Photo of BAMPFA Exterior

Warhol Foundation Will Award Six Spring 2018 Curatorial Research Fellowships

Grants Up To $50,000 Will Support New Contemporary Art Scholarship

The Andy Warhol Foundation for the Visual Arts will award six Spring 2018 Curatorial Research Fellowships to encourage new scholarship in the field of contemporary art. Recipients will receive grants up to $50,000 each for a total of $295,000 to support travel, archival research, convenings, interviews, and other related activities. Applications are reviewed through the Foundation’s open biannual submission process. Curators at any stage in their careers are eligible to apply with the formal support of an institution. The number of awarded fellowships varies with each round based on  the strength of applications. The next application deadline is September 1, 2018. The Foundation’s current annual grants budget is $13.9 million.

The Spring 2018 Curatorial Research Fellows are Emma Chubb with Smith College Museum of Art; Eric Crosby with The Carnegie Museum of Art; Perrin Lathrop with Fisk University Galleries; Kate MacKay with Berkeley Art Museum and Pacific Film Archive (BAMPFA); Pavel Pyś with The Walker Art Center; and Haema Sivanesan with Art Gallery of Greater Victoria. In alignment with the Foundation’s values, the proposed projects explore new approaches to contemporary art scholarship, research challenging practices, and highlight under-recognized artists and movements.

Joel Wachs, President of the Foundation, said, “These six curators are engaging with urgent cultural issues including income inequality, how we represent resistance, and how dominant narratives are shaped, and most importantly, by whom. We’re confident this research will lead to significant contemporary art scholarship.”

Haema Sivanesan spoke about the fellowship’s impact, “The Fellowship will allow me to pursue a research project centered on artistic process and methodology in the context of avant garde and engaged art practice.” She continued, “This Fellowship assists in advancing the Art Gallery of Greater Victoria’s goal to further advocate for the civic relevance of the contemporary visual arts.”

Eric Crosby also reflected on the award, “The fellowship is nothing less than a transformative boost in the early stages of my exhibition research at Carnegie Museum of Art.” “It will also provide the necessary resources to engage a new network of artists, curators, writers, and thinkers from around the country right here in Pittsburgh,” he added.

2018 Curatorial Research Fellowships | Project Descriptions:

Emma Chubb | Smith College Museum of Art, Northampton, MA
Chubb is preparing for a mid-career retrospective for Younès Rahmoun, his first solo show in North America, which will include a residency on the Smith College campus. She will organize a two-day international conference with scholars, curators and artists and make several trips to Morocco to research the cultural context in which the artist works. The exhibition will deal with issues of migration, climate change, decolonization, and spirituality.

Eric Crosby | Carnegie Museum of Art, Pittsburgh, PA
Planned for 2020, Working Thought will be a multigenerational group exhibition of 30 artists conceived of and curated by Crosby that will take on issues of economic inequality in America. Crosby will undertake extensive exploratory travel around the United States, mindful that economic conditions that impact the thinking and output of artists vary regionally.

Perrin Lathrop | Fisk University Galleries, Nashville, TN
In Fall 2020, Fisk University Galleries in Nashville, Tennessee will open Art from Africa of Our Time: African Modernism in America, 1947-1967, the first major exhibition to examine the New York-based Harmon Foundation’s promotion of modern African art during the age of decolonization, the Civil Rights Movement and the Cold War

Kate MacKay | Berkeley Art Museum and Pacific Film Archive (BAMPFA),  Berkeley, CA
MacKay will engage in broad ranging research into the international evolution of resistance filmmaking. She will forge significant connections with colleagues at archives in Tokyo, Paris, Berlin, Moscow, and Havana, which will be invaluable to both the research and development of the resulting film series and future exhibitions at BAMPFA.

Pavel Pyś | Walker Art Center, Minneapolis, MN
Challenging the dominant narrative of post-war abstraction as an inherently Western phenomenon, Pyś is planning a 2020 exhibition that will examine how the ideological poles that shaped and informed abstraction from 1945 through the 1970s manifested in Lahore, Baghdad, Sao Paulo, Tokyo, and other centers not traditionally considered in canonical art history.

Haema Sivanesan | Art Gallery of Greater Victoria, Victoria, Canada
Sivanesan will explore the Engaged Buddhism movement in North America from the 1950s to the present to examine the relationships between art and practices of self-awareness, and how those relationships inform processes of social change. She will bring together artists, scholars, Engaged Buddhist practitioners, and others for a three-day retreat and conference culminating in an exhibition slated for 2021, In the Present Moment: Buddhism, Contemporary Art and Social Practice.

The Curatorial Research Fellowship Program is in its 10th year and has awarded 105 curators with $3.5 million to date. Many supported projects have led to significant exhibitions, many of which received additional Foundation support, such as Six Lines of Flight: Shifting Geographies in Contemporary Art at the San Francisco Museum of Modern Art curated by Apsara DiQuinzio; Temporal Turn: Art and Speculation in Contemporary Asia at the Spencer Museum curated by Kris Imants Ercums; and Un|Fixed Homeland at the Aljira Contemporary Art Center curated by Grace Aneiza Ali.

ABOUT THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS: In accordance with Andy Warhol’s will, the mission of The Andy Warhol Foundation for the Visual Arts is the advancement of the visual arts. The Foundation manages an innovative and flexible grants program while also preserving Warhol’s legacy through creative and responsible licensing policies and extensive scholarly research for ongoing catalogues raisonnés projects. To date, the Foundation has given over $200 million in cash grants to over 1,000 arts organizations in 49 states and abroad and has donated 52,786 works of art to 322 institutions worldwide. More information about the Foundation is available at

Header Image: Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016. View from Oxford and Addison Streets with outdoor screen. Photo by Iwan Baan. Courtesy of Diller Scofidio + Renfro; EHDD; and UC Berkeley Art Museum and Pacific Film Archive (BAMPFA).
Photo of Aggregate Space Gallery Performance

Warhol Foundation Announces Spring 2018 Grants

$3.6 Million To Be Awarded to 42 Arts Organizations Nationwide

The Andy Warhol Foundation for the Visual Arts has announced the recipients of its Spring 2018 grant round. In total 42 organizations will receive $3.6 million for scholarly exhibitions, publications, and visual arts programming, including artist residencies and new commissions. The Foundation has an open submission process with biannual application deadlines. The program is highly competitive; this round of recipients was selected from an applicant pool of 224 nonprofit arts organizations. Individual grants range from $35,000-$120,000. A complete list of recipients follows.

The Foundation supports contemporary art, particularly work that is experimental, under-recognized, and challenging in nature. A focus on artistic engagement with social and political urgencies is a common thread among many recipients including Gallery 400 in Chicago, Project Row Houses in Houston, Slought in Philadelphia, and first-time grantee, Los Angeles Poverty Department on LA’s Skid Row. The Foundation is committed to supporting women, artists of color, and under-represented practitioners; its grants to the Chinese Culture Foundation of San Francisco, the Heard Museum in Phoenix, the Women’s Center for Creative Work in Los Angeles, and the Alliance for Artist Communities in Providence for its equity, diversity, and inclusion initiatives reinforce this commitment. Seven out of the eight grants for retrospectives will feature female artists including Harriet Bart at the Weisman Art Museum, Suzanne Lacy at the San Francisco Museum of Modern Art, and Zilia Sánchez at the Phillips Collection. Defending freedom of artistic expression is central to the Foundation’s core values and in this round, it will award a grant to PEN America for its programs for visual artists at risk.

Joel Wachs, President of the Foundation, stated, “Many of these organizations are small with budgets well under $1 million, yet they are providing vital professional support to a diverse set of artists while remaining socially engaged in their communities. This work is inspiring at a time when many groups in this country feel threatened – women, people of color, the LGBTQ community, to name a few. At the same time, we are honored to support museum exhibitions that will bring the work of important artists, many of whom have not received the national recognition they deserve, to the public.”

“Artists are at the frontlines of social change and dissent, and need to know that when they take risks, the creative community has their back,” said Suzanne Nossel, Chief Executive Officer, PEN America. “We are extremely grateful to the Warhol Foundation for supporting this work and helping to draw attention to artists who pay a high personal and professional price for daring to express themselves,” she added.

Conrad Meyers, Director, Aggregate Space Gallery, explained the impact of the funding for artists in the Bay Area, “it gives us the opportunity to pay critical artists stipends, supporting the creation of new work, allowing artists to take risks and use their talents to push the audience’s perceptions of what can be accomplished.” He continued, “This funding helps us on our journey of growth from an artist-run space to a reliable long-term resource for emerging artists.”

Spring 2018 Grant Recipients | Program Support

  • Aggregate Space Gallery, Oakland, CA, $90,000 (over 2 years)
  • Alliance of Artists Communities, Providence, RI, $120,000 (over 2 years)
  • Art in General, Brooklyn, NY, $100,000 (over 2 years)
  • Artpace, San Antonio, TX, $100,0000 (over 2 years)
  • Artists in Residence in Everglades, Miami Beach, FL, $80,000 (over 2 years)
  • Artists Space, New York, NY, $100,000 (over 2 years)
  • Borscht Corp. Miami, FL, $50,000
  • BURNAWAY, Atlanta, GA, $35,000 (over 2 years)
  • Chinese Culture Foundation of San Francisco, San Francisco, CA, $100,000 (over 2 years)
  • Gallery 400 at The University of Illinois, Chicago, IL, $100,000 (over 2 years)
  • Hallwalls Contemporary Arts Center, Buffalo, NY, $100,000 (over 2 years)
  • International Studio & Curatorial Program, Brooklyn, NY, $80,000 (over 2 years)
  • KMAC Museum, Louisville, KY, $100,000 (over 2 years)
  • List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, MA, $100,000 (over 2 years)
  • Los Angeles Contemporary Exhibitions, Los Angeles, CA, $100,000 (over 2 years)
  • Los Angeles Poverty Department, Los Angeles, CA, $80,000 (over 2 years)
  • Maysles Documentary Center, New York, NY, $50,000 (over 2 years)
  • PEN America, New York, NY, $100,000 (over 2 years)
  • Project Row Houses, Houston, TX, $100,000 (over 2 years)
  • RAIR, Philadelphia, PA, $85,000 (over 2 years)
  • Recess, Brooklyn, NY, $100,000 (over 2 years)
  • Slought Foundation, Philadelphia, PA, $80,000 (over 2 years)
  • SPACE Gallery, Portland, ME, $100,000 (over 2 years)
  • Washington Project for the Arts, Washington, DC, $80,000 (over 2 years)
  • Women’s Center for Creative Work, Los Angeles, CA, $60,000 (over 2 years)
  • Women’s Studio Workshop, Rosendale, NY, $100,000 (over 2 years)

Spring 2018 Grant Recipients | Exhibition Support

  • The Contemporary Austin, Austin, TX, “The Sorcerer’s Burden” exhibition, $100,000
  • deCordova Sculpture Park and Museum, Lincoln, MA, “Visionary New England” exhibition, $80,000
  • The Heard Museum, Phoenix, AZ, “RE:DEFINE” exhibition, $100,000
  • The Institute of the Arts and Sciences of the UC Santa Cruz Arts Division, for “Newton and Helen Mayer Harrison’s A Future Garden for the Central Coast of California”, at the UCSC Arboretum and Botanic Garden, Santa Cruz, CA, $57,000
  • The Institute of Contemporary Art, Boston, MA, “Huma Bhabha” exhibition, $100,000
  • Institute of Contemporary Art, Los Angeles, Los Angeles, CA, Nayland Blake exhibition, $100,000
  • Museum of the African Diaspora, San Francisco, CA, “Coffee, Rhum, Sugar & Gold: A Postcolonial Paradox” exhibition, $50,000
  • Museum of Contemporary Art, Los Angeles, Los Angeles, CA, “Pattern and Decoration” exhibition, $100,000
  • Newark Museum, Newark, NJ, “Wendy Red Star: Annúkaxua / A Scratch on the Earth” exhibition, $70,000
  • New Museum, New York, NY, Sarah Lucas exhibition, $100,000
  • The Phillips Collection, Washington, DC, “Zilia Sánchez: Soy Isla” exhibition, $100,000
  • Providence College Galleries, Providence, RI, “Beyond Bauhaus” exhibition series, $65,000
  • San Francisco Museum of Modern Art, San Francisco, CA, “Suzanne Lacy: We Are Here” exhibition, $100,000
  • The Miriam & Ira D. Wallach Art Gallery, Columbia University, New York, NY, “Waiting for Omar Gatlato: A Survey of Algerian Contemporary Art” exhibition, $60,000
  • Weisman Art Museum, University of Minnesota, Minneapolis, MN, “Harriet Bart: Abracadabra and Other Forms of Protection” exhibition, $75,000
  • Whitney Museum of American Art, New York, NY, Rachel Harrison exhibition, $100,000

For more details about the organizations and their funded projects, see below. 

Installation View of Gallery
Grantee Spotlight,

Reflections of the Modern South

Founded in 2009 by Phillip March Jones, Institute 193 is the only cultural organization in Lexington, Kentucky dedicated to contemporary art with the specific mission to document the cultural landscape of the modern American South. They host exhibitions, publish artist books, and present regular community-driven events, including music performances and film screenings. As an artist-centered space, they also strive to find their artists additional exhibition opportunities when their Institute 193 projects are over.

Bruce Burris, We Will Someday, Someday We Will, 2009, Mixed Media, 19 x 17 x 13 in. From his exhibition of the same title at Institute 193 in 2010.

Institute 193’s curatorial perspective reveals, project by project, the complex, nuanced reality of life in the Greater South, often with a particular focus on social justice. Their 2010 exhibition, Bruce Burris: We Will Someday, Someday We Will, highlighted concerns about mountaintop removal and the political discourse in rural communities through Burris’s whimsical installations that incorporated direct calls to action. Natalie Baxter’s 2016 exhibition, OK-47, displayed the artist’s sewn and stuffed sculptures, many of which were modeled after actual weapons used in mass US shootings, and reflected on the complexities of gun culture and gender.

Natalie Baxter: OK-47, Installation View, 2016.

Currently on view is Pasaquoyanism, an exhibition that features the colorful paintings and sculptures of Eddie Owen Martins, better known as St. EOM. Martin founded his own religion, Pasaquoyanism, in response to visions he had that started in his early twenties. The show documents his creation of Pasaquan, the seven-acre compound in rural Georgia that he built and decorated from the mid 1950s to his death in 1986. Pasaquoyanism closes on June 22nd.

This summer, the Elaine de Kooning House in East Hampton, New York will present Summer Studio: Institute 193,  a group exhibition that will feature works by Robert Beatty, Jessie Dunahoo, Mike Goodlett, Lonnie Holley, Shara Hughes, Guy Mendes, Adam O’Neal, Aaron Skolnick, Lina Tharsing, and Mare Vaccaro, along with a selection of Institute 193 publications. The exhibition will be on view by appointment and during a series of events hosted at the property from June 25th to August 18th.

The next exhibition in Lexington will be Martha Clippinger: Two Sides/Dos Lados. Known for bright sculptural assemblages, quilts, and weavings, Clippinger revels in the imperfections and inconsistencies of handmade objects. Clippinger grew up in Columbus, Georgia, and now lives in Durham, North Carolina. Two Sides/Dos Lados will be on view from June 29th through August 29th.

Louis Zoellar Bickett II: Selections from the Archive, Exterior View, 2009.

Institute 193 is located at 193 North Limestone in Lexington, KY. Gallery hours are Wednesday – Sunday, 11AM – 6PM.

Institute is a Fall 2017 Grantee of The Andy Warhol Foundation for the Visual Arts. Established in 1987, the Foundation’s  mission is the advancement of the visual arts. Our innovative and flexible grants program has given over $200 million in cash grants to over 1,000 arts organizations in 49 states and abroad. The next application deadline is September 1, 2018. Learn more at

Header Image: St. EOM: Pasaquoyanism, Installation View, 2018.