normal,’ says Paul Donovan, chief economist at UBS Global Wealth Management, which sponsors Art Basel and co-publishes its annual art market reports. He believes 2024 will be characterised by low growth, a drop in global trade and gradual reductions in inflation. ‘Overall, it’s a mediocre picture, but not devastatingly below trend,’ he says.

People who buy art – the top 20 per cent of the global income distribution, Donovan says – tend to be cushioned by wealth and less affected by economic shocks. ‘There are economic headwinds affecting this group, but that’s not going to stop them buying a work of art if it’s something they really want.’

Some art dealers agree. Optimism grew at the end of last year after what was seen as a successful auction season in New York in November, following patchy sales in Hong Kong and London the month before. Sotheby’s, Christie’s and Phillips’s evening Impressionist, modern, post-war and contemporary sales hammered down at a total of $1.6bn – $360m more than comparable sales in May. On closer inspection, though, things weren’t quite so rosy. The sales had an estimate of $1.5bn to $2bn (all figures excluding fees), so the totals were just inside the bottom end of the expected range, more than 30 per cent down on 2022 and 20 per cent lower than 2021. Inevitably, if consignors think they will get a higher price for works by waiting – as seems likely – the quality and quantity of what is on offer will start to reduce.

Alhalkere – Old Man Emu with Babies (1989), Emily Kame Kngwarreye. Courtesy Sotheby’s New York

Wider horizons

Interest in Indigenous and First Nations artists has been growing in the international contemporary art world since work by Sami and other artists was included in both Documenta 14 and the Venice Biennale in 2017. Expect this to continue in 2024, not least because of the 60th Venice Biennale exhibition, which will be directed by the Brazilian curator Adriano Pedrosa under the title ‘Foreigners Everywhere’.

Officially, the exhibition is under wraps. So far all Pedrosa has said is that it will focus on ‘the queer artist, the outsider artist, the autodidact and the so-called folk artist; as well as the indigenous artist, frequently treated as a foreigner in their own land’.

Pedrosa has a track record with Indigenous artists. He launched a huge exhibition devoted to Indigenous artists from South America, North America, Oceania and Scandinavia at the Museu de Arte de São Paulo Assis Chateaubriand (MASP), of which he is the director, in October last year (‘Indigenous Histories’, until 25 February, then at Kode Bergen Art Museum, 26 April–25 August).

The United States will be represented in Venice by Jeffrey Gibson, a member of the Mississippi Band of Choctaw Indians, who makes work that fuses Western modernism and Native American crafts. Last September, the National Gallery of Art in Washington, D.C. opened another major show, ‘The Land Carries our Ancestors: Contemporary Art by Native Americans’, curated by the Native American artist Jaune Quick-to-See Smith.

Leading institutions are hiring specialist curators in the field. The Fondation Cartier in Paris announced last autumn that it is sponsoring a new First Nations curatorial fellow, in partnership with the Biennale of Sydney. Meanwhile Darienne Turner, a member of the Yurok Tribe of California, has started as the Brooklyn Museum’s first curator of indigenous art and Kimberley Moulton, a Yorta Yorta woman from Australia, has recently taken up the post of adjunct curator, First Nations and Indigenous art, at Tate Modern. Expect more appointments and more exhibitions of Indigenous work.

Of course, Indigenous artists, especially from Australia, have been becoming more prominent for some time. Some are highly sought after in the market, such as the late Emily Kame Kngwarreye. Her estate is represented by Gagosian, while in 2022 Sotheby’s set an auction record for her work with the sale of Alhalkere – Old Man Emu with Babies (1989) for $819,000.

New money

How much the tastes of collectors are changing is likely to be a lively topic in 2024. In November the Financial Times reported that changing tastes lay behind some of the weak auction results. According to Caroline Sayan, chief executive of the art advisers Cadell North America, ‘Millennials don’t want to buy what their parents are selling.’

Last month Sotheby’s lifted the lid on its bidder data. It shared information about the age and location of bidders over the $1m level in the first half of last year with London-based research firm ArtTactic. This showed that Generation X – people in their 40s and 50s – for the first time made up the biggest group of bidders at the top end of the market, accounting for more than 40 per cent of bids. Millennials, born in the 1980s and ’90s, accounted for only 13.5 per cent of top-end bids, less than in 2022, but in the auction market as a whole they are making their presence felt, growing from just six per cent of bidders in 2018 to 30 per cent in the first half of 2023.

While Generation X and Millennials still bid on works by the most famous 20th-century names – Picasso, Warhol, Bacon, Richter, Baselitz – they appear to be the driving force behind high prices for younger artists, including Yoshitomo Nara, Banksy, Adrian Ghenie and KAWS. They also seem to like Surrealist and Pop-inspired artists, making up the largest group of bidders on works by Magritte, Wayne Thiebaud and Ed Ruscha.

Patrick Lee, the director of Frieze Seoul, says that ‘a generational shift is tangible, if you speak to any of the galleries who took part in September.’ Most of the visitors came from the region – Korea, Japan, China, Hong Kong and Singapore – and, according to Lee, have also started attending Frieze in London and Los Angeles. He describes the collectors as ‘inquisitive, affluent and English-speaking’, and says they are more likely to seek out information online and from social media. ‘In terms of taste, they tend to start with things that are accessible – street art, design, fashion, toys even – but they are hungry to learn.’

Avocado Salad (1962), Wayne Thiebaud. Photo: Hindman Chicago

Green shoots

The past couple of years have been characterised by a visible interest in the environment among museums and the art trade, galvanised at least in part by some vocal artists and curators. This year there will be more pressure on the trade to turn words into action.

The international art market is estimated to be worth around $60bn and is made up of thousands of mostly small businesses – galleries, art advisers, private dealers and a handful of auction houses. There are single corporations – Walmart, for example – ten times the size of the entire market. The fragmentation and difference in scale might explain why the art market has been slower than some other industries to adapt to climate change, believing, not unreasonably, that it would only make a small difference. A report issued in 2022 cast doubt on that assumption, though, estimating that the art world generates around 70 million tonnes of carbon dioxide every year. To offset that amount of CO2 would mean planting 85,000 square miles of forest.

The art trade could do worse than take a leaf out of Christie’s book. In just three years the auction house has cut its carbon emissions by 37 per cent and, according to Julien Pradels, its Paris-based head of operations, is on track to meet its target of a 50 per cent reduction by 2030. What is most notable about Christie’s is the openness of its reporting. ‘We decided early on that we needed to be transparent about our successes and failures with our vendors, partners and the market,’ Pradels says.

According to Heath Lowndes, co-founder of the Gallery Climate Coalition, so far only 10 per cent of its 1,000 or so members are ‘Active Members’ – that is, they have completed a carbon report in the last two years, established a green team and published an environmental responsibility statement; he hopes the number will double in 2024.

Darkness falls

The pandemic lockdowns of 2020 and 2021, which caused a surge in online buying, led many in the art world to believe that an era of greater transparency – especially about prices – might be dawning. Some of the biggest galleries seemed to be on board. ‘Having a price visible to all audiences, not just the VIP collectors who were the only ones who were privy to that information in the past, moves the art world into a positive and more open direction,’ Elena Soboleva, director of online sales at David Zwirner, declared at the time.

However at Art Basel last year the gallery’s owner announced that henceforth he would not reveal secondary market prices. He said this was to ‘protect the privacy’ of consignors – as well as, of course, protecting his business. Galleries big and small seem as reluctant as ever to discuss price and other market information, while analysts complain that some smaller auction houses and online art fairs are making their results difficult to capture.

Meanwhile, during the November auctions in New York, it became clear just how controlled the process is, especially at the top end. Lindsay Dewar, lead analyst at ArtTactic, says that ‘auction guarantees played a critical role in these results in ensuring pre-sale expectations were met’. Guarantees mean that an auction house has agreed to give the seller a pre-arranged price, usually around the reserve (a figure unknown to other bidders, giving the guarantor an advantage), if other bids do not go high enough. To minimise the risk, auction houses often find a third party to provide the financing. If the works sell for a higher figure, the guarantor will take a slice of the ‘upside’, reducing the risk for consignor and auction house, but also the reward. In total, the evening sales carried guarantees of around $1.3bn, or nearly 80 per cent of the totals realised.

Works of art without guarantees that looked unlikely to reach their reserves were also withdrawn shortly before, and sometimes during, the sales. In the evening sales, Sotheby’s pulled eight lots, and Christie’s and Phillips four each. ‘The auction houses learned from Hong Kong and London in October, which weren’t that great, and what was obvious in New York was how incredibly managed it all was,’ Dewar says. ‘There were a lot of guarantees. Reserves were low and were clearly being changed during the sales – things were selling way below the published low estimate.’

Ironically, lack of transparency about the price of works and other relevant information is routinely cited as the biggest hindrance to buying in collector surveys. Last year BBC Radio 4 broadcast a series of short stories by the novelist William Boyd, called The State of the Art. He has often written about the art world, and the new stories gave him an opportunity ‘to revisit [these] slightly scurrilous individuals … I got to know the art world in the 1990s and it just seemed ripe for exploitation. I just kept coming across scam after scam, anything goes there, it seems.’

Some of this is no doubt artistic licence; but expect the art world in 2024 to be at least as murky, if not murkier, than it was before.

From the January 2024 issue of Apollo. Preview and subscribe here.

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.

Booooooom Photo AwardsFeatured
Photographers are invited to submit images in one of five categories, each with a $1,000 top prize. The winners, plus 20 shortlisted photographers, will be featured in and receive a copy of a special mini-photo publication. It’s free to submit one image, and there is a $15 fee to submit up to ten images in one category.
Deadline: January 12, 2024.

Tulsa Artist Fellowship 2025-2027 Award TermFeatured
U.S.-based artists and arts workers of any discipline are eligible to apply for this three-year fellowship. Ten fellows will each receive a $150,000 stipend, a $12,000 yearly housing stipend, a $1,200 yearly health stipend, a $1,200 yearly studio assistant stipend, a $1,500 relocation stipend, fully subsidized studio spaces, and access to shared art-making facilities. Applicants must have at least five years of experience.
Applications open: January 18 to February 28, 2024.

Open Calls

The Aperture Portfolio Prize (International)
Photographers are encouraged to submit innovative bodies of work that haven’t been previously published or exhibited. The first prize winner will be published in Aperture and receive $3,000 in cash, a $1,000 MPB gift card, and an exhibition in New York City. Applicants must subscribe to the magazine to enter.
Deadline: 11:59 ET on January 5, 2024.

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.

Same as It Ever Was (International)
This juried open call invites artists to share recent works and insight into how those works were created, particularly as they relate to recurring motifs and concepts. The exhibition will open in mid-January, and applicants must be supporters of Arts Southwest, which starts at $50 per year.
Deadline: January 13, 2024.

The Other Art Fair Chicago (Chicago)
From April 11 to 14, The Other Art Fair returns to Chicago with two open calls for artists: the New Futures program is open to those who haven’t exhibited at the fair before, while the general application is open to everyone.
Deadline: January 14, 2024.

MFA Boston The Artist Project (International)
One artist interested in community arts will be chosen to plan and lead a project for 6 to 12-year-old children. The chosen applicant will receive a $25,000 stipend and a $5,000 material budget.
Deadline: January 19, 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.

Call for Artists: South Entry Sculpture (California)
The city of Sebastopol is accepting proposals for a permanent public work at the trailhead of the Joe Rodota Trail on Petaluma Avenue, which also marks the entry to the downtown. The commissioned project will have a $25,000 budget.
Deadline: 3 p.m. PT on January 29, 2024.

All About Photo Awards 2024-The Mind’s Eye (International)
The ninth annual All About Photo Awards will grant several winners press coverage and cash prizes from a pot of $95,000. There is a $30 entry fee.
Deadline: January 30, 2024.

Recharge New Surrealist Prize (U.S.)
Painters working in the new surrealist style are eligible for this $7,000 award.
Deadline: 5 p.m. ET on January 31, 2024.

By Hand, an Exhibition at Glen Arbor Arts Center (International)
By Hand is a meditation on and consideration of the myriad ways in which the human hand is intrinsic to creative work and a demonstration of what human hands can make. Two- and three-dimensional works made between 2022 and 2024 are eligible for this juried exhibition. There is a $35 application fee.
Deadline: 11:59 p.m. ET on January 31, 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.

FREE THE BOOKS: A Print Exhibition (International)
This March, Evanston Public Library will host an exhibition of prints about banned books in collaboration with Hive Center for Book Arts and Starshaped Press. Entry fees range from $5 to $35.
Deadline: February 16, 2024.

Passepartout Photo Prize (International)
Open to any style, process, or subject matter, this annual prize offers 1,000 Euros, an exhibition in Rome, and a publication. Enter before January 18, 2024, for the early fee of 20 Euros.
Deadline: April 4, 2024.

Grants

2024 NOT REAL ART Grant for Artists (U.S.)
Six visual artists based in the U.S. and working in any 2D or 3D medium will win a no-strings-attached cash award of $2,000, plus PR and marketing support. There’s no application fee, and you can find out more on Colossal.
Deadline: 11:59 p.m. PT on January 1, 2024.

Nordic PhotoBook Award (Norway)
Photographers with a cohesive body of work interested in publishing a book are invited to apply for this Kr 200,000 award to support the production, distribution, and promotion of the work.
Deadline: January 1, 2024.

Alden Mason Foundation Award  (Washington)
The Alden Mason Foundation offers three prestigious awards created to pay homage to the enduring artistic legacy of Washington-based artist Alden Mason. One award of $12,000 and two runner-up awards of $1,000 each are awarded to exceptional painters.
Deadline: January 13, 2024.

Adolph & Esther Gottlieb Foundation 2024 Individual Support Grants (International)
Painters, sculptors, and printmakers working for 20 years or more are eligible for these grants. In 2023, the foundation awarded $25,000 each to 20 artists.
Deadline: 11:59 p.m. ET on January 17, 2024.

BBA Artist Prize 2024  (International)
Artists working in all themes, mediums, and experience levels are invited to apply for cash prizes of €1,000, €700, or €500, plus the chance for a solo exhibition in 2025 at BBA Gallery in Berlin, Germany. There is a €29 fee if submitted before December 12, then €39.
Deadline: February 19, 2024.

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)
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 one year and range up to $50,000. The individual circumstances of the artist determine the size of the grant, and professional exhibition history will be considered.
Deadline: Rolling.

Residencies, Fellowships, & More

Tusen Takk Foundation 2025 Visual Artist Residency (U.S.)
Open to mid-career and established artists working in photography, printmaking, book arts, painting, works on paper, sculpture, installation, and fiber arts, this three- to eight-week residency offers a $625 weekly stipend, studio space, housing, and a vehicle. There is a $20 application fee.
Deadline: 11:59 p.m. ET on January 7, 2024.

Saltonstall Foundation for the Arts Residency (New York)
Artists and writers are eligible for this residency program, which offers $100 weekly stipends, accommodations, studio space, and meals.
Deadline: January 7, 2024.

Anderson Center Residencies (International)
The Anderson Center in Red Wing, Minnesota, is accepting applications for three residency programs: one for deaf artists, one for emerging artists, and one that’s open to artists of all stages and disciplines.
Deadline: Noon CT on January 9, 2024.

The Good Hart Artist Residency (International)
Open to artists, writers, and composers at any stage of their career, this residency on the shores of Lake Michigan offers accommodations, studio space, a $500 stipend, and some meals. There is a $25 application fee.
Deadline: 11:59 p.m. ET on January 9, 2024.

Joshua Tree Highlands Artist Residency (International)
Hosted in Joshua Tree National Park, this residency runs for seven weeks and includes accommodations and studio space. There is a $45 application fee.
Deadline: January 10, 2024.

Quinn Emanuel Los Angeles Artists-in-Residence Program (Greater Los Angeles)
Open to emerging and mid-career artists working in all disciplines, this four-month program offers a studio in the Quinn Emanuel Los Angeles office. The chosen applicant will receive $5,000 per month, $1,500 for materials, and an exhibition.
Deadline: 11:59 p.m. PT on January 14, 2023.

StudioWorks Residency Program (International)
Open to visual artists, this four-week residency offers a $2,000 stipend, housing, and printmaking and letterpress equipment.
Deadline: Midnight ET on January 15, 2024.

2025 Sculpture Space Artist Residency Program (International)
Artists working in sculpture are eligible for a two-month residency, which offers a $750 stipend, housing, and a 5,500-square-foot shared studio. The application fee is $35.
Deadline: January 15, 2024.

Montello Foundation Artist Retreat (International)
This two-week residency is designed as a retreat from urban environments and is open to visual artists, performers, writers, and composers. There is a $20 application fee.
Deadline: January 21, 2024.

Hayama Artist Residency (International)
Open to artists working in any medium, this four-week residency offers accommodations, a $200 weekly stipend, an exhibition in Tokyo, and a roundtrip flight to Japan. The application fee is $95.
Deadline: 11:59 p.m. ET on January 31, 2024.

GAAC Artist-in-Residence Program (International)
This program offers seven two-week residencies in the Sleeping Bear Dunes National Lakeshore to artists working in creative writing, visual art, photography, sculpture, fiber arts, ceramics, and music. Chosen applicants receive housing and studio space. There is a $35 application fee.
Deadline: January 31, 2024.

Fine Arts Work Center 2024-2025 Visual Arts Fellowship (International)
Ten artists will be awarded seven-month residencies from October 1 to April 30. Fellows are provided housing, a studio, a $1,250 monthly stipend, and a $1,000 exit stipend. There is a $65 application fee.
Deadline: 11:59 p.m. ET on February 1, 2024.

Contemporary Craft Artists-in-Residence (U.S.)
Non-Pittsburgh residents working in metal-smithing, jewelry, fibers, weaving, wood, encaustics, paper and book arts, ceramics, and woodworking are eligible for residencies at Contemporary Craft. Artists receive a $1,200 monthly stipend, housing, and studio space.
Deadline: 11:59 p.m. ET on February 1, 2024.

Arts/Industry at John Michael Kohler Arts Center (International)
Open to all disciplines, this program selects twelve artists each year for three-month pottery and foundry residencies. 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. Residents receive a $160 weekly stipend, studio space, housing, transportation, industrial materials, equipment, and more.
Deadline: February 1, 2024.

Martin House Creative Residency Program (International)
The Creative Residency Program at Frank Lloyd Wright’s Martin House offers artists and researchers a $5,000 stipend, housing, and $1,000 in travel expenses to create a new work related to the architect’s legacy.
Deadline: February 16, 2024.

The Erin Donohue and Family Ceramics Artist Residency (International)
Hosted by the Artists Association of Nantucket, this ceramics residency will bring one artist to Nantucket to teach two five-week classes, one introductory course for the community and a more intermediate one for students and professionals. The program offers lodging, studio space, a $500 travel stipend, and a $2,000 stipend for living expenses and materials.
Deadline: April 5, 2024.

Hunter Moon Homestead Artist Residency (International)
Artists and arts educators working across disciplines are invited to apply to this program in Palouse. Residents receive one- to three-week stays, with lodging and studio space included.
Deadline: Rolling.

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