Uninterrupted time for art making is precious and too often elusive. A residency can reinvigorate an idling practice or provide essential time to finish a big project. The list below has something for artists of all disciplines with opportunities in international metropolises and remote villages.
Virginia Woolf stressed the importance of having a room of one’s own in order to tap into the creative productive spirit. We’ve gathered here some residencies and fellowships designed to give you just that – a dedicated, concentrated space to do your best creative work.
Whether you are an artist, performer, or writer, one of the perks of living creatively is that your work can flourish in many different contexts and many different cities. We’ve scoped some residencies and fellowships that will give your creative practice an international flair. Check out the upcoming deadlines and apply away!
Today, we begin accepting applications for Creative Capital’s Awards in Emerging Fields, Literature and Performing Arts, due Monday, March 2 at 4pm EST. We’d like to take a moment to tell you about ourselves and the award, and to answer some of our most frequently asked questions.
What distinguishes Creative Capital from more traditional funders?
Now in our second decade, Creative Capital continues to consider itself the premiere provider of risk capital in the arts—taking chances on projects that are singularly bold, innovative and genre-stretching. We want to support the latest thinking in the field: ideas of scope and ambition expressed through audacious combinations of form and content; varied projects that engage or even create new technologies; and works that take traditional approaches into new territories, teaching us something new about the world and ourselves. We often provide early support for projects that initially have challenges receiving funding from other sources. Continue reading
Today, we announced the 2015 Creative Capital Artists in Moving Image and Visual Arts. We could not be more excited about the 46 new funded projects—an incredibly diverse group hailing from 13 states plus Puerto Rico and Canada. We’ve arrived at this day thanks in huge part to the work of our valued colleagues who help us select each group of Creative Capital Artists. While we worked with more than 100 consultants during the ten-month process, two consultants advised us during the entire award round, reviewing submissions at every stage. I asked Mike Plante (Programmer at the Sundance Film Festival and our Program Consultant for Moving Image) and Dean Daderko (Curator at the Contemporary Arts Museum, Houston, and our Program Consultant for Visual Arts) a few questions about what it was like to work with Creative Capital on the process.
Lisa Dent: What motivated you to work with Creative Capital as a Program Consultant for this award round?
Mike Plante: Everyone wants to help artists and filmmakers make a project but it’s difficult to know how to actually do it. Creative Capital has made the blueprint. It’s rare to give filmmakers and artists money with few strings attached, but that is exactly what CC does. To be part of a process that finds amazing artists across the country, discuss their ideas and the path they are on – and to then give them not only financial help but real-world advice about balancing work and life. It’s really a dream project.
Dean Daderko: My motivation is pretty simple: I know of no other funding body that is as forward-thinking, as deeply generous, or as profoundly invested in being responsive to artists’ practices as Creative Capital. They fund the projects other organizations wouldn’t even consider! The end game here isn’t a substantial check—their commitment begins well before artists reach this stage, and continues throughout the life of the project, and beyond! Creative Capital understands fundamentally that by working with artists as partners—and by providing not just money, but thought, time and rich reserves of resources and connections—that they can positively and productively shape the future. Their unconventional and deeply responsible approach gives artists an incredible amount of agency, and they’re invited to bring their creative approaches to innovating and developing a game plan that’s uniquely responsive to the goals and concerns of their projects. The success they’ve had with this artist-centric strategy speaks for itself: so many artists will tell you what a dream it is to work with Creative Capital. Of course it doesn’t hurt that the staff are some of the friendliest, most helpful, and well-connected people around either! Ruby Lerner is my hero! Continue reading
We’re gearing up for a busy winter at Creative Capital, as we prepare to announce our 2015 class of Visual Arts and Moving Image Awardees this Wednesday and to open our application for Emerging Fields, Performing Arts and Literature grants in February. I caught up with Ruby Lerner (Creative Capital’s President and Executive Director) and Lisa Dent (Director of Resources & Award Programs) to reflect on our original mission, the projects that have astonished us over the years and why we continue to support risk-takers.
Maura Guyote: Creative Capital has always been committed to supporting artists with singular visions who dream up ambitious projects and aren’t afraid to take risks. Can you talk about why that mission is important?
Ruby Lerner: In any field, if you don’t have experimenters, you don’t have progress. Think about the medical field. We’d still be using leeches if there hadn’t been experimentation and research. So experimentation is really critical for any field to move forward. It’s imperative. In the arts we see a lot of risk aversion, so there need to be portals where risk is honored and appreciated. Not all risks will succeed but we need people to stand behind the risk takers and that’s a role we’ve created for ourselves. Continue reading
We are so proud of the fact that Creative Capital is one of the only national nonprofit organizations that awards grants to individual artists through an open application process. This means that anyone can apply, as long as you meet our basic eligibility criteria. In February, Creative Capital received more than 3,700 Letters of Inquiry for grants in Visual Arts & Moving Image—our biggest applicant pool to date! The applicants hailed from 49 U.S. states and Puerto Rico (Mississippi artists, we want you!), along with U.S. citizens living in 26 other countries. In January 2015, we’ll announce the 46 funded projects in our next class of awardees. Yes, it really does take almost a year to select the next class of Creative Capital Artists!
Applicants, funders and others in our network often ask us how we go about winnowing thousands of applications down to only 46 funded projects. The short answer: very thoughtfully, and with a lot of help.
Creative Capital actively solicits new applicants through an open call for Letters of Inquiry, using web-based outreach, in-person and online info sessions, and partner organizations to help us spread the word. This year we worked with seven Program Consultants who advised us in our grantmaking process, in addition to 22 colleagues in different parts of the country who suggested artists and artist organizations in their geographic region to notify about the award deadline. Continue reading
Creative Capital is currently accepting applications for awards in Moving Image (formerly Film/Video) and Visual Arts (deadline: February 28). The Creative Capital Award combines up to $50,000 in financial support for an artist’s project with advisory services valued at up to $40,000. In this video, Ruby Lerner (President & Founding Director) and Lisa Dent (Director, Resources & Awards Program) give some insight into our awards program and tips for the application process. For more information and to begin your application, visit creative-capital.org/apply.
Please note: this blog entry was written in 2014 and reflects 2014 dates. Please see http://creative-capital.
What does applying to Creative Capital really mean? What do you have to do to make it happen?
Creative Capital is one of the only national nonprofit organizations that offers awards to individual artists through an open application process. This means that anyone can apply, as long as you meet our basic eligibility criteria. In the past, Creative Capital has received 2,700 to 3,200 Letters of Inquiry (LOIs) in each award round. We work all year with arts professionals throughout the country to review your proposals before announcing the 46 funded projects.
On February 3rd, our application website will open to accept your LOI, with a submission deadline of February 28. The LOI is just a written proposal with no work samples. Once you fill out your contact information, education, professional accomplishments, and the name and email of one reference, you can begin to fill out your project proposal.
The Creative Capital | Warhol Foundation Arts Writers Grant Program is accepting applications through May 15. With a month left to apply, we’d like to share an in-depth look at one of the writers awarded a grant last year. Negar Azimi, whose project The Shahbanou and the Iranian Avant-Garde won a 2012 Arts Writers grant in the book category, is senior editor of Bidoun, an award-winning publishing, curatorial, and educational initiative with a focus on the Middle East. Irreverent and conceptually adventurous, Bidoun magazine covers an eclectic array of art and culture: its latest, #28, features an interview with Italian philosopher Giorgio Agamben about pets and animals, and a conversation with Larry Gagosian in which Azimi turns the art magnate’s attention away from the market to the Armenian diaspora of which he is an influential, but under-recognized part. In addition to her work with Bidoun, Azimi has written for Artforum, frieze, Harper’s, the Nation and the New York Times Magazine, among other publications. I asked her about what’s next for Bidoun and how the idea for her forthcoming book came about.
Kareem Estefan: Bidoun was founded in 2004 as a magazine focused on art and culture from the Middle East. Since then, it’s also functioned as a library, a curatorial initiative, and an educational space with arts writing workshops. Having expanded from a little-known publication to an internationally recognized hub for various critical and curatorial activities, can you reflect on Bidoun‘s mission and what’s next for you?
Negar Azimi: We’re approaching our tenth anniversary, so we’re currently thinking through where we’ve been and where we’re going. I think, in part, we hope to become an incubator for all sorts of projects. You’ve probably noticed that our version of the Middle East includes Los Angeles, Detroit, New Delhi…we’d like to carry this forward by nurturing projects with partners who, like us, think expansively about culture, whether they’re our own fantastic contributing editors or people from outside of our immediate network. Continue reading