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.
While it is a benefit of the fellowship, fellows are not required to use the printshop at Highpoint to create work.
Am I considered “beyond emerging”?
“Beyond emerging” cannot be perfectly defined but for the the purposes of this fellowship, the artist should be able to demonstrate a sustained level of accomplishment, commitment, maturation, and artistic excellence. A helpful metric is 8 or more years of professional-level artistic experience (beyond any education) such as exhibitions, residencies, lectures, awards, etc.
What would be required of me as a fellow?
Fellows are expected to participate in the two studio visits that take place during the fellowship year. They are also expected to provide work for the McKnight Fellowship exhibition (January-February, 2025). Fellows are also required to participate in a public event scheduled while their exhibition is on view; this could be a lecture, panel discussion, performance, etc. Finally, fellows must complete an exit evaluation of the program. Events are scheduled to coincide with the fellows’ availability. The fellows also determine who they wish to bring in for the studio visits.
While most artists generate new work to include in the exhibition, the fellowship is not project-based. Therefore, applicants do not need to propose (nor complete) any specific project(s) during the fellowship.
Who reviews the applications?
The panel will consist of two prominent arts professionals. 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.
Diversity is imperative in the panel process, and Highpoint intentionally builds the review panels to equitably represent diversity in race, gender, and sexual orientation.
The identity of the panelists is not made public until after the review process and selection is complete.
How are the applications viewed?
The panelists will independently review all applications remotely/online. Panelists will have access to the image sample, resume, and statement from each applicant.
How does the selection process work?
Panelists will review the applications remotely and convene for a conference call, during which they will select 3-4 finalists. Each finalist will then host the panel for an in-person studio visit. The 60-minute studio visits will happen in mid-late January 2025 over two days and take place separately (each artist has their own visit with the panelists). Upon notification, finalists will be provided with information to prepare for their studio visit. In the event that a finalist doesn’t have a studio or space to accommodate this visit, the visit can take place at Highpoint.
Following the finalist studio visits, the panel will convene to deliberate and select two artists who will be awarded the fellowship.
Initially, the panelists will use a rubric to assign numerical scores to the applications. Finalists WILL NOT be selected exclusively based on these scores. Rather, the scores are an organizational tool. The rubric will also help Highpoint provide feedback to the applicants.
Below is a sample rubric, applicants can expect the panelists to use something very similar during the remote view of applications:
The applicant provides strong evidence of sustained experience, commitment, and contribution to the printmaking artform
The application demonstrates a high level of artistic proficiency conceptually
The application demonstrates a high level of artistic proficiency technically
The accomplishments and recognition of the applicant are commensurate with a career stage that is beyond emerging
If applicant has previously received a McKnight Fellowship, does their their application demonstrate a new body of work and growth in their creative practice since that fellowship award? Yes or no
How should I prepare my Statement of Artistic Practice?
There is no perfect answer, but here are some suggestions:
The statement is very important, it can help establish the applicant as an artist that is “beyond emerging”. It also provides valuable context to the work sample and can strengthen the impact of the images submitted.
It should be like an extended artist statement. It should cover to varying extent the how, what, and why of your artistic practice; how you make work (technique), what the work looks like/what it’s about, why it is about those themes, and why you make it.
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.
Avoid getting overly technical in the description of your work. Assume that the people reading the statement are not well-versed in printmaking terminology.
This statement can be written or submitted as a video file for applicants who 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 5 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 an accomplished printmaker. Whereas on a professional resume, employment history might be very important, for this specific opportunity, it may not be.
A potentially helpful style guide can be found here from the College Art Association.
How do I choose images to submit?
Each panelist will bring their own aesthetic preferences to the selection process. It’s best to feature the work you are most confident in, the work that you think is the best. Further, the work sample should serve, at least in part, to visually illustrate what you describe in your statement.
Submitted work may include other processes and materials, but at least 8 of the 10 images need to showcase at least one form of traditional printmaking (lithography, intaglio, collagraph, relief, monotype, screenprinting, etc.).
If it’s important to indicate the scale of a particular work, consider that when choosing an image.
Applicants are allowed to include up to 2 videos in their image sample. You may consider submitting a video to present a gallery walkthrough, installation, and/or performance-based work. You may include as many as 3 detail images. These MUST be detail images of one or more of the 10 works submitted. The detail images may not be used to submit additional work. Including detail images is optional.
Finally, as to whether or not the works sample should be cohesive or show variety, unfortunately, there is no correct answer. Some panelists may appreciate range, and others might prefer a consistent body of work.
How do I apply?
Click here to be redirected to Submittable, applications are being accepted only through this platform.