Past
Grantees

DEEPAK RAUNIYAR received support for White Sun, an 89-minute long drama about life in a Nepali Mountain Village in the wake of a decade-long armed conflict. When his father dies, anti-regime partisan Chandra must travel to his remote mountain village after nearly a decade away. Little Pooja is anxiously awaiting the man she thinks is her father, but she's confused when Chandra arrives with Badri, a young street orphan rumored to be his son. Chandra must face his brother Suraj, who was on the opposing side during the Nepali civil war. The two brothers cannot put aside political feelings while carrying their father's body down the steep mountain path to the river for cremation. Suraj storms off in a rage, leaving Chandra with no other men strong enough to help. Under pressure from the village elders, Chandra must seek help from outside the village to obey the rigid caste and discriminatory gender traditions he fought to eliminate during the war. Chandra searches for a solution in neighboring villages, among the police, guests at a local wedding, and rebel guerrillas.

RED EYE THEATER, Minneapolis, Minnesota, received $33,000 in support of the participation of emerging artists in the 2015 New Works 4 Weeks Program. Red Eye is a multidisciplinary creative laboratory dedicated to the creation and presentation of pioneering theater and performance work. In addition to presenting its own multimedia theatrical productions, Red Eye functions as an incubator and producer of other artists’ works.  It supplies audiences and artists with opportunities to get up-close and personal with the thrills and challenges involved with developing new work. New Works 4 Weeks is a multidisciplinary festival that is the culminating public component of Red Eye's Works-In-Progress and Isolated Acts programs. They serve emerging artists investigating new directions in performance. They provide extended periods of time for exploring new ideas in a laboratory setting, and share a six-month timeframe for development, which culminates in four weeks of public performance.

The ROCHESTER ART CENTER, Rochester, Minnesota, received $23,000 in support of the 2016 3rd Floor Emerging Artist Series. The Center offers the opportunity for all people to understand and value the arts through innovative experiences with contemporary art. Through exhibitions and programs, it presents a welcoming, integrated, and diverse experience that encourages questioning, creativity, and critical thinking. In 2004, the Center initiated the 3rd Floor Emerging Artist Series, an exhibition program devoted to promising young artists working in Minnesota. The series reflects shifting trends in contemporary artistic practice and production and has helped to facilitate the creation of new bodies of work in a wide variety of media including photography, installation, sound, painting, drawing, sculpture, and film.

CARLYE RUBIN and KATIE GREEN received support for the 75-minute documentary 1275 Days. With America incarcerating more of its youth than any other country in the world, 1275 Days explores the complicated juvenile justice system through the personal stories of those entwined within it by following two families 1300 miles apart, with little in common except one thing: both have sons in prison, serving sentences longer than they’ve been alive. This film goes beyond a polemic of the juvenile justice system, documenting the multi-dimensional aspects of these stories and the daily struggles of those they have left behind in the free world, posing questions about ethical dilemmas and accountability when sentencing youth. While the juxtaposition of two different cases poses many interesting questions, ultimately both raise the same fundamental issue: where is our moral compass when we take a child, who has done wrong, from all that he has ever known, to spend his most impressionable years in prison? Children make mistakes, some make bad ones, and while a few could be dangerous, society needs a place to send them, but is that place prison?

ST. JOHN’S UNIVERSITY/POTTERY PROGRAM, Collegeville, Minnesota, received $29,500 in support of a Jerome@Camargo Environmental Artist Fellowship Program, which will allow two emerging environmental artists from New York City and Minnesota to receive six-week studio residencies incorporating concepts of environmentalism, materiality, and/or creative placemaking into their artistic practice. Participants will be artists who work toward the integration of art and life, stewardship of the environment, and the celebration of diverse cultures. The residencies will take place at the Camargo Foundation in Cassis, France. The Saint John's Pottery program embodies, by demonstration and technical experience, the integration of aesthetic, scientific, and humanistic approaches to sustainable living in relation to nature.

STEFANI SAINTONGE received support for Babay, Papa Rose!, a 15-minute narrative short that will be shot on-location in Port-au-Prince, Haiti. The film focuses on Tina, 45, who has not seen her father for over 30 years. With her teenage twins in tow, she returns to her birthplace—Haiti—for his funeral. While there, she confronts his “legitimate” children whose fond memories of him are an affront to her abandonment. The film is a piece of a common story in Haiti, where the definition of family is constantly redefined, competing with the western ideal of a nuclear unit and the African tradition of the extended village. Tina has been left out of the village, but she’s not the only one (as the story unveils). The film examines hierarchy in a Haitian family and also explores Haiti’s class-based society.

Springboard for the Arts, Saint Paul, Minnesota, as fiscal sponsor for choreographer Karen Sherman, Minneapolis, Minnesota, received a two-year grant of $24,000 in support of the development and production of a new work titled Soft Goods. The mission of Springboard for the Arts is to cultivate a vibrant arts community by connecting artists with the resources they need to make a living and a life. Karen Sherman's work is noted for its visuality, rigor, and wry social commentary. Her adventurous approach to performance and bucking of dance orthodoxy have drawn attention from artists, audiences, and critics across a range of disciplines and aesthetics. Soft Goods is a dance/performance work created in collaboration with an ensemble of technicians and performers. It focuses on the relationship of work to life to loss. It uses dance, manual labor, scripted and improvised text, and the theatricality and choreography of backstage to examine work, aliveness, death, disappearance, and occupational self-obliteration.

SHYU, JEN, Bronx, New York, will travel to East Timor and West Timor, from the city of Suai in the East Timorese district of Cova Lima, westward to the village of Laran in West Timor. Shyu plans to learn, document, and compare the traditional music and ritual language of different elder female storytellers’ versions of the Wehali tale about the woman warrior legend named Ho’a Nahak Samane Oan, who disguised herself as a man in order to conquer a rival king. This trip will incorporated into her work as a multilingual and multicultural composer and experimental jazz vocalist.

SIMS, GINNY, Minneapolis, Minnesota, will travel to Staffordshire and London, England, to survey historic ceramic practices over 300 years, focusing on the history of mass-produced tableware and decorative ceramics. Sims will visit Potteries of Stoke-on-Trent along with the Leeds Potteries for an overview of England’s ceramic history. She will also visit museums with important collections of English ceramics. She will take the ideas and put them in her contemporary studio setting, where she has the freedom to follow her own handcrafted aesthetic.  She seeks to understand how the potters approached the idea of making a ceramic art object, and the balance they achieved as artist and worker.

JAMIE SISLEY received support for the feature-length (80-minute) documentary Farewell Ferris Wheel, that explores the economic benefits and human rights issues associated with bringing legal migrant workers into the U.S. It does this through the lens of the American Carnival. Over the past two centuries, the carnival has been woven into the fabric of the American experience. However, rising expenses and changing domestic labor habits have made it difficult for U.S. carnivals to remain in business. The need for reliable labor coupled with rising overhead has caused employers to find workers outside of U.S. borders. Today, eighty percent of all carnival workers are Mexican citizens who legally travel north for the eight-month carnival season, and then return home. Astonishingly, one third of the workers come from the same small Mexican town – Tlapacoyan, Veracruz. After receiving complaints about abusive work conditions found in industries that use H-2B work visas (the visas used by Mexican carnival workers), the Department of Labor issued new rules that would raise wages and protect H-2B workers from potential exploitation. The carnival industry’s employment recruiter, Jim Judkins, protested that a wage increase would put the carnivals out of business. By hiring a lobbyist and establishing a Political Action Committee (PAC), Judkins and the country’s carnival owners pressured Congress to reject the new wage increases and worker protections. Farewell Ferris Wheel spends six years following the carnival industry’s H-2B struggles through the eyes of Jim Judkins and a carnival owner from Maryland, as well as two carnival workers from Tlapacoyan.

KARINA AGUILERA SKVIRSKY received support for The Perilous Journey of Maria Palacios, a 20-minute black and white experimental film re-enacting one woman’s 1906 journey from the Valle del Chota, the Afro-Ecuadorian region in the state of Imbabura, to the coastal city of Guayaquil. As a teenage Afro-Ecuadorian girl from the Valle del Chota, Skvirsky’s great-grandmother, Maria Rosa Palacios, journeyed to the coastal metropolis of Guayaquil to work as a domestic servant for a wealthy family. She traveled on foot and by mule through the perilous Andean mountains until reaching Guayaquil. For the working class of Ecuador, this story of migration is commonplace. People from the interior of the country often make the journey to metropolitan centers to find employment. What makes Palacio’s story so compelling is that it occurred before the national railway was constructed; more precisely, her journey took place while the railway was being built by a North American engineering team of brothers, John and Archer Harman. The Harman brothers were contracted by the Ecuadorian President, Eloy Alfaro, at the end of nineteenth century. The Perilous Journey of Maria Rosa Palacios examines different aspects of geographic place, historical time, and the nature of the archival document. By telling the story of Maria Rosa Palacios, whose station in society made it impossible for her to be remembered in the history books, Skvirsky will highlight a journey that was both unique (pre-railroad) and utterly commonplace (i.e., a typical journey of migration from country to city) for so many. 

SMACK MELLON, Brooklyn, New York, received a two-year grant of $22,000 in support of the participation of emerging artists in the Artist Studio Program, which was created to address the difficulty that emerging visual artists have finding affordable, appropriately-sized studio spaces in New York City. The individual studios are augmented by a production lab, Wi-Fi, a fabrication shop, and a shared kitchen and lounge area. Staff is on-hand to provide technical support. Smack Mellon nurtures and supports emerging, under-recognized, mid-career, and women artists in the creation and exhibition of new work. It provides exhibition opportunities, studio workspace, and access to equipment and technical assistance for the realization of ambitious projects.

The Soap Factory, Minneapolis, Minnesota, received $25,000 in support of the participation of emerging New York City and Minnesota-based artists in the 2015 exhibition program. The Soap Factory is a laboratory for artistic experimentation and innovation, dedicated to supporting artists and engaging audiences through the production and presentation of contemporary art in a unique and historic environment. Programs are artist-centered, offering audiences a visceral and immediate experience of art and of the life of the artist. The Soap Factory supports artists and their work not only by providing funding, development and exhibition space for new work on an unprecedented scale, but also by providing a skilled staff to assist artists in realizing new work as well as critical reviews and publications.

The Soap Factory, Minneapolis, Minnesota, also received $8,000 in support of the participation of emerging Minnesota artists in the 2015 Hand-in-Glove conference. The Soap Factory is acting as a Minnesota-based sponsor of the third Hand-in-Glove conference, scheduled to take place September 17-20, 2015. This is an annual convening of artists, arts organizers, and other supporters of independent and grassroots visual arts production. It will assemble arts leaders from cities across the country to address pressing issues and innovations through panel discussions, workshops, and networking opportunities. The conference will take place during the Minnesota Biennial exhibition at The Soap Factory. The convening is co-produced by Common Field, a new national network addressing the visibility and viability of artist-centric visual arts organizations and projects across the United States.

SPRINGBOARD FOR THE ARTS, Saint Paul, Minnesota, received a two-year grant of $68,000 in support of the participation of emerging Minnesota artists in the Artist Development and Resources Program. The mission of Springboard for the Arts is to cultivate a vibrant arts community by connecting artists with the skills, contacts, information, and services they need to make a living and a life. Artists may receive consultations from artist career counselors, participate in a wide range of workshops covering such areas as business and career planning, grantwriting, and legal affairs, and access Springboard's resource center, featuring a full array of equipment, tools, and services in an informal, self-directed environment. Jerome Foundation support helps to make these programs and services available to emerging artists at subsidized rates.

ROSE STARK received support for a 6-minute animated short called All the Pleasures of Youth Will Throb Within You, a cut paper and collage animated film that explores mankind's relationship to technology by traversing the history of the female vibrator. Filmmaker Stark sees the vibrator acting both as a symbol for technology on a large scale and more obviously as an instrument of women’s sexual liberation. The title is drawn from an ad for the first consumer vibrators, which seems highly relevant to our culture today according to Stark, especially as we face the challenges of integrating our bodies and minds with rapidly developing technologies. The film will express the danger of using sexuality as a currency, and the speculated effects this could have on America's pleasure-obsessed consumerist culture. The cut-out characters Stark is developing for the film have many moving parts indicative of machines—a metaphor often used for the human body. She will incorporate photo collage elements of antique and modern advertisements to create a sense of time and place within the film. There will be no dialogue or narration in the film—it will be more like an étude—a study on a specific theme using poetic and metaphorical imagery that will flow with an improvisational energy.

STREB, Brooklyn, New York, received $23,000 in support of the GO! Emerging Artists Commissioning Program. Built on the organizing principle of Extreme Action, as developed by choreographer and action architect Elizabeth Streb, STREB’s mission is to create opportunities for artistic discovery and connection for a constituency whose diversity represents the breadth and complexity of society at large. The GO! Emerging Artist Commissioning Program, a natural outgrowth of the company's evolution, thrives within STREB’s creative environment where experimentation with action, format, mediums, structure, and time is cultivated. The program is designed to foster a community of generative artists by providing time, resources and a critical eye to five emerging artists who will develop and showcase their commissioned work at Streb Lab for Action Mechanics (SLAM).

THE STUDIO MUSEUM IN HARLEM, New York City, received a two-year grant of $38,000 in support of the Artist-in-Residence program. Chartered in 1967, The Studio Museum in Harlem is the nexus for artists of African descent locally, nationally, and internationally and for work that has been inspired and influenced by black culture. It presents exhibitions and programs that expand personal, public, and scholarly understanding of contemporary art. Since 1968, the Studio Museum has played a catalytic role in advancing the work of visual artists of African and Latino descent through its Artist-in-Residence program. Three artists are selected each year to receive individual studio space, stipends, materials’ allowances, professional mentoring, and an exhibition of their work at the end of the residency year. The program offers the resident artists essential resources and media attention at a crucial time in their development.

JOHN PAUL SU received support for TOTO, a feature-length comedy/drama set in the Philippines in the aftermath of Typhoon Haiyan, about a young Filipino bellboy whose determination to attain a U.S. visa precipitates an odyssey of universal import. Undeterred by his lack of education and scant prospects, Toto schemes relentlessly to achieve his goal. When his antics put the lives of his loved ones in danger, he is forced to question the extremity of his actions and to re-evaluate the cost of fulfilling his dreams. In this film, all the characters have dreams and aspirations, be it about love, career, or simply friendship. But how far will one go to reach his dream? TOTO is, on one hand, a satire on the veneration of wealth and celebrity in a society where opportunity and resources are still scarce. It is also an allegory of the immigrant experience in general, seizing upon the luxury hotel where Toto works— with its glamorous classic Hollywood facade — as a symbol of the American Dream, and a persistent reminder of the often treacherous underworld in which that dream resides.

JESSE SWEET received support for City of Joel, a feature-length documentary that chronicles a year in the life of the controversial Hasidic community, Kiryas Joel, New York. To outsiders, it’s a small-town theocracy; to insiders, it’s Judaism’s best hope. Fifty miles north of Manhattan, the Satmar - a sect of ultra-Orthodox Hasidim - are building their version of utopia. Kiryas Joel, New York is one of the fastest growing Jewish communities in the world, and also one of the most devout. It has the highest birthrate in New York and the state’s lowest median age. The bourgeoning village of 25,000 is a microcosm for some of the most urgent questions surrounding religious life in this country. What is the appeal of fundamentalist communities in the 21st Century? Why are they growing? What fulfillment do they offer their members? At what cost? By journeying into this fervently devout world that has never before been captured on film, City of Joel will create a groundbreaking look at some of the most important questions about the role that faith will play in America in the 21st century.