Colossal Art & Design

This page was created programmatically, to read the article in its original location you can go to the link bellow:
and if you want to remove this article from our site please contact us


Image © Katharina Grosse

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 [email protected]. You can also join our monthly Opportunities Newsletter.


Open Calls

Faena Prize for the Arts (International)
Artists across genres, disciplines, and technologies are invited to imagine temporary and site-specific projects installed at Faena Beach during Miami Art Week 2022. The winning proposal will receive a $100,000 prize.
Deadline: August 1, 2022.

SPIE International Day of Light Photo Contest (International)
The annual SPIE International Day of Light Photo Contest focuses on light and its vital role in nature, art, and technology. One winner will receive $2,500, with smaller cash prizes for runners-up.
Deadline: September 16, 2022.

50 Reasons Why: Your Take on the East End (U.S.)
East End Arts is accepting submissions for a juried exhibition centered around the East End of Long Island. U.S.-based artists of any medium are eligible, and the application fee is $40.
Deadline: September 30, 2022.

The Bennett Prize for Women Figurative Painters (U.S.)
U.S.-based painters are invited to apply for the third iteration of The Bennett Prize, which awards $50,000 to one artist with a runner-up receiving $10,000. The entry fee is $40.
Deadline: 11:59 p.m. MST on October 7, 2022.

London Craft Week 2023 (International)
The 2023 edition of London Craft Week runs May 8 to 14, and the annual event is accepting applications from emerging artist-maker-designers. There are a few free spaces available for those who qualify.
Deadline: November 25, 2022.



Art and Change Grant (Philadelphia)
Open to women, trans*, and/or gender-nonconforming artists living in Philadelphia, the Art and Change Grant will award $2,500 to a project of any medium geared toward social change.
Deadline: August 1, 2022.

The Canadian Women Artists’ Award (New York)
Open to Canadian women artists ages 25-40 living in New York state, this grant program offers three unrestricted $5,000 awards, one in visual arts, one in media and design, and the other in literature.
Deadline: 5 p.m. EDT on August 30, 2022.

Manhattan Art Grants (Manhattan, New York City)
LMCC’s Manhattan Arts Grants awards up to $10,000 for presentations that respond to the community and local culture.
Deadline: 5 p.m. on September 13, 2022.

Teiger Foundation Grant for Curators (U.S.)
The Teiger Foundation will award up to $3.5 million to curators at nonprofits working on exhibitions and researchers, and applicants are eligible for grants of up to $150,000. Recipients can be involved in the climate action pilot program, which will offer climate-conscious planning.
Deadline: September 15, 2022.

$500,000 Creative Capital x Skoll Foundation Fund (U.S.)
Kickstarter, Creative Capital, and Skoll Foundation launched a $500,000 Creative Capital x Skoll Foundation Fund to support projects by Asian, Black, Indigenous, and Latinx creators. Awards are given out on an ongoing basis to creators in categories like Arts, Comics & Illustration, Design & Tech, Film, Food & Craft, Games, Music, and Publishing.
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.


Residencies & Fellowships

Franconia Sculpture Park Residencies (International)
Franconia provides a communal residency experience where up to 18 selected artists live on-site at their 4500 sq. ft. farmhouse. This year’s theme is “Public Art IS Public Health.” Applicants should express an interest in investigating and creating work exploring intersectional impacts between public art and public health.
Deadline: August 1, 2022.

The Anita Wetzel Residency Grant (U.S.)
Women’s Studio Workshop in Rosendale, New York, will host one artist age 45 or older for a 4-6 week residency. Anyone working in intaglio, letterpress, papermaking, screen printing, darkroom photography, or ceramics is eligible. The chosen artist will receive a $350 weekly stipend, up to $500 for materials, and up to $250 toward travel.
Deadline: August 1, 2022.

Artists Residency at MAWA (International)
Mentoring Artists for Women’s Art is offering residencies of two to four weeks to women, non-binary, trans and 2-Spirit visual artists. Recipients receive $335 to present their work and space to work.
Deadline: August 5, 2022.

Kahn | Mason SIP Fellowship (New York State)
Artists of all disciplines interested in printmaking are eligible for this new fellowship from the Elizabeth Foundation for the Arts. Selected artists will receive access to a community and professional printmaking workspace, a $3,000 stipend, three printmaking workshops, and assistance from the foundation’s staff.
Deadline: August 7, 2022.

Queens Museum In Situ Artist Fellowship (New York City)
Queens Museum offers a two-year fellowship with studio space, an annualized salaried position at $45,000 per year with full benefits, and a solo exhibition in the spring of 2024. Artists must live in New York City at the start of the program.
Deadline: 11:59 PST on August 14, 2022.

2023 Oolite Arts Studio Residency Program (International)
Oolite Arts in Miami will host one artist from January 9, 2022, to December 15, 2023. Residencies are open to international artists.
Deadline: August 17, 2022.

BIPOC Residency at Corning Museum of Glass (International)
The Corning Museum of Glass will award one or two artists residencies at its New York studio. Each lasts one month and takes place in March, April, May, October, and November.
Deadline: August 31, 2022.

Center for Book Arts Residencies (International)
Early and mid-career artists working within the book arts are eligible for residencies at the Center for Book Arts. Recipients receive a $1,300 cash stipend, a $1,000 materials budget, 24-hour access to professional tools and equipment, and space to work within CBA’s Manhattan studios.
Deadline: August 31, 2022.

Lower East Side Printshop Keyhold Residency (U.S.)
U.S.-based emerging artists working in intaglio, relief, monotype, and water-based screenprinting are eligible for year-long studio residencies to develop new work. Residents receive a $1,000 stipend.
Deadline: 11: 59 PST on September 1, 2022.

Uncommon Art Residency (International)
Located next to Grand Teton National Park, the Uncommon Art Residency provides artists with a $200/week stipend, $200 in dining credits at Glorietta Trattoria, housing, and access to shared studio spaces for ceramics, printmaking, and photography. The application fee is $25.
Deadline: September 1, 2022.

On::View Artist Residency Program (International)
Sulfur Studios in Savannah, Georgia, will host four artists throughout summer 2023 for consecutive residencies with a group exhibition slated for early 2024. The application fee is $50.
Deadline: December 10, 2022.


August 1, 2022

Kate Mothes

“Sugarland,” steel, silver, and nickel plated spoons. All images © Ann Carrington, shared with permission.

In The Netherlands in the 17th Century, a Golden Age was in full swing. The economy of the Dutch Republic, as it was then known, was flourishing as Antwerp and other ports became important hubs for the commercial shipping trade, importing and exporting textiles, spices, and metals, and the cities’ populations swelled. Elaborately detailed oil paintings depicting food on the table or incredible flower arrangements were popular additions to wealthy merchants’ homes, yet a more ominous genre of still-life painting also emerged amid this period of immense growth.

Known as Vanitas, the paintings brim with symbolism intended to emphasize the futility of earthly pleasures and the pointlessness of seeking wealth, power, and glory. When British artist Ann Carrington visited the Rijksmuseum in Amsterdam, she described in Architectural Digest that “looking at those pictures of half-consumed food and fading flowers, I realized that one of the only things that could have survived to today was the silverware, and I thought, ‘Wouldn’t it be fun to try to make something out of that?’” The works in her Bouquets series (previously) combine hundreds of kitchen utensils into extravagant floral sculptures.

The use of discarded and found objects is central to Carrington’s practice, especially when they can be layered and draped in multiples. Strands of pearls and ornate brooches adorn the form of a ship, which is weighed down by its cargo as much as it embodies it, and a pair of caribou antlers are fashioned from forks with handles made from dozens of antlers. “Mundane objects such as knives and forks, barbed wire, pins, and paintbrushes come with their own readymade histories and associations which can be unravelled and analysed if rearranged, distorted or realigned to give them new meaning as sculpture,” she says in a statement. Similar to the way Vanitas painting reminded viewers of the less romantic side of burgeoning wealth and expanding empires, Carrington’s material choices serve as a reminder that beneath the gleaming surface there is often a dark side.

You can find more information about the artist’s work on her website and Instagram.


“Sheng Fa Wave,” steel, pearl necklaces, and brooches

Detail of “Sheng Fa Wave”

“Orb Weaver,” steel armature with brass insects

Detail of “Orb Weaver”

“Southern Belle,” steel, silver, and nickel plated spoons

“Madame Moulliere,” silver, steel, and nickel plated spoons

Detail of “Madame Moulliere”

“Oberhasli,” silver plated knives and forks


August 1, 2022

Paulette Beete

“Seven Contemplations” (2020 to 2021) at Albright-Knox Northland. All images © Swoon, shared with permission

In some ways, Caledonia Curry’s work as a public artist has come full circle, an evolution she discusses in a new interview supported by Colossal Members. Curry debuted as a New York City street artist known as Swoon right around the turn of the last century, her hand-worked portraits making striking, albeit illegal, statements on old walls. Today, she harnesses that same energy into intricate—and intimate—installations set in museums and galleries.

When I look at a face for days, when I take a portrait of somebody on the street, and then I stare at that face for days and days, there’s this part of my brain that’s like, “This human is utterly perfect. I’ve never seen anything more noble and beautiful than this person.” And then I think, “You think that every time.” That’s because it’s true.

Swoon spoke with Colossal contributor Paulette Beete about how the act of looking is at the center of her practice, why she’s started to address her own trauma in addition to that experienced by others, and why her body of work to date is like a lifesaving yarn, a map of both where she’s been, where she’s going, and everything she’s learned along the way.


“Yaya,” Hong Kong


July 28, 2022

Grace Ebert

All images © Beto Val, shared with permission

Ecuadorian artist Beto Val alchemizes vintage illustrations into bizarre compositions that blend fruits with fowl and aquatic life with land animals. Using imagery available through the public domain, Val cuts and repositions fins, wings, and scaly talons into surreal creatures: round owl faces peer out from pineapples, autumn leaves sprout from tropical birds, and a rendering evocative of a biological chart displays fish with bodies made of strawberries, brains, and an early, industrial locomotive. Blending the analog illustrations with the artist’s digital manipulations, the collages encompass a range of characters from the whimsical to the absurd.

Val offers prints and other goods in his shop, and his book, The Great Book of the Imaginary Animal Kingdom, is available from Bookshop. You can follow the strange hybrids he dreams up next on Instagram.



July 28, 2022

Grace Ebert

All images courtesy of English Heritage, shared with permission

Temporarily occupying the site of the ancient Housesteads Roman Gatehouse at Hadrian’s Wall, a vibrant installation by British artist Morag Myerscough recreates the structure that once stood on the bucolic landscape in northern England. “The Future Belongs To What Was As Much As What Is” is a bright, architectural reinterpretation of the 2nd-century building, reaching the same 8.5 meters high and 12.5 meters wide as the original construction.  A staircase tucked inside the scaffolding allows visitors to climb to an upper outpost and look over the landscape, offering a view that’s been unavailable for the last 1,600 years.

To create the patchwork, typographic facade, Myerscough collaborated with community members and poet Ellen Moran. Each panel is bright and geometric, and while some reference artifacts found on the site, many contain messages relating to borders, connecting the historic landmark that once defined the edge of the Roman empire to contemporary immigration issues. “We hope that placing such a bold contemporary art installation in this ancient landscape will not only capture people’s imagination but maybe also challenge their ideas of what the wall was for. Not just a means to keep people out, but a frontier that people could— and did—cross,” says Kate Mavor, the chief executive of English Heritage.

The installation opens on July 30 to coincide with the wall’s 1,900th anniversary and will be up through October 30. (via Dezeen)


This page was created programmatically, to read the article in its original location you can go to the link bellow:
and if you want to remove this article from our site please contact us

Leave a Reply

You have to agree to the comment policy.

nineteen − 13 =