One of the basic truisms of freelancing is: You can have time, or you can have resources, but you will almost never have both simultaneously. A foundational lesson of this workflow is doing the work when it’s available and saving as much as possible for the slow times. But its counterpart is this: When times are slow, that’s the opportunity to do your own (uncompensated) thing, and you should not waste this time wallowing in anxiety about the next paid gig.
I truly never expected the government to identify freelancers as a vulnerable population needing to be covered by unemployment. Mostly 1099 workers pay disproportionately into public benefit systems without being able to access them. Imagine my complete surprise when I discovered that freelancers were being offered unprecedented unemployment benefits through Pandemic Unemployment Assistance. In other words: every 1099 worker is being offered a paid artist residency. Trump may have killed NEA funding, but the pandemic inadvertently resuscitated it on a mass scale.
In pre-pandemic times, artists competed tooth and nail for residency opportunities. Even when you get them, they tend to conceal sunken costs, such as requiring travel away from your life and home, thus necessitating use of resources you’re granted just to maintain your permanent homestead. You may have to pay to board pets. You may have to ship supplies or buy new ones when you get to New Hampshire or Maine or Houston or a tiny remote island and realize you left the perfect thing back in your studio.
There are arguably many benefits of destination residencies, from offering new social connections, to providing bucolic surroundings, to the stimulation of a change of scene — but in my experience, the best conditions for making art involve getting paid to make art where I’ve already built the infrastructure that enables me to make art. Since March of 2020, that’s what I’ve done, and it’s been a productive year.
And it’s a terrific moment to have creative people collectively on paid residency, because this past year has otherwise been hell, with many of the things that inform and structure quotidian existence shaken to their foundations. Because artists make meaning out of chaos the pre-COVID world that others inhabited so effortlessly didn’t actually make all that much sense to us to begin with. During this time I find myself and other creative people asking a lot of questions about how necessary nine-to-five workdays were in the first place (or conversely, understanding how utterly crucial and underpaid teachers are), and dreaming about new ways we might approach what is to come — ways that centralize, value, and hold people when our labels peel back or entirely fall away. The work I’ve seen artists doing this year in lockdown, the solace and continuity the creative community has offered to a population scared, grieving, uncertain, and bored, the ways people have found a way to stay connected through distance, difficulty, and estrangement from social norms — all of these are testaments to the creative spirit. And on a policy level, they also make a strong case for Universal Basic Income. I haven’t seen anyone working less, I’ve just seen them directing their efforts into things that feel meaningful, instead of clock punching.
The French philosopher Blaise Pascal wrote: “All of humanity’s problems stem from man’s inability to sit quietly in a room alone.” While this year has made it clear that some of humanity’s problems stem from bats, it’s definitely given some of us the opportunity to attempt to live in the solution to our other problems — which is to say, there are worse things we could practice than sitting quietly in a room alone. There are lots of things that I will never see in the same way again, but personally, I no longer see the artist residency as an away-game activity, but one to be cultivated as thoroughly as possible on the home field.
Once denounced as “women’s work” with no artistic merit, embroidery is experiencing a revival, with a feminist punch.
Inspired by the journey made by the epic hero Homer’s Odyssey, a show at Villa Carmignac combines myth with contemporary issues.
This new kunsthaus in Potsdam shows modern and contemporary works of art from East Germany in what was once a terrace restaurant.
Courtney Stephens’s documentary on women’s travels from the 1920s to ’50s presents not just personal glimpses into daily life a century ago but also documents of colonialism.
Laura Larson’s City of Incurable Women draws from archival materials to speculate on the lives of women who were famously hospitalized for hysteria throughout history.
The Philadelphia organization offers artists on-site access to recovered materials, studio space, construction equipment, a $1,000 stipend, and more.
The company is asking users to verify their bank details via Plaid, a fintech company that recently settled a privacy class action lawsuit.
Each artist will receive $190,000 in cash and benefits from the Tulsa Artist Fellowship over a three-year period.
Drawn to Life at the Ackland in Chapel Hill, North Carolina, showcases 17th-century Dutch drawings of landscapes, portraits, preparatory studies, and biblical and historical scenes.
The 1,000-year-old Cañada de la Virgen ceremonial site will be protected from encroaching development.
A total of 24 board members stepped down from their posts after the art center’s parent company allegedly attempted to terminate 12 of their colleagues.
A group of artists and writers denounced the center for hosting Philippines President Ferdinand Marcos Jr., son of the country’s former dictator.