Do I need to live in or near Minneapolis to apply for this fellowship?

No, you can live anywhere in Minnesota. Proximity to Highpoint Center for Printmaking is not a consideration. However access to the printshop is a major benefit of the residency and historically most residents utilize the shop extensively.

Am I considered “early career”?

“Early career” cannot be perfectly defined but for the the purposes of this residency, an early career printmaker is an artist who shows significant potential, yet has not received a corresponding amount of professional accomplishment and recognition regardless of age or recognition in other fields. Every situation is unique, if you would like help evaluating your specific situation contact Josh at josh@highpointprintmaking.org.

What would be required of me as a Resident?

Residents are expected to provide artwork for the exhibition that takes place at the end of the residency. Residents are also required to participate in the four in-progress critiques that are scheduled at intervals during the residency. These critiques take place on weekday evenings. In order to use the printshop, the resident must complete a studio orientation with the Director of Artist Programs. Residents must also complete an exit evaluation at the end of the residency.

Who reviews the applications?

The panel consists of two arts professionals. Usually at least one of the panelists is a printmaker themself and/or knowledgable about printmaking. The panelists may be practicing artists, curators, critics, educators, and/or arts administrators. Panelists are selected because of their immersion in contemporary art and/or printmaking.

Equity is imperative in the panel process and Highpoint intentionally builds the review panels to equitably represent diversity in age, race, gender identity, and sexual identity.

The identity of the panelists is not made public until after the review process and selection is complete.

How are the applications viewed?

Applications are initially reviewed online. Panelists will have access to the image sample, resume, and statement from each applicant and will evaluate these for a period of 3-5 weeks before coming together for an in-person final review and deliberation.

How does the selection process work?

Applications will be evaluated based on the artistic merit of the artwork and on the artists’ dedication, interest, and potential with printmaking as well as the quality and clarity of their plan for the residency. During the initial review process, the panelists will assign scores to each application using a rubric with the following criteria:

1. The submitted artwork is effective, visually and otherwise

2. The submitted artwork demonstrates understanding/command of the media and technique(s) used and/or the submitted artwork successfully employs the media/techniques used

3. The submitted artwork demonstrates an authentic, well-considered conceptual foundation

4. The statement of artistic practice demonstrates an understanding of the content found in the artwork

5. The application demonstrates a capacity for growth (visually, conceptually, professionally)

6. The application demonstrates motivation and dedication to capitalize on the opportunity the Jerome Residency provides

After initial review and scoring the panelists come together for an in-person final review during which the image sample of each applicant is reviewed via large format digital projector. While reviewing the images, the panelists share their evaluation and discuss each applicant. Slowly the panelists will elevate three applicants through this process of review and discussion. These three artists will be awarded with the residency.

It’s important to mention that the rubric scores are only a part of the evaluation process and are not the single determining factor in who is awarded the residency.

How should I prepare my Statement of Artistic Practice?

There is no perfect answer but here are some suggestions:

The statement should supplement your image sample, providing additional context to your work. It should cover in some combination and to varying extent the why, what, and how of your artistic practice; what the work looks like/what it’s about, why you make it, and how you make work (technique). In most cases you should place more emphasis on the the why and what of your practice and less on the how.

Write for a general audience, assume that the panelists are not very knowledgable about specific printmaking techniques. It’s best to avoid using language/terms that are too specialized.

The statement can include biographical information, particularly if that’s an important aspect of the work you create. It can also note where your artistic practice has been, the direction it is headed, and your goals as an artist.

The statement should also demonstrate your dedication to printmaking and your motivations for applying for this residency.

This statement can be written or submitted as a video file for applicants that would prefer to speak about their artistic practice instead of writing about it. Written statements should be no longer than 2 pages and video recording should be no longer than 3 minutes.

How should I prepare my artist resume?

Focus on highlighting your artistic accomplishments; exhibitions, professional recognition, and any other relevant items that help to qualify you as a printmaker who is “emerging”.

Whereas on a professional resume employment history might be important, for this specific opportunity it may not be.

How do I choose images to submit?

Each panelist will bring their own aesthetic preferences top the selection process. The work sample should serve, at least in part, to visually support the how, what, why of your statement. It’s best to feature the work you are most confident in, the work that you think is the best. This work is likely the easiest to write about as well.

Submitted work may include other processes and materials but all images need to showcase at least one form of foundational printmaking (lithography, intaglio, collagraph, letterpress, relief, monotype, screenprinting, etc.).

Applicants are allowed to include up to 2 videos in their image sample. Videos are especially useful for presenting large scale installation and time/performance-based work that isn’t as effectively shown as a static image.

Finally, as to whether or not the works sample should be cohesive or show an artists variety, unfortunately there is no correct answer. Some panelists may appreciate range and others might prefer a consistent body of work.