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Grants for Artist Projects Reference Guide

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2GAP Reference Guide© Artist Trust

Thank you to the artists whose application materials we have featured.

Please note that we may have made minor formatting changes for the purposes of this guide.

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Table of Contents

Artist Resume

Artist Biography

Project Description

Impact Statement

Work Samples

Budget


Artist Resume

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The artist résumé includes dates and locations of exhibitions or presentations of work; dates and titles of publications that have included your work; recognition or awards received; bibliography; education; etc. Please

limit résumé to five pages. Assume that panelists are unfamiliar with you and your past work. Résumé must be a .pdf, .doc, or .docx file.

Lily Verlaine Mailing Address Phone Number Email Address

PROFESSIONAL OBJECTIVETo create hedonistic classical fantasias for a sophisticated audience while successfully providing a living wage for classically trained dancers.

CAREER HIGHLIGHTSCelebrating a successful tenth anniversary season of Land of the Sweets: The Burlesque NutcrackerThe critically-acclaimed launch of House of Verlaine: An Exquisite Assemblage of Daring Classical Artists in January 2015.

WORK HISTORYArtistic Director, Choreographer, Producer House of Verlaine; Seattle, WA — 2015-present Choreographedandpresentedfiveworksofdanceinvaryingstyles: Classical Ballet/Burlesque interpretation of Viennese Waltz, Can-Can, French go-go, contemporary.Artistic Director, Choreographer, Producer Verlaine and McCann Present; Seattle, WA — 2006-present Choreographed. performed and presented three major evening-length works over a decade. Land of the Sweets: The Burlesque Nutcracker, Through the Looking Glass: The Burlesque Alice in Wonderland, Burlesco DiVino: Wine in RomeArtistic Director, Choreographer, Producer, Performer Lily Verlaine Presents; Seattle, WA 2004-present Choreographed, produced and performed the ongoing series Nightcap at The Triple Door, La Danse, Le Burlesque L’Edition Francaise, Solo tours include: Europe (2011), Australia (2013), New Zealand (2012-2013), New York City (2009).Dancer The Atomic Bombshells; Seattle. WA — 2004-2013 Original member

EDUCATION 2001 University of Minnesota, Twin Cities — BA Interdisciplinary Major: Feminist Theory. Creative Writing, Visual Art, Dance 2010-present Steps on Broadway (NYC) — Classical Ballet, Theater Dance2002-present PacificNorthwestBallet—ClassicalBallet2010-2012 Zvi Dance (NYC) — Classical Ballet1995 School of the San Francisco Ballet — Classical Ballet Summer Program1994-1996 Ballet Chicago — Classical Ballet1994-1996 Von Heidecke Ballet — Classical Ballet

HONORS AND AWARDS Burlesque Hall of Fame. Best Group; Las Vegas NV 2014Seattle Weekly, Best Burlesque Performer; Seattle WA 2014Burlesque Hall of Fame 2nd Runner-up Reigning Queen of Burlesque; Las Vegas NV 2011

This résumé is well structured: breaking the résumé into segments makes each area digestible, and the capitalized headers effectively show range of work in different environments. Things are listed in reverse chronological order, which highlights most recent accomplishments first.

This résumé is also well formatted: font selection and type sizes make the document easy to read, and spacing makes it visually inviting by not crowding the page.


TEACHING EXPERIENCE Ballet, Spectrum Dance Theater: Seattle, WA 2007-2009,Ballet, Action Dance; Tacoma, WA 2005-2008Ballet, Movement Arts; Provincetown, MA 2005

COMMUNITY SERVICE Founder and Artistic DirectorMiscastoftheSweets:AbenefitforLifelongAIDSAllianceSeattleWA-2015Createdbenefiteventthatdonated100%ofproceedstoLifelongAIDSAlliance. This event is poised to become an annual fundraiser for various local charities. References available upon request.

TIP Avoid exotic fonts, colored type, and headshots in your résumé. You never know what devices or applications reviewers will use to read or print your résumé, so don’t run the risk of your résumé becoming illegible due to compatibility and formatting issues. This is also why it’s advisable to submit your résumé as a .pdf file.

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Tall Firs Cinema Address, Phone, Email

Film Projects Featurefilm,PromisedLand,2013-2016: ThefilmwonanAwardofRecognition:DocumentaryFeature,anAwardofMerit: Native American / Aboriginal Peoples, and an Award of Merit: History / Biographical from the Impact DOCS Awards Festival, January 2016. ThefilmwonaRoyalReelawardforCanadaInternationalFilmFestival,March2016. ThefilmwasawardedaHeritageGrantfrom4Culture,May2016. Thefilm-in-progresswasawardedanArtGrantfrom4Culture,May2015. Thefilm-in-progresswasawardedaHeritageGrantfrom4Culture,April2015. SelectionsfromfilmpresentedasapartofTukwilaRevealed a Duwamish Revealed event, June 2015. Thefilm-in-progresswaspresentedatHugoHouse,November2014. Thefilm-in-progresswasawardedasponsorshipfrom San Francisco Film Society, November 2013. Mini-documentary for Seattle City of Literature, July 2015. Mini-documentary for The James Franco Review, Spring 2015 – present (currently in production.) ShortfilmontravelinRome,August2010. Mini-documentaryforanon-profitorganizationinIndiathattrainslowercastestudents to be educators, June 2005.

Client List (A selection of videography and other media projects such as web and audio) EventfilmingforSeattleArtsandLectures(CapturingperformancesfromAlisonBechdel, Ta-Nehisi Coates, Patton Oswalt, James McBride, Ruth Ozeki, Ted Kooser, and more) 2014-present FilmingforHedgebrook(ResidencyvideoandfilmingGloriaSteinemandCherylStrayed,)2015 EventfilmingforHugoHouse,2011-2015 Video for Seattle-Perugia Sister City Association Video for author and performer Anca Szilagyi Video for author Corinne Manning Video and photography for author Elissa Washuta Video for Brian McGuigan (as a performer and for Cheap Beer & Prose) Website and art design for author Alexander Chee Website and photography for author Peter Mountford Website for author Sonora Jha


Website and video for author Nicole Hardy

Panels and Teaching: Sarah was a panelist for 4Culture’s Art Projects – Individuals, May 2016 Panelists for Seattle University’s Indigenous People’s Day event, October 12, 2015 Guest Lecturers at University of Massachusetts Boston, Spring 2016 Guest Lecturers at Rutgers University, Fall 2016

Education (applicable to both team members:) Bellevue College, 2006-2008 University of Washington, 2008-2010 Degree in English Literature Degree in Comparative Literature: Cinema Studies

Press: Investing in Our Stories, 4Culture, http://www.4culture.org/2015/05/investing-in-ourstories/ Moral Mondays Celebrates Indigenous People’s Day, The Spectator, http://www.seattlespectator.com/2015/10/14/moral-mondays-celebrates-indigenouspeoples-day/ Episode 54 with Directors Sarah and Vasant Samudre, Theatrical Mustang Podcast, http://theatricalmustang.podbean.com/e/sarah-and-vasant-samudre/

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Brooke MatsonAddress

PhoneEmail

EDUCATIONGonzaga University | Spokane, Washington May 2008 M.A. Educational Administration | Gonzaga University; Spokane, WA May 2005 B.A. English, Magna Cum Laude | Gonzaga University; Spokane, WAUniversity of London | London, United Kingdom Spring 2004 Courses included Shakespeare, London Stage, History of Great Britain

BOOKSMay 2012 The Moons | full-length poetry collection; Blue Begonia Press

FEATURED POEMSApril 2016 Numéro CinqSpring 2016 CALYX, Vol. 29Summer 2015 Ten Tall Women (boxed set) | The Moons 1 of 10 books in set; Blue Begonia Press2014 Railtown Almanac (anthology) | Sage Hill Press2014 Floating Bridge Review No. 7 | Floating Bridge Press2012–2014 RiverLit, various issues2014 Lilac City Fairy Tales (anthology) | Cup of Stars Press2014 Light Write | Greater Yakima Valley Writers/Blue Begonia Press2011 SEXT (anthology) | Dreyer Press2005 Weathered Pages (anthology) | Blue Begonia Press


RECENT READINGSApril 2016 Spark Center; Spokane, WA | Raising Lily Ledbetter reading with Carolyne Wright, Kate Lebo, Maya Jewell Zeller, and Katheryn SmithApril 2016 Spark Center; Spokane, WA | The Periodic Table of Poems book release and reading withTodMarshall,LauraRead,MayaJewellZeller,JeffDodd,andothersApril 2016 Coeur d’Alene Public Library | Read with Tod Marshall and Laura ReadWinter 2015 Spokane Community College | Beacon Hill Reading Series with Ben CartwrightSept 2015 Aunties Bookstore; Spokane, WA | Read with Margot KahnSpring 2015 Couth Buzzard Books; Seattle, WAApril 2015 Spokane Convention Center | GetLit! Festival 2015 reading with Terry MartinApril 2014 The Bartlett; Spokane, WA | GetLit! Festival 2014 Poetry Salon panelistMarch 2014 Gonzaga University; Spokane, WA | Visiting Writing Series 2014Summer 2012 Oak Hollow Gallery; Yakima, WA | Read with poet Elissa BallSummer 2012 Open Books; Seattle, WA | Read with poet Dorothy Trogdon

HONORS2014 RiverLit Poet in ResidenceApril 2014 GetLit! Festival featured poet and Poetry Salon panelistMarch 2014 Guest speaker, Gonzaga University Visiting Writers Series

COMMUNITY PROJECTSApril 2016 The Periodic Table of Poems | Two-session poetry workshop co-led with Laura Read, Spokane’s Poet Laureate, followed by a cumulative book publication (layout by Brooke Matson) and a public reading during the 2016 GetLit! Festival

CERTIFICATIONS NationalBoardCertifiedTeacher(NBPTS)|English/LanguageArts, Adolescence/Young Adult

RELATED EXPERIENCEMay 2015 – Present Director of Programs | Spark Literacy Center; Spokane, WAAug 2014 – May 2015 Program Manager | 826 Seattle; Seattle, WASept 2007 – Aug 2014 Teacher/Advisor, multiple subjects | Mead School District; Spokane, WASept 2005 – Aug 2006 Teacher, English/Language Arts | Spokane Public Schools; Spokane, WA


Timothy CrossContact Info

Education2002-2003 MFA in Painting and Drawing, The School of the Art Institute of Chicago, Chicago, IL2000-2001 Post-Baccalaureate in Painting and Drawing, The School of the Art Institute of Chicago, Chicago, IL1992-1995 BA in Ceramics and Painting, The Evergreen State College, Olympia, WA

Solo Exhibitions2016 Linda Hodges Gallery, Seattle, WA., (two-person)2014 Syzygy, LxWxH gallery, Seattle, WA 2011 Don’t Blink (small works), SOIL gallery: backspace, Seattle, WA Don’tBlink,2ndfloorgallery,Chicago,IL2010 La La Land, Edmonds Community College Gallery, Edmonds, WA2008 Observatory, Gallery IMA, Seattle, WA2007 Island Culture, Fallout gallery, Las Vegas, NV2006 Archipelago, Gallery 4 Culture, Seattle, WA Archipelago, simultaneous the 4 Culture exhibition, Richard Hugo House, Seattle, WA2005 New Works, Contemporary Arts Workshop, Chicago, IL Trellis, Fraction Art Workshop, Chicago, IL

Selected Group Exhibitions2016 Edmonds Community College, Lynnwood, WA Confluence:TheDuwamishProject,ColumbiaCityGallery,Seattle,WA Opening group exhibition, Bridge Productions, Seattle, WA Seattle Art Fair with Bridge Productions, Seattle, WA2015 Seattle Art Fair with Season gallery, Seattle, WA Vignettes online collection, Seattle, WA Out of Site, King Street Station, Seattle, WA 2014 Big Self/ Little Self, Arts West, Seattle, WA (two-person)2013 Zwischerlicht, LxWxH, Seattle, WA2012 Ils Disent, Cornish Alumni Gallery, Seattle, WA2011 Walk Don’t Run: Nepo 5, Nepo House, Seattle, WA Residence, Taylor and Valley, Seattle, WA2010 Tracing, Act Theatre, Seattle, WA New Members Show, SOIL Gallery, Seattle, WA Sketch and Repeat, Gage Academy of Art, Seattle, WA Links invitational, Kirkland Art Center, Kirkland, WA Little Treats, Nepo 3, Nepo House, Seattle, WA Little Treats, Nepo 4, Nepo House, Seattle, WA Then and Now, University of Washington, Jake gallery, Seattle, WA 2009 Neddy Award Exhibition, Tacoma Art Museum, Tacoma, WA Dimensional Invention, Kirkland Art Center, Kirkland, WA DWG, OHGE Ltd., Seattle, WA Landscape Visions, The Evergreen State College Gallery, Olympia, WA

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Artist BiographyThe artist biography is a brief snapshot providing background information that might not be found elsewhere in the application, such as where the applicant was born or grew up, details about their

training or work process, career development, etc. The biography is limited to 150 words or less and must be written in the third person.

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Alana O’Farrell RogersPerforming Arts 2016 GAP Award Recipient

A native of Seattle, Alana O’Farrell Rogers spent her formative years studying ballet and modern dance in Ireland, France, New York, and Massachusetts. She returned to Seattle in 2000, where she has been making dance works ever since. As an artist, Alana is interested in the human condition, culture, science, and the natural world. She believes in the power of art to to leave etchings on our collective experience that remain after the viewing has past. Her choreography is highlighted with fearless athleticism, crisp technique, and a poignant and quirky emotional sensibility. She prizes theatricality, vulnerability, and honesty above many other things. Outside of her creative endeavors, Alana’s professional life has taken many twists and turns across arts administration and business. In 2014, she earned a Doctorate of Physical Therapy, a feat which allowed her to fuse her passions of movement and science, and provide a source from which to fuel her dance life.

Amontaine AurorePerforming Arts 2016 GAP Award Recipient

Amontaine Aurore is an actor, writer and performance artist who was born in Seattle. She has studied in Los Angeles, New York, Italy, Egypt and Bali.From an early age Amontaine felt a driving need to express herself creatively. She was sensitive to various forms of societal injustice -- these concerns becoming a primary impetus for her artistic expression.After high school Amontaine acted in several theater companies before moving to Los Angeles. While in L.A., she obtained an agent, but was soon disillusioned by the lack of complex and inspiring roles coming her way. Not wanting to settle for stereotypical or one-dimensional characters, she returned to Seattle and went back to school at Antioch University, where she studied writing and obtained her undergraduate degree in 2003. Armed with the tools to generate original work and characters,Amontainehassincewrittensevenplays,fiveofwhicharesoloshowsthathavebeenperformed in Seattle, Orcas Island, New York and Scotland.

An excellent artist biography will connect who you are to your work.

Both of these biographies provide just the right amount of information —they add to facts that might appear in the résumé without simply listing them in paragraph form. They contextualize the artist and their practice, and are both written in the third person and easy to read.


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Rafael SoldiVisual Arts 2016 GAP Award Recipient

Rafael Soldi is a Peruvian-born, Seattle-based photographer and curator. He holds a BFA in Photography & Curatorial Studies from the Maryland Institute College of Art. He has exhibited internationallyattheFryeArtMuseum,AmericanUniversityMuseum,GriffinMuseumofPhotography, Greg Kucera Gallery, G. Gibson Gallery, Connersmith, PCNW, and Vertice Galeria, amongothers.Heisa2012MagentaFoundationAwardWinner,andrecipientofthe2014PuffinFoundation grant and 2016 smART Ventures grant; he has been awarded residencies at the Vermont Studio Center and PICTURE BERLIN. His work is in the permanent collections of the Tacoma Art Museum, Frye Art Museum, and the King County Public Art Collection. He has been published in PDN, Dwell, Hello Mr, and Metropolis, among others. Rafael is the founder of Studio 126 in Seattle, and co-founder of the Strange Fire Collective, a project dedicated to highlighting work made by women, people of color, and queer and trans artists.

Steph KeseyLiterary Arts 2016 GAP Award Recipient

IcometowritingfromadecadelongcareerinsculpturalinstallationandexperimentalfilmasonehalfofthecollaborationKeseyPollock.Ourlarge-scalemultimediaworksfeaturefigurativesculpturesmade with ephemeral materials (ie: wax that melts, decays, etc.) to explore impermanence within the context of the human body. Our work has been supported by 4Culture, The MacDowell Colony, Seattle Art Museum, The Rasmuson Foundation and many others. Writing has been a driving force behind my visual work, and in 2014 I began writing a memoir. Ravenous for a community of writers, I turned to Hugo House where I found support for this project. I currently have a 250 page manuscript draft which earned acceptance to this summer’s Tin House Workshop. Originally from Seattle, I have completedgraduatelevelstudiesinfilmandmediafromLaUniversidaddelCineinBuenosAires.Alongwithexperimentalfilm,IcurrentlyteachnarrativefilmmakingattheSeattleInternationalFilmFestival.


Project DescriptionThe project description gives panelists a sense of who you are, what you are doing, how you would use GAP funding, and how a GAP award would impact your career. A compelling project description conveys why your project is meaningful, makes an argument for

why completing your project is critically important at this particular point in time, and outlines how you are allocating GAP funding. The project description is limited to 350 words or less.

SAMPLE 1/4

Shaun Scott Literary Arts 2015 GAP Award Recipient

In late 2014, young activists organized protests and advocated for police body cams on Twitter, mocked Roger Goodell and Ray Rice on Facebook, and condemned rape culture in the comments sections under YouTube clips of The Cosby Show. In the middle of this maelstrom, I turned 30. As afilmmakerandwriter,Igrewreflectiveaboutmyrelationshiptothecreativeforcesthatshapedmeand other members of my generation. Far from the portrait that op-eds paint of a “narcissistic” and “self-involved”generation,MillenialshaveengagedthedefinitivequestionsfacingAmericansinthe2010s. A conversation needs to take place for others to understand Millenials, and for us to better understand ourselves.

My goal is to research, write, and promote “Millennials and the Moments that Made Us: A Cultural History of the U.S. Since 1984”, a combined cultural history and personal memoir that relays the rise of a generation that’s sui generis in American History. The manuscript of “Millennials and the Moments that Made Us” will be a narrative atomized into a dozen or so essay chapters connected by autobiographical and historical threads. I’d move in chronological order from 1984 to the present, embedding critical discussion of headline cultural moments that have shaped Millennials in a personal narrative about my experience growing up as one. With “Millennials and the Moments that Made Us”, I strive to achieve what Chuck Klosterman did with Generation X in Sex, Drugs and CocoaPuffsandHunterS.ThompsondidwithBabyBoomersinFearandLoathinginLasVegas:use a generational canvas to scribe a touchstone text that occupies the literary middle ground between authoritative historical document and invested personal memoir.

Already in its preliminary phase, research and development for “Millennials and the Moments that Made Us” will intensify in late 2015, and writing will continue through 2016. I’ll emerge with a completed manuscript that is ready for publication by late summer of 2016. The project is a contender for cash funding from 4Culture, and a hopeful for in-kind support from Hugo House’s “MadeatHugoHouse”fellowship.StaffattheSeattle-basedpublicationTheMonarchReviewareserving as the project’s developmental editors, and are prepared to publish the manuscript if a different3rdpartydoesn’tpickitupforpublication.

Financial support from Artist Trust’s GAP would allow me to devote my full attention to the manuscript’s nascent research phase in late 2015, and would defray the cost of editorial support throughout the project. It can be painfully transparent when a text didn’t enjoy its writer’s undivided focus.Asabookthatfillsavoidintheculturalconversation,thestakesfor“MillennialsandtheMoments that Made Us” are too high to allow lack of attentiveness in the research phase to sabotage the book before it has a chance to reach its potential as a historical portrait, personal statement, and critical lens.

Closing with concrete “asks” after making an argument for the project.

Opening sets the stage for what the artist proposes to do by relating the artist to the larger world.

Demonstrating a grasp of form within this medium, with suggestions of why the artist is choosing this particular form.

Artist is aware of precedents and has a clear position and intent with regard to literary forebears.

Clear deliverable! With enough description of previous process to convince us that this manuscript will happen.

Good description of how a GAP would improve the project without making the project completely dependent on this single funding source.


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Spells out costs that grant funding would cover.

This is a clear statement of intent. It outlines how this artist will use grant funding, on both the practical and creative levels.

ilvs strauss Performing Arts 2016 GAP Award Recipient

Round about this time last year, I premiered my evening length performance piece MANIFESTO at Velocity Dance Center to sold out houses. Following that, I was invited to remount the show at Gay City later that same summer. I have been in conversation with the Firehouse Theater in Bellingham and am looking to bring the show there late 2016/early 2017. I’m seeking GAP funding in order to cover expenses associated with touring a show.

Manifestoismyfirsteveninglengthpiece.Itstartedasa6minutebitforAnnexTheater’sSpinthe Bottle series. From there it grew to an 8 minute piece for On the Boards’ 12MM program, and then to 20 minutes for NWNewWorks in 2014 (that version was listed by Wendy Perron in Dance Magazine’s Best of 2014 List). As a challenge to myself as an artist, I revisited the piece once more to create a full length piece (70min), adding 12 performers to what was once a solo show. The piece is a personal exploration on what it is like to be a woman who choses to be child-free. And then I talk about Sea Cucumbers. The show is meaningful to me and the topic (the child-free part especially) is relevantandrelatable.Thetimelessnessofthecontentisoneoftheappealsoftouringtoadifferentcity.

Why Bellingham? Over the past few years I have developed a relationship with many of the performers there, especially in the circus scene. I have performed at the Circus Guild’s monthly cabaret as a way to workshop parts of Manifesto and other pieces, and have strong ties to several dancers there. Through these relationships I have been able to scheme on both logistics (read: housing for my dancers) and curatorial aspects of the show (where to present, who to reach out to). The arts and performance community there is rich and welcoming, making it a perfect place to present my show.

ThiswillbeespeciallybeneficialwithmyTouringStrategy.Rememberthepartabout12dancers?Yeah,sodoI.HencetheStrategy:tourwith6oftheoriginalcastmembersandfillintherestwithlocal performers. I would hold auditions for the local cast members and work with them and my rehearsal director to learn material. The choreography and movement is such that a moderately experienced performer can learn the material (30 min worth) in 8 - 10 hours of rehearsal. (You will indeedfindanexampleofthegroupmaterialintheworksamplesection).Theoriginalcasthadawiderangeofexperiencelevels,fromcasualdancertoJulliardgrad,soworkingwithdifferentlevelsof dancer is factored in.

In conjunction with the rehearsals, I would hold workshops to community members, open to performers and non-performers alike. In these I would delve into my ideas about the intersection of writing and movement as a storytelling device, a concept that is at the foundation of my work. Attendees would be led thru exercises and learn bits of material from the show. This would serve ascrossoverforlocalcast,tofillinonthebiggerideasbehindmywork,andthatinturnwouldsubstantiate the performance itself.

I am interested in the challenges that touring presents: revisiting a piece after time has passed, introducing new performers, and engaging with and staging work for a new community. Not to mention logistics. But having toured with several dance companies as TD/SM/PM, I am looking now to do so as an artist. Touring the show feels like an organic next step in my artistic career. In doing so, I will not only be able to enrich my workshop and rehearsal skills, but it will give me momentum and practice to tour the show (and future shows I create) to other cities, such as Portland and Vancouver.

ThisGAPgrantwouldmakethetourfinanciallyfeasibleformeandmydancers-funding would cover cost of transportation and rental of rehearsal and performance spaces. Having a successful tour under my belt would pave the way for future opportunities to tour and present work, one of my goals as a performing artist.

TIP Remember that your application might not be reviewed by anyone working in your medium! Demonstrate your expertise and outline what you plan to do while keeping your language approachable and free of jargon.


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Very clear outline of what this artist will do with the funding. All of this is reflected in the budget.

Demonstrating a grasp of form within this medium, with reasoning behind why the artist is experimenting with these particular forms in the way that they are.

Satpreet Kahlon Visual Arts 2016 GAP Award Recipient

Stories Told, Forgotten is a solo show that I will be having at METHOD Gallery in Pioneer Square from early July to the end of August. The show, which is will include a large-scale, immersive installation of hundreds of hand built porcelain vessels, is a mult-step project with community engagement components.

ThefirststepoftheprojectwillstartinJuneatTwilightGalleryinWestSeattle,whereIwillbearesident artist until mid-July. Part of my time at Twilight will be spent collecting oral histories from women of color who are mainly located in Seattle. The telling and preserving of oral histories is a tradition that has deep roots in Eastern cultures that are quickly disappearing due to the longterm effectsofcolonialism,imperialism,andglobalization.AsawomanwhowasborninIndiaandraisedin the United States, I personally feel a great sense of obligation to try and preserve as much of my cultureandhistoryaspossible.IknowthatIamnotaloneinthisfeeling.Womenofcolorspecificallyhave long been seen as keepers of tradition and history, and they must feel as burdened by their desire to preserve their collective cultures as I do.

In order to relieve some of this burden, I will be inviting women to share their stories and histories withme.Thesedonothavetobeanythingspecifically--theyshouldjustbesomethingimportantthat the woman would like to see preserved. I will be making audio recordings of these histories, and then, I will be making porcelain vessels out of them.

The method that I use to create the bowl-like vessels is by piping a liquid form of porcelain into a plastermoldintheshapeofabowl(Exampleisshowninthefirstpictureofmyportfolio).Withtheporcelain, I will pipe the stories that the women have told me. These vessels are often not very legible, but the idea is in the act of tenderness and care that goes into the preservation -- and by using porcelain, I am imbuing the histories with a sense of value, since china from Eastern countries has always been seen as valuable, unlike the people.

AfterIhavepipedandfiredhundredsofthesebowls,IwillinstallthemontheflooratMETHODgallery, where they will sit for two months. As a part of the show, I will host a performance in which I walk over some of the bowls, signifying the history that I have already forgotten, things that can never be reassembled or relearned. I also have a dream of hiding small speakers amongst the bowls that will be playing the oral histories of some of the women who have told me their stories.

With this project, I hope to reach people who are outside of the insular art world. I want to reach women like my mother and grandmother, who perhaps have never been asked about their stores, have never seen their experience as having value. I want to invite these women into a space where their stories will be revered.

Theprojectisalreadyinmotion.Ihavebegunpipingstoriesfromwomeninmylife,andthefirstbatchofbowlsisinthekilnatthisverymoment.Butbecausemolds,porcelain,andfiringisveryexpensive, and because this technique is so time consuming, I am feeling very stressed out about finances.ThemoneyfromtheGAPwouldallowmetopurchasemoremolds,porcelain,andgotowardsfiringtheworkatSeattlePotterySupply.

TIP Panelists like to give funding to artists who are building their own momentum.


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Broader statement of purpose speaking to the “why” behind the work—why the work matters to this artist and/or the larger world.

Rustin Thompson Media Arts 2016 GAP Award Recipient

I was the bad son. As my mom’s only child, we had little in common. I’d let months go by before visiting her, even though she lived only 40 minutes away all alone in a trailer, surviving on a Teamster’s pension and social security.

But when she experienced health issues that threatened her independence, I knew I’d be spending more time with her as she made the move into a retirement home. To give us something to talk about,Ibeganfilmingthischallengingtransition.

MyMotherWasHereisanintimate,honest,first-personaccountofmystruggletomovemylonely84-year old mother from her home of 60 years into a senior living facility. I not only calculate the physical,cognitiveandfinancialchallengesofthechangemymotherfaces,butIalsoexploretheheartbreaking story of how she dealt with a lifetime of unexpected losses.

My mom had spent the last 20 years sleeping on her couch. She left the TV on all night. Her furniture was coated with decades of dust. Every room was cluttered with boxes, bags and containers full of knickknacks, magazines, puzzles, crafts, and ornaments. Next door was the house I grew up in, uninhabitablebecauseit,too,wascrammedwithboxesofworthlessstuff.

As I began hauling everything away, I also began to understand the reasons for my mother’s compulsion.She’dexperiencedalifetimeoflosses:thedeathofachild(mybrother)atage9,afirethat destroyed everything her Depression-era family owned, divorce, the estrangement of all her relatives, and her own mother’s death, which left her adrift. I explore these losses by peeling them back, one by one, in reverse order, slowly revealing that her way of coping with these holes in her heart was to paper them over with a relentless acquisition of worthless collectibles.

Thisfilmisnotabouthoarding,butthecullingofmymom’spossessionsexposeduncomfortabletruthsabouthowsheandmanyotherelderlypeoplelive,aswellastheirstarkfinancialandemotional realities. Intellingherpersonalstory,I’mtellingtheuniversalstoryofthisfinalphaseoflife, and the decisions we all will someday face.

Asastudentandcriticofdocumentaryfilms,I’moftendisturbedbytherotepresentationoftheelderly and elder-based themes in popular documentaries. Too many docs celebrate the spry 90-year old climbing Mt. Rainier, or the octogenarian squad of championship lawn bowlers, or the way tragicallydoomedAlzheimer’svictimsfindmeaninginmusicpre-programmedoniPods.Mymother’sstoryincludesnoneoftheseupliftingbromides.Infactherstoryreflectswhatgettingoldistrulylikeforthevastmajorityofpeople.Aslow,difficult,financiallystrappeddecline,consistingofintersectingmoodsofgrace,regret,andreflection.Itisn’tpretty,butit’sreal.


Impact StatementThe impact statement addresses what the funding, recognition, and boost from a GAP would do for the artist, their career, and creative practice. This is used by

panelists to judge whether and how a GAP would make a difference for each applicant. The impact statement is limited to 150 words or less.

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Brooke MatsonLiterary Arts2016 GAP Award Recipient

As the saying goes, anybody can produce one book; it takes a writer to produce a second one. Sincemyfirstpoetrycollection,TheMoons,releasedfouryearsago,I’veexpandedmywritingcraftwith mentorship from other PNW poets. Laura Read challenged me not to end poems so early and attempt linked poems. Tod Marshall advocated imposing structural limitations on poems to yield more creative lines. Thom Caraway encouraged me to not begin with an end in mind, but let each poem reveal its own truth.

This residency will support my transition from emerging to established writer by giving me a chance to integrate my learning into the challenge of this project—interrogating physical matter through poetry. A second manuscript and the recognition of winning a manuscript contest will open avenues for future readings, journal publication, and community workshops. With the strong poems in hand and the gift of a residency, completing Impossible Things by December 2017 will be within reach.

Jade Solomon CurtisPerforming Arts2016 GAP Award Recipient

For much of my professional dance career I have served as a contributor and tool for the creative processes and performances of various choreographers. Consequently, the necessity and intrigue to deepen my understanding and development as an performing artist and creator are integral to my being and have lead me here. In addition to the artistic development to ensue, I aim to ignite conversations and bring together communities to discuss language and the power of words. It is my intention to serve as a catalyst that will encourage people to use dance as a communicative tool and social instrument for change. Furthermore, I strive to provoke conversations surrounding the ideals of classical dance, inspire a greater appreciation of movement and expression and inspire mind-body exploration.


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Steph KeseyLiterary Arts2016 GAP Award Recipient

In 2014 my sculpture studio in the Publix Building in Seattle’s International District was in disrepair. Slatedforcondos,theceilingfellinplate-sizedsnowflakechunks.AsIpreparedagalleryinstallation,the building and process began to make me sick. After a decade as an artist, my work no longer seemed feasible in Seattle. Despondent, I cancelled an exhibition in Miami (atypical of my work ethic). I started answering calls at King County Crisis Line. As I talked to suicidal callers, I began writing about my father’s suicide. I quickly realized I had not “quit art;”the memoir was a thematic continuation of my visual work. This project is a huge artistic leap for me. A GAP grant would be significantforobviousfinancialreasons.Perhapsofevenmorevalueistheinstitutionalvalidation.I have had some success submitting portions of my book to workshops, Artist Trust’s seal can help openmoredoorsasIcontinuetorefineandadvocateforthiswork.

Isabella PriceMedia Arts2016 GAP RecipientWhenIwasinfilmschoolpeopledidnotvolunteertohelpmewithfilms.Theywereweirdfilms,dealing with ghosts, outcasts, lost loves and racial identity. They weren’t gross out coming of age comedies where someone was bra-less, but quiet, dark and abstract. I didn’t get to make a lot of myownfilms,insteadchoosingtohelpoutotherpeopleontheirsets.Ithoughtthefavorwouldbereturned when I needed it; it wasn’t. When I graduated I didn’t have much to show, I couldn’t go to peopleandaskforjobsorfinancingbasedonmypastwork.Itwashumiliatinganddemoralizing.When I moved to Seattle, I immediately met people who were supportive and open to collaborating on projects with me, a complete change of environment and culture. With the GAP grant I’ll be able tomakemyfirstfilminSeattle,havesomethingtoshowtofuturecollaborators,makeotherfilmsandcontributetothefilmcommunityinSeattle.


Work SamplesArtistic excellence is the foremost criterion that panelists use during the selection process. Much of the decision is based on the quality of your work samples, which should be the strongest possible representation of your work. Submit work samples that have been created within the past three years.

instances, the written application isn’t particularly strong but an outstanding work sample can turn it around. Ideally a work sample will compliment the written application submitted. Panelists like to see samples that expand their knowledge of the project rather than replicate something that has already been presented in written form.

In order for panelists to fully appreciate your past efforts, make sure they can read, see, and/or hear your work samples!

Please submit recently completed work. While completed work is best, works-in-progress supplements are also acceptable if you feel they will make the best case or they are part of the project in your application. No matter what, panelists like to see at least some fully produced work. It gives them a real sense of what you are capable of doing creatively and that you have the ability to see a project through from start to finish.

The first few minutes, pages, or images of a work sample are crucial. First impressions count! Try to avoid a slow buildup or lengthy intertitles. Instead, drop them into the action and make them feel like they are right there with you. Remember, yours is not the only sample that a panelist is reviewing so you want to capture their attention quickly and then hold it for the duration of your sample.

Don’t forget that your entire application—essays, work samples, résumé, project proposal—is an exercise in persuasion. Your job is to show the selection panelists that: a. You have a good idea; b. You have the chops to pull off that idea; c. The panelists would be remiss to not support you and your project.

Pick your work samples very carefully. They should build a bridge between what you’ve done before and what you propose to do now. Do not assume that the evaluators will make that connection, however. Instead, make sure you tell them!

The strongest work samples capture your singular sensibility and areas of exploration.

Sometimes the written application is very strong but the work sample does not live up to or deliver on the promise of the application. In other

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TIP Images should be high quality and photographed to a professional level with regard to lighting, composition, etc.

TIP Photograph work on clean backgrounds, and select and edit photographs for consistency in light and color balance. This helps communicate that all pieces are from the same body of work.

TIP Do not collage photographs. Use installation views to communicate how pieces relate in a series or body of work.


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TIP Provide clear description for each piece of work.

TIP Select samples that support other application materials. Formal and thematic concerns raised in the artist biography or project description should be evident in the work samples. Samples should illustrate a level of craft that can execute whatever is outlined in the project description.

TIP Rather than show panelists a smattering of everything you’ve ever done, select pieces that suggest a sense of creative focus. The sample as a whole should feel cohesive.


Budget

The project budget is used to judge the feasibility of completing your project. Use the project budget to illustrate overall estimated project costs and additional funding sources (if applicable). Your project need not be funded solely by GAP support. Access the 2017 GAP budget form and example budgets as a Google Sheet at https://goo.gl/waI9nD — you may duplicate the form to your own Google Drive or download to Microsoft Excel to complete. Name with your last name (example: “Djabate 2017 GAP Budget”) and upload as a .xlsx or .pdf to your submission.

Listed below are further explanations of the terms referred to in the budget:

Government Agencies includes grants from city, county, state, or national funding bodies such as the Seattle Office of Arts & Culture, 4Culture, ArtsWA, or the National Endowment for the Arts. Provide additional description or a breakdown of income from Government Agencies in the lines below. The value of non-cash goods or services contributed to your project should be listed under In-Kind Donations below.

Materials includes costs of one-time use consumables for your project that include but are not limited to: paint, lumber, fabric, film, etc. Provide additional description or a breakdown of materials in the lines below.

Private Organizations includes grants from independent foundations and non-profit organizations. Provide additional description or a breakdown of income from Private Organizations in the lines below. The value of non-cash goods or services contributed to your project should be listed under In-Kind Donations below.

Equipment includes rental or purchase of tools or machines that may be used beyond your project and include but are not limited to: cost of computers, audio/visual equipment, cargo containers, lighting equipment, fabrication tools, etc. Provide additional description or a breakdown of equipment in the lines below. Note whether items will be rented or purchased.

Corporate Support includes cash monies given by businesses or secured through sponsorship. Provide additional description or a breakdown of income from Corporate Support in the lines below. The value of non-cash goods or services contributed to your project should be listed under In-Kind Donations below.

Space includes but is not limited to: rent for studio, rehearsal, or production space, rental costs and associated fees for event venues, fees for art storage, etc. Provide additional description or a breakdown of Space in the lines below.

In-Kind Donations includes any non-cash contributions that include but are not limited to: the value of time and services donated by artists or other professionals, the value of space granted through residencies, the value of any goods that you otherwise would have had to rent or purchase, etc. Provide additional description or a breakdown of In-Kind Donations in the lines below.

Promotion includes but is not limited to: the costs of printing and advertising, website hosting, fees to photo/videographers for promotional material, etc. Provide additional description or a breakdown of Promotion in the lines below.

Insurance includes the costs of insuring artwork, performers, event venues, etc.

Please provide a brief description of how you are allocating GAP funding.

Secured funding means confirmed sources of income such as received grants or residencies, completed crowdfunding campaigns, personal savings on hand, etc.

Payment for your time may be assessed as a flat fee or based on hourly rate(s) multiplied by the amount of time needed to complete your project. Provide additional description or a breakdown of your fees in the lines below.

Your Contribution includes cash monies that you are personally investing in your project. The value of time, goods, or services that you are donating to your project should be listed under In-Kind Donations below.

Other Artist Fees are creative service personnel expenses that include but are not limited to: fees to performers, editors, studio assistants, photo/videographers for documentation, etc. Provide additional description or a breakdown of Other Artist Fees in the lines below.

Other Individual Contributions includes cash monies from family, friends, independent donors, fundraising events, or crowdfunding campaigns. Provide additional description or a breakdown of Other Individual Contributions in the lines below (for example, separate monies secured from a completed crowdfunding campaign from monies secured or to be raised from independent donors, fundraising events, etc.). The value of non-cash goods or services contributed to your project should be listed under In-Kind Donations below

Other Service Fees are non-creative personnel expenses that include but are not limited to: fees to legal counsel, event production and management, art handlers, childcare, etc. Provide additional description or a breakdown of Other Service Fees in the lines below.

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TIP Budgets should always balance.


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TIP It’s good to pay yourself. Calculate fees by setting an hourly wage and estimating time required.


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TIP Be sure to account for non-cash contributions by including the value of in-kind donations.


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