Past
Grantees

Franklin Furnace received $84,000 ($42,000 per year for two years) to support the Franklin Furnace Fund for emerging artists based in New York City or Minnesota.

Grantmakers in the Arts received $32,000 ($11,000 per year and $10,000 in support for 2016 annual conference in Saint Paul) to support membership and the 2016 annual conference in Saint Paul, Minnesota.

Graywolf Press received $23,000 to support the publication of books by three emerging New York City and Minnesota writers in 2016 and 2017.

Harvestworks, New York City, received $17,000 to support 4 emerging New York City-based artists’ participation in the Emerging Artist Residency Program (EAR) in 2017.

New York Foundation for the Arts, as fiscal sponsor for Maria Hassabi, received $21,500 to support a two-week Jerome@Camargo residency at Camargo Foundation.

LILY FRANCES HENDERSON was awarded $25,000 in support of the documentary This Much We Know. In the aftermath of a boy's suicide, a writer attempts to help his grieving parents find a reason for his death, while the city of Las Vegas fights to protect itself from nuclear catastrophe.

Isabel del Día, New York City, received $5,000 to travel to Seville, Spain, to study the role of communication in the art and culture of Flamenco.

Oscar Hernandez-Topete, New York City, received $10,000 to support the production of Oakland, Eastside Story, a 16-minute narrative short inspired by the filmmaker's own childhood about one Mexican-American boy's loss of innocence in 1980s Oakland, California during a period of racial tension between Mexicans and Blacks.

Highpoint Center for Printmaking received $40,000 ($20,000 per year for two years) to support the Emerging Printmakers’ Residencies Program for Minnesota-based artists.

In the Heart of the Beast Puppet and Mask Theatre received $48,000 ($24,000 per year for two years) to support Puppet Lab in 2016-17 and 2017-18, an eight-month laboratory program for emerging puppet and mask artists in Minnesota, providing  four artists or artistic teams with stipends, a mentor director, professional development workshops, technical production (lights, video and sound), marketing, and documentation costs to create and present new work.

Ivy Baldwin Dance received $26,000 ($13,000 per year for two years) to support the development and production of Remove (working title), a new evening-length dance by Ivy Baldwin.

The Jazz Gallery, New York City, received $50,000 over two years in support of the 2016-2017 and 2017-18 Residency Commissions program for emerging New York City jazz composers.

Anu Jindal, New York City, received $5,000 to travel to India to engage in firsthand research of key locations to directly appear in a novel-in-progress; conduct in-person interviews of tribal villagers and shamans; view distinct cultural practices; and  access significant, non-lending reference texts and cultural exhibitions.

Springboard for the Arts, as fiscal sponsor for Katie Ka Vang, received $12,000 to support the development and production of Katie Ka Vang’s Final Round in 2016.

Jonathan Katz, New York City, received $4,305 to travel to Tobago and conduct interviews with elderly Tobagonians and attend the Tobago Heritage Festival.

Rini Keagy, Minnesota, received $20,000 to support Ordinal (SW/NE), a single-channel experimental film. Valley fever, an airborne disease endemic to the southwestern United States, is the intersection of dust, wind and plague. Conjuring ancient mythology and literature, and using micro-biological and geo-physical simulations, Ordinal (SW/NE) explores this valley fever and the environmental forces affecting humans and the earth.

Gabriella Kessler, New York City, received $30,000 in support of Prison Show, a documentary about a small local Texas radio station with a call in show for prisoners and their families that unveils the tentacular reach of the US penal system, whose grip goes far beyond prisons, and from which it is impossible to escape.

The Kitchen received $52,000 ($26,000 per year for two years) to support the Emerging Artists Commissions Program for emerging New York City-based artists.

Rachel Knoll, Minnesota, received $10,000 to support 60.77° N, 148.68° W, a documentary telling the story of how the community of 222 people living inside a one building city in Alaska interact on a micro scale while disconnected from the rest of the physical world and how they recently have been able to interact globally through digital interfaces during a technological era.

New York Live Arts, as fiscal sponsor for Joanna Kotze, received  $24,000 ($12,000 per year for two years) to support the development and production of I Love Panorama.