COLORADO SPRINGS, Colo. (KKTV) – A local business is working to make art markets more accessible to artists by reducing fees. Co-owners of Cronk Art & Curiosities Andrew Cronk and Chris Dantzler have created the Moon Market, a monthly marketplace that holds space for artists and vendors of all kinds.

Andrew Conk said, “we made sure that our prices were low to the point where we can still pay the venue, we can still pay for marketing but the artist isn’t being ran through the ground with money.”

According to the Co-owners profits are not their priority, instead they want artists to be able to make money from their craft.

“The way we’ve designed the pricing for the vendors at the Moon Markets is the least amount of overhead of cost for them and the least amount of extra cash for us so that we’re not really profiting,” said Chris Dantzler.

Due to the Moon Market’s low prices, vendors say community has been created between local artists and they are able to make connections and help each other. Karilyn Harper, owner of Occult Herbs and Tonics, explained, “it’s marketing within a market if you will, everyone gets to talk to each other and figure out where they could be beneficial to one another… it’s just a good place for entrepreneurs to flourish.”

Another artist said a lot of businesses have ended up working together and collaborating. And in April, Kaya Bacon, Social Media Manager and Marketing Officer for the Moon Market, said, “this is actually the largest space we’ve been in so far, we’ve had a few smaller [spaces] and they just keep getting bigger.”

Bacon also said one of the best things about the market has been how consistently they have large numbers of people who come to the market to shop every month. As the social media person, Bacon said they have gotten a lot of messages from new or first-time vendors about how impressed they are to see so many people.

Every month, applications open for the market, and while there are staple vendors seen almost every month, Cronk says they are always looking to bring in up-and-coming artists. To get more information on the Moon Market, click here.

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When a friend asked for a small drawing on a Post-It note to add to his growing collection of artworks on the iconic yellow square, Aron Wiesenfeld obliged. The North Carolina-based artist rendered one of his introspective scenes and enjoyed the process enough to create an entire series on the 3 x 3-inch canvas.

Wiesenfeld has since created dozens of drawings in black ink, translating the mystery and ennui of his paintings onto the scaled-down surface. In one work, an open dresser drawer reveals a toddler tucked inside, while another piece depicts a child listlessly watching a record turn. The artist rarely plans a drawing before putting ink to paper and challenges himself to capture the same depth, moods, and stories of his larger works with much more minimal tools. He shares:

It forces you to be very economical since you only have 10 to 20 lines to make a cloud or a field of grass.  I have so much respect for cartoonists who do that well, like R. Crumb or Edward Gorey…Because the drawings are so small, every movement of the hand is magnified when seen on a screen, and the lines seem more fluid or spontaneous than a larger drawing might be.

In October, Wiesenfeld will show some of his larger oil paintings at James Freeman Gallery in London. He periodically adds his Post-It drawings to his shop and plans to publish a book of the works later this year. Follow news about those releases on his Instagram.

“Post-It Note Drawing #86”

“Post-It Note Drawing #53”

“Post-It Note Drawing #87”

Top left: “Post-It Note Drawing #26.” Top right: “Post-It Note Drawing #52.” Bottom left: “Post-It Note Drawing #41.” Bottom right: “Post-It Note Drawing #77”

“Post-It Note Drawing #88”

“Post-It Note Drawing #79”

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Rather than build the letter “A” or “R” through digital layers, Rüdiger Schlömer constructs the alphabet, numbers, and basic symbols stitch by stitch. The Zurich-based designer devised Typeknitting, a project that interlocks two distinctive creative forms into a methodically constructed, tactile hybrid. “Typographic knitting to me is a process of translation between two very different fields, hand knitting structures and type design. This is what makes it so interesting to me,” he shares.

Schlömer first melded the two practices when refashioning soccer scarves. He knitted team colors, phrases, and the occasional mascot into long wearables, a process that taught him to pair the mediums. He learned that “patchwork knitting works better for large-scale pixel designs or modular typography. Mosaic knitting has a lot in common with geometric Kufic calligraphy and works better for small letterforms and repeat patterns.”

From that came his first typeface, Knit Grotesk. Taking cues from the san-serif Futura, the design features squares that evoke a low-resolution pixelation and is made for slip stitches rather than the characteristic “v” of the basic knit stitch. Schlömer adds:

When developing a typeface for knitting, I constantly change in between analog and digital. This is important in order to not get stuck in the logic of either medium. Some details might look great on screen but turn out to be problematic or boring when knitted. It’s a kind of cross-medial prototyping between the screen and knitting needles.

Since publishing his first book Typographic Knitting, Schlömer has leaned into teaching and will lead workshops in May for Zurich’s Craft Week and another in July with the Berlin Letters Festival. He also released a pattern for the blue-and-white striped alphabet blanket above on Ravelry, inspiring several knitters to take on the project. “Knowing how much work this takes, this means a lot to me,” he says.

Next up is designing a typeface accessible to beginners who might be trying their hand at lettering or knitting for the first time. Keep an eye out for that release and news about upcoming workshops on Instagram. You also might enjoy these stitched CMYK studies.

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A new video released by the European Space Agency (ESA) reveals the riotous activity of the sun’s atmosphere in unprecedented detail. Taken by the Solar Orbiter in September, the footage captures a lush blanket of “corona moss” met by bright arches, or the magnetic field lines that shoot from the interior. Researchers say the brightest regions reach a whopping one million degrees Celsius—the cooler spots appear darker because they absorb radiation—and the “fluffy” hair-like structures are made of charged plasma.

As the video illustrates, spires of gas, a.k.a. spicules, shoot up along the horizon and sometimes soar 10,000 kilometers high. High-density clumps of plasma known as cool coronal rain are gravitationally sucked back into the atmosphere. There’s also a “small eruption” that occurs in the center of the frame that’s anything but small: the burst of light is larger than the earth.

This mind-boggling shift in perspective is, of course, due to the distance of the spacecraft from the sun. Since the Solar Orbiter launched in February 2020, it has continuously flown nearer to the star than any other instrument before it, reaching up to 42 million kilometers away. On this September mission, the orbiter was about 43 million kilometers away, which is about a third of the earth’s total distance from the sun.

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More than 100 years after it was first exhibited, art historians still debate whether Marcel Duchamp’s “Fountain,” submitted to the 1917 Armory Show in New York, was a wry joke or sly commentary on modern art—or both. That’s because the sculpture, a urinal the artist signed “R. Mutt,” was just a standard piece of plumbing. But Duchamp is also known to have coined the term “readymade,” in which he displayed objects like bicycle wheels or snow shovels as artworks unto themselves, posing the fundamental question that still thrills theorists: “But is it art?”

If Duchamp were around today to know what an emoji was, he’d probably love comic artist ND Stevenson’s take on “Fountain,” composed of a slew of what we might consider 21st-century digital readymades. A few years ago, the artist figured out that he could add countless icons to the standard Instagram stories template, resizing and rearranging them to create original compositions.

Starting with a basic background image, Stevenson adds numerous elements, like a fork standing in for a pitchfork in Grant Wood’s “American Gothic” or an upside-down red exclamation point in place of a necktie in René Magritte’s “The Son of Man.” For Johannes Vermeer’s “Girl with a Pearl Earring,” a bowl and a cloud provide the basis of the subject’s famous blue-and-white head wrap; a toilet stands in for Duchamp’s urinal; and numerous flowers, evil eyes, books, cheese, and urns make up the patterns of Klimt’s embracing figures in “The Kiss.”

It’s worth diving into Stevenson’s post for more emoji recreations.

Left: Grant Wood, “American Gothic.” Right: Johannes Vermeer, “Girl with a Pearl Earring”

René Magritte, “The Son of Man”

Left: Jacques-Louis David, “The Death of Marat.” Right: Marcel Duchamp, “Fountain”

Georges Seurat, “A Sunday Afternoon on the Island of La Grande Jatte”

Left: Edward Hopper, “Nighthawks.” Right: Salvador Dalí, “The Persistence of Memory”

Jean-Honoré Fragonard, “The Swing”

Left: Michelangelo, “The Creation of Adam” detail of the Sistine Chapel ceiling. Right: Francisco Goya, “Saturn Devouring His Son”

Vincent van Gogh, “Sunflowers”

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Fidencio Fifield-Perez’s Dacaments series began as a response to the bureaucracy of the U.S. immigration system. The Oaxaca-born artist immigrated with his family as a child, making him eligible for DACA (Deferred Action for Childhood Arrivals). To qualify and retain his status, he needed to collect official documents, the envelopes from which became the substrate for his paintings.

When the Trump administration terminated the policy in 2017, people like Fifield-Perez were thrown into limbo before the Supreme Court reinstated it in 2020. His hyperrealistic renderings of potted plants reflect this precarious position as symbols of domesticity and thriving life rest atop discarded mailers that have fulfilled their purposes. “Painted envelopes are configured into intimate portraits of the only home I have made for myself, moved across the country, and mourned for with the imminent threat of DACA’s repeal,” the artist says, adding:

The plant paintings are physical and metaphorical maps of personal and official correspondence. The rubber plant abandoned outside The University of Iowa’s art studios painted on the mailer envelope of my graduate degree; the split-leaf monstera gifted to my husband and me for our wedding ceremony; the jade plant given to me by the only other dacamented professor I’ve met.

Ongoing since 2016, Dacaments will conclude this year when Fifield-Perez’s DACA status ends.

As part of a McKnight Fellowship, the artist is working toward a show at Highpoint Center for Printmaking in Minneapolis, where he lives. Find more of his paintings and collages on his website and Instagram.

Photo by Argenis Apolinario, courtesy pf PS122 Gallery, N.Y.

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May in New York is one of the biggest peaks in the art-world calendar, but this year’s wave of fairs and auctions comes as economic forecasts worsen in the US, and Israel’s ongoing war in Gaza continues to spark protests at university campuses in Manhattan and beyond. As interest rates have risen, lending on art has slowed as collectors play it safe. Meanwhile, speculation has dried up in the art market, particularly for the ultra-contemporary figurative artists who were so prevalent just two years ago.

“There are very few artists whose identity politics or whose personal story is worth multiple reads,” says one prominent US dealer who prefers to remain anonymous. As for addressing current political tensions, “the risk reward is extremely limited”, he adds.

The chasm between the real world and the art world is perhaps wider than ever, and at Frieze New York, abstraction, neo-Pop and contemporary takes on Minimalism dominate the stands—safer bets in turbulent times. Gagosian is showing four monumental abstract paintings by Sterling Ruby priced at $550,000 each, as well as smaller collages priced in the tens of thousands of dollars. Two paintings sold as the fair opened on 1 May; VIPs in attendance included the CNN anchor Anderson Cooper, the pop star Kesha, the philanthropist Chelsea Clinton, Sharjah Art Foundation president Hoor Al Qasimi and Nicholas Cullinan, the new British Museum director.

Stands dedicated to two artists are also proving popular among dealers who are perhaps more interested in making a splash than racking up multiple sales. At David Zwirner, paintings by Nate Lowman that mine mass-produced imagery such as the Apple logo have been paired with furniture designed by Franz West. At Pace, spare pieces by the contemporary Minimalist Robert Mangold (priced at $350,000 to $450,000) are hung alongside sculptures by the American artist Arlene Shechet, whose work has grown in size and stature in recent years. By the end of the opening day, all of Shechet’s works had sold (prices ranged from $90,000 to $120,000).

Artists who have found critical acclaim later in life are prominent on the stand of the New York dealer David Lewis, who is showing pieces by Peter Schlesinger—who was David Hockney’s partner and muse—and the self-taught artist Thornton Dial (1928-2016). Both have occupied peripheral roles in traditional narratives of art history. “In a way it’s like showing emerging art, because it’s about sharing new stories,” Lewis says. “Emerging art and historical revisions have always gone together for me.” Schlesinger’s ceramic vase is priced at $50,000, while Dial’s Abstract relief is available for $400,000.

Lewis thinks the art market has been “slow these past couple of months”. He adds: “It’s been productive, but where that goes, we don’t know yet. New York is still the powerhouse, and Frieze New York has always been a great fair. Fairs accomplish things that gallery shows do not; the audience is prepped to receive information, and people’s minds are focused on making decisions.”

US collectors, particularly New Yorkers, remain a formidable force in the art market, though advisers are often sent to fairs in their stead, as was the case at Art Basel in Miami Beach in December and Frieze Los Angeles in February. “A lot of buying is being done by proxy,” says the anonymous US art dealer. By contrast, many high-profile collectors were spotted in the aisles at Frieze New York during Wednesday’s preview, including Helen Schwab, Dennis Scholl, and Carole Server and her husband Oliver Frankel.

New buyers are still entering the scene. The New York curator and adviser Amanda Schmitt brought her client, the San Francisco-based digital-art collector Andrew Jiang, to Frieze New York for the first time. Though Jiang didn’t purchase anything on his maiden art-fair voyage—the New York event is not well known for its digital offerings—Schmitt observes how her clients who have made millions in crypto are increasingly interested in acquiring physical art, particularly at the blue-chip level.

Museum exposure

Some of the most blue-chip works at Frieze New York can be seen on the booth of the Austrian dealer Thaddaeus Ropac, where prices rise to around $2m for works by Robert Rauschenberg. The majority of works hover around the $500,000 mark, however. Ropac is one of a number of galleries to capitalise on artists with current or upcoming exhibitions in museums and biennials, including Alex Katz and Martha Jungwirth, who have shows in Venice in parallel with the Biennale.

Though the dealer thinks the market has softened compared with 2022, which was “a little bit out of the ordinary”, Ropac says that turnover at the fair is “still solid”. This is in large part down to New York collectors. “It’s astonishing,” he says. “On the whole, Europeans are not here; they are arriving next week [for The European Fine Art Fair]. But New Yorkers alone can support Frieze. I’m increasingly in favour of fairs that cater to their regions.”

Various sub-markets are reacting differently to the economic and political headwinds. As Alex Fitzgerald, a director at Andrew Kreps Gallery, puts it: “The art market isn’t just one monolith; there are different factions, and at times some of those do better than others. It’s often a balancing act.” Along with other artists, the gallery is showing works by Eileen Agar, the late British painter associated with the Surrealist movement who has not had a great deal of exposure in the US until now, and the New York painter Ricci Albenda, whose tongue-in-cheek text piece, Money is No Object (2021), is available for $40,000.

Many dealers are now eyeing up the New York auctions later this month as the next major bellwether of the overall health of the market. While the primary market—with its more accessible price points—remains relatively resilient, the secondary market is said to be more sluggish. Scarcity of material is another major factor, with cautious sellers holding on to their wares.

“If you look at the quality of what’s coming up in May, it’s pretty spotty,” says the anonymous US dealer. “No one died, no one got divorced. The auction houses are going to have real difficulty achieving yesterday’s prices in this marketplace.”

When visiting his hometown of Runik, Kosovo, back in 2010, Petrit Halilaj realized that his elementary school was being demolished. He went to the site—which had miraculously survived the Yugoslav wars that spurred his family to flee to an Albanian refugee camp in 1998—and found a pile of desks, many with doodles and notes scratched into their surfaces.

These etchings have now found their way to New York, where they’re perched atop The Met’s rooftop garden for Abetare, which translates to primer, as in the early education books used for learning basic literacy. Enlarged to proportions that would crush any singular tabletop, the rough drawings are presented as scratchy bronze sculptures depicting a flower, house, and spider á la Louise Bourgeois.

For the exhibition, Halilaj (previously) paired his initial findings with other scribbles recovered from desks throughout Albania, North Macedonia, and Montenegro, Balkan countries impacted by Serbian hostilities following Yugoslavia’s dissolution. “For me, returning to the region and visiting numerous schools was prompted by a desire to construct my own intimate map, in contrast to historical maps that reflect dominant narratives,” he shares. “We do not exist in isolation. We are shaped by each other’s identities, both positively and negatively.”

On view through October 27, Abetare features smaller works among the freestanding sculptures, including an arrow with Runik written in the center. Halilaj fastened that smaller piece to a concrete wall and pointed it toward the village as a way to tether the distant locations.

While playful and evocative of adolescent impulse, the works are a reminder of how war and conflict warp innocence. The project is also particularly timely as the city contends with helping tens of thousands of school-age migrants and the world witnesses mass atrocities in Palestine and Ukraine. Magnifying childhood transgressions, Abetare highlights what the artist refers to as small “acts of freedom” that defy ideology and systemic oppression.

Find more from Halilaj on Instagram.

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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.

$3,500 Artist Grants | The Hopper PrizeFeatured
The Hopper Prize is accepting entries for Spring 2024 artist grants. The program offers two awards of $3,500 and four of $1,000. Submissions will be juried by Lauren Rosati, Associate Curator, The Metropolitan Museum of Art, New York City and Maya Brooks, Assistant Curator, North Carolina Museum of Art. Thirty artists will be selected for a shortlist. This is an international open call, and all visual media is eligible.
Deadline: 11:59 p.m. PST on May 14, 2024.

ARTS Southeast’s ON::View Artist Residency ProgramFeatured
Applications are now open for the On::View Artist Residency Program in Savannah, Georgia. The residency supports artists from across the globe, working in all media, for periods of one to three months from August to October. Selected artists gain access to a high-visibility studio space to complete a new project, continue an in-progress endeavor, or to conduct research exploring conceptual, material, performative, and social practices.
Deadline: 11:59 p.m. ET on May 28, 2024. 

Open Calls

ArteAlta (International)
This annual competition organized by Alina Art Foundation, Inarttendu, and the Council of the Region Valle d’Aosta invites artists to submit work across painting, sculpture, photography, mixed media, textiles, paper, and video related to the theme of Fear. Three prizes with cash, an exhibition opportunity, and a residency will be awarded.
Deadline: May 1, 2024.

2024 International Photography Competition (International)
In its 13th year, the International Photography Competition is hosting an open call. Hosted by the Florida Museum of Photographic Arts, the contest will award one winner $1,000, and several photographers will be featured in an exhibition.
Deadline: May 5, 2024.

Tito’s Prize (Austin)
Open to any medium and artists at any stage of their career, this prize grants one winner $15,000 and a solo exhibition at Big Medium Gallery.
Deadline: May 6, 2024.

DCASE Visual Arts Exhibition Program (Illinois and Indiana)
Artists, curators, and arts organizations are invited to propose exhibitions for the Chicago Cultural Center galleries in 2025 and 2026. Budgets range from $10,000 to $80,000.
Deadline: 11:59 p.m. on May 13, 2024.

1708 Gallery’s InLight 2024 Call for Proposals (International)
Artists are invited to propose projects that engage with Pine Camp’s history and the site’s current activities and uses. Proposals should address rest and healing, isolation and exile, preservation and reclamation, or fresh air and nature as forms of respite and remedy. Artists receive a $1,000 honorarium.
Deadline: May 22, 2024.

Art in Odd Places 2024: Care (International)
The iconic public visual and performance art festival in Manhattan will take place October 18 to 20, 2024, under the theme of Care. Artists, performers, agitators, and caretakers are eligible to submit projects that invite the public to stop, to rest, to consider, and, above all, to care.
Deadline: 11:59 p.m. EST on May 26, 2024.

Orbitals (International)
Open to applicants from or living in the Arab world, this program takes four curators, artists, and arts researchers to Indonesia to for an eight-day trip to learn about a different artistic context in the Global South and share this knowledge with their communities. Flights, travel insurance, accommodation, per diems, and visa reimbursements will be provided.
Deadline: June 15, 2024.

The 15th Epson International Pano Awards (International)
This award is dedicated to the art and craft of panoramic photography and has a prize pool of $50,000. Entry fees are $20 to $22 per image.
Deadline: The early bird is midnight UTC-11 on June 24, 2024, and the final is midnight UTC-11 on July 15, 2024.

Now I Wanna Sniff Some Glue: An International Wheatpaste Show (International)
Tattooed Mom and Doomed Future are teaming up on a wheatpaste exhibition opening June 14 in Philadelphia. First-time and established artists are invited to submit works.
Deadline: June 1, 2024.

2024 Booooooom Art & Photo Book Award (International)
Artists, photographers, and illustrators are invited to submit cohesive bodies of work they’d like to see turned into a book. Six projects will be selected for publishing at no cost.
Deadline: June 7, 2024.

2025 Vilcek Prizes for Creative Promise in Visual Arts and Curatorial Work (International)
Open to artists and curators born outside the U.S. to non-American parents, the Vilcek Prize will grant six $50,000 awards to immigrants under 38.
Deadline: June 10, 2024.

Fiberart International 2025 Call for Entry (International)
Contemporary Craft and Brew House Art have teamed up for the 25th Fiberart International, which invites fiber artists to submit their work for a group exhibition in Pittsburgh. One winner will receive a $5,000 award, and there is a $45 entry fee.
Deadline: June 30, 2024.

NSMA International Painting Competition (International)
Open to professionals and students, this competition focuses on contemporary realism in painting, and all subject matter is welcome. One winner will receive $25,000, and finalists will be exhibited at the New Salem Museum and Academy of Fine Art.
Deadline: 11:59 p.m. EST on January 15, 2025.

Grants

ReadyLaunch Grant (International)
Geared toward empowering female and non-binary designers, the ReadyLaunch Grant supports myriad projects, including newsletters, zines, YouTube channels, and podcasts. Four grantees will receive $2,000, one-year access to a Female Design Council membership, enrollment in the Female Design Council Mentor Match Program, and assistance in securing media coverage. Funds can be used for team payments, space rentals, production costs, project resources, or participation in training programs.
Deadline: 23:59 p.m. CET on May 8, 2024.

The Andy Warhol Foundation Arts Writers Grant (U.S.)
Emerging and established art writers are eligible for grants ranging from $15,000 to $50,000 in three categories—articles, books, and short-form writing. Funding supports projects addressing both general and specialized art audiences, from short reviews for magazines and newspapers to in-depth scholarly studies.
Deadline: 11:59 p.m. ET on May 15, 2024.

CIRC Artist Grant (International)
Three $1,000 unrestricted grants will be awarded to artists at any stage of their career working in oil, acrylic, watercolor, pastel, drawing, printmaking, mixed media, photography, sculpture, fiber, wood, glass, ceramics, and digital art.
Deadline: May 15, 2024.

Thrive Grants (Oklahoma)
Oklahoma Visual Arts Coalition will award $5,000 and $10,000 grants to several artist-led, collaborative projects culminating in a public-facing program. A total of $60,000 is available.
Deadline: 11:59 p.m. CT on June 1, 2024.

2024 Robert Giard Grant for Emerging LGBTQ+ Photographers (International)
Queer|Art’s first international grant provides $10,000 to one winner and $1,250 to finalists to support the creation of projects addressing issues of sexuality, gender, or LGBTQ+ identity.
Deadline: June 30, 2024.

2024 Illuminations Grant for Black Trans Women Visual Artists (International)
In its fifth year, this grant supports visual artists who are self-identified Black trans women and awards $10,000 to one winner and $1,250 to finalists.
Deadline: June 30, 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 resulted from 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

Lillstreet Art Center Artist in Residence (International)
Lillstreet offers year-long residencies in ceramics and metalsmithing and nine-month residencies in drawing, painting, printmaking, book arts, and textiles. Artists have 24-hour access to facilities, free classes, paid teaching opportunities, participation in a group exhibition, and a monthly stipend. There is a $20 application fee.
Deadline: May 1, 2024.

Fireline Fellowship (U.S.)
For two and a half years, artists, writers, and thought leaders will explore issues related to wildfire at the H.J. Andrews Experimental Forest. Fellows will meet in person and online and develop public programming. They also receive $5,000, four weeks of residency time at the Andrews, and more.
Deadline: 11:59 p.m. PT May 3, 2024.

Tournesol Award (Bay Area)
This year-long residency offers one emerging Bay Area painter a $10,000 stipend, a private studio, and a culminating exhibition or project. The goal is to support the artist in establishing and maintaining a career in the region.
Deadline: May 3, 2024.

Singapore Art Museum Residencies (International)
Applications are open for three SAM’s artist, community and education, and curator and researcher residencies. Each program is fully funded, and residents receive a $1,000 SGD monthly stipend, housing, airfare, and studio space.
Deadline: 23:59 GMT +8 on May 31, 2024.

Eliza Moore Fellowship for Artistic Excellence (International)
One early-career visual artist, writer, dancer, or musician addressing plants, gardens, or landscapes will be awarded this fellowship. It includes a $10,000 grant and a two- to five-week stay at Oak Spring Garden Foundation.
Deadline: May 31, 2024.

The Farm Margaret River Residency (International)
This residency tasks artists with creating a site-specific artwork informed by the environment. Spanning eight weeks, the program offers studios, accommodation, support for travel, and a $7,500 grant.
Deadline: 5 p.m. AWST on June 2, 2024.

1708 Pilot Artist Residency Program (International)
This residency provides visual artists free one- to three-month stays in Richmond, Virginia. Chosen applicants receive a private live/work space, a $1,000 monthly stipend, basic equipment, and professional development opportunities.
Deadline: June 2, 2024.

Pine Meadow Ranch Center for Arts & Agriculture Residency (International)
Artists, scholars, scientists, and researchers are invited to apply for two- to four-week residencies under the theme of care and stewardship. Residents receive shared housing and studio space. Travel reimbursements are also available.
Deadline: 11:59 p.m. PST on June 30, 2024.

The Hodder Fellowship (International)
Open across disciplines, this fellowship provides $90,000 to artists who spend ten months at Princeton University. No formal teaching is required.
Deadline: Mid-September 2024.

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