Issue 36 May 2024

Defying Narrative
Containment, for
E.L. and Others
–Maya Gurantz
Does it Move You? How to Look at Art,
According to
the Late Robert Irwin
–Janelle Zara
From Earthwork
to Test Plot
Transdisciplinary Approaches
to Ecological Reparation
–Emma Kemp
Interview with
Paulina Lara
–Joseph Daniel Valencia
Works in Progress Featuring: Soo Kim
Photos: Leah Rom
Reviews Teddy Sandoval and
the Butch Gardens
School of Art

at the Vincent Price
Art Museum
–Philip Anderson

Lex Brown
at Bel Ami
–Isabella Miller

Hugh Hayden
at Lisson Gallery
–Alexander Schneider

Diana Yesenia Alvarado
at Jeffrey Deitch
–Eva Recinos

(L.A. in N.Y.)
Cauleen Smith
at 52 Walker
–Shameekia Shantel
Johnson

(L.A. in São Paulo)
Candice Lin
at Almeida & Dale
–Mateus Nunes
Carla en Español

Issue 35 February 2024

Issue 34 November 2023

Issue 33 August 2023

Issue 32 June 2023

Issue 31 February 2023

Issue 30 November 2022

Issue 29 August 2022

Issue 28 May 2022

Issue 27 February 2022

Issue 26 November 2021

Issue 25 August 2021

Issue 24 May 2021

Issue 23 February 2021

Issue 22 November 2020

Issue 21 August 2020

Issue 20 May 2020

Issue 19 February 2020

Letter from the Editor –Lindsay Preston Zappas
Parasites in Love –Travis Diehl
To Crush Absolute On Patrick Staff and
Destroying the Institution
–Jonathan Griffin
Victoria Fu:
Camera Obscured
–Cat Kron
Resurgence of Resistance How Pattern & Decoration's Popularity
Can Help Reshape the Canon
–Catherine Wagley
Trace, Place, Politics Julie Mehretu's Coded Abstractions
–Jessica Simmons
Exquisite L.A.: Featuring: Friedrich Kunath,
Tristan Unrau, and Nevine Mahmoud
–Claressinka Anderson & Joe Pugliese
Reviews April Street
at Vielmetter Los Angeles
–Aaron Horst

Chiraag Bhakta
at Human Resources
–Julie Weitz

Don’t Think: Tom, Joe
and Rick Potts

at POTTS
–Matt Stromberg

Sarah McMenimen
at Garden
–Michael Wright

The Medea Insurrection
at the Wende Museum
–Jennifer Remenchik

(L.A. in N.Y.)
Mike Kelley
at Hauser & Wirth
–Angella d’Avignon
Buy the Issue In our Online Shop

Issue 18 November 2019

Letter from the Editor –Lindsay Preston Zappas
The Briar and the Tar Nayland Blake at the ICA LA
and Matthew Marks Gallery
–Travis Diehl
Putting Aesthetics
to Hope
Tracking Photography’s Role
in Feminist Communities
– Catherine Wagley
Instagram STARtists
and Bad Painting
– Anna Elise Johnson
Interview with Jamillah James – Lindsay Preston Zappas
Working Artists Featuring Catherine Fairbanks,
Paul Pescador, and Rachel Mason
Text: Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Children of the Sun
at LADIES’ ROOM
– Jessica Simmons

Derek Paul Jack Boyle
at SMART OBJECTS
–Aaron Horst

Karl Holmqvist
at House of Gaga, Los Angeles
–Lee Purvey

Katja Seib
at Château Shatto
–Ashton Cooper

Jeanette Mundt
at Overduin & Co.
–Matt Stromberg
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Issue 17 August 2019

Letter From the Editor Lindsay Preston Zappas
Green Chip David Hammons
at Hauser & Wirth
–Travis Diehl
Whatever Gets You
Through the Night
The Artists of Dilexi
and Wartime Trauma
–Jonathan Griffin
Generous Collectors How the Grinsteins
Supported Artists
–Catherine Wagley
Interview with
Donna Huanca
–Lindsy Preston Zappas
Working Artist Featuring Ragen Moss, Justen LeRoy,
and Bari Ziperstein
Text: Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Sarah Lucas
at the Hammer Museum
–Yxta Maya Murray

George Herms and Terence Koh
at Morán Morán
–Matt Stromberg

Hannah Hur
at Bel Ami
–Michael Wright

Sebastian Hernandez
at NAVEL
–Julie Weitz

(L.A. in N.Y.)
Alex Israel
at Greene Naftali
–Rosa Tyhurst

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Issue 16 May 2019

Trulee Hall's Untamed Magic Catherine Wagley
Ingredients for a Braver Art Scene Ceci Moss
I Shit on Your Graves Travis Diehl
Interview with Ruby Neri Jonathan Griffin
Carolee Schneemann and the Art of Saying Yes! Chelsea Beck
Exquisite L.A. Claressinka Anderson
Joe Pugliese
Reviews Ry Rocklen
at Honor Fraser
–Cat Kron

Rob Thom
at M+B
–Lindsay Preston Zappas

Soul of a Nation: Art in the Age
of Black Power, 1963-1983
at The Broad
–Matt Stromberg

Anna Sew Hoy & Diedrick Brackens
at Various Small Fires
–Aaron Horst

Julia Haft-Candell & Suzan Frecon
at Parrasch Heijnen
–Jessica Simmons

(L.A. in N.Y.)
Shahryar Nashat
at Swiss Institute
–Christie Hayden
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Issue 15 February 2019

Letter From the Editor Lindsay Preston Zappas
Letter to the Editor
Men on Women
Geena Brown
Eyes Without a Voice
Julian Rosefeldt's Manifesto
Christina Catherine Martinez
Seven Minute Dream Machine
Jordan Wolfson's (Female figure)
Travis Diehl
Laughing in Private
Vanessa Place's Rape Jokes
Catherine Wagley
Interview with
Rosha Yaghmai
Laura Brown
Exquisite L.A.
Featuring: Patrick Martinez,
Ramiro Gomez, and John Valadez
Claressinka Anderson
Joe Pugliese
Reviews Outliers and American
Vanguard Art at LACMA
–Jonathan Griffin

Sperm Cult
at LAXART
–Matt Stromberg

Kahlil Joseph
at MOCA PDC
–Jessica Simmons

Ingrid Luche
at Ghebaly Gallery
–Lindsay Preston Zappas

Matt Paweski
at Park View / Paul Soto
–John Zane Zappas

Trenton Doyle Hancock
at Shulamit Nazarian
–Colony Little

(L.A. in N.Y.)
Catherine Opie
at Lehmann Maupin
–Angella d'Avignon
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Issue 14 November 2018

Letter From the Editor Lindsay Preston Zappas
Celeste Dupuy-Spencer and Figurative Religion Catherine Wagley
Lynch in Traffic Travis Diehl
The Remixed Symbology of Nina Chanel Abney Lindsay Preston Zappas
Interview with Kulapat Yantrasast Christie Hayden
Exquisite L.A.
Featuring: Sandra de la Loza, Gloria Galvez, and Steve Wong
Claressinka Anderson
Photos: Joe Pugliese
Reviews Raúl de Nieves
at Freedman Fitzpatrick
-Aaron Horst

Gertrud Parker
at Parker Gallery
-Ashton Cooper

Robert Yarber
at Nicodim Gallery
-Jonathan Griffin

Nikita Gale
at Commonwealth & Council
-Simone Krug

Lari Pittman
at Regen Projects
-Matt Stromberg

(L.A. in N.Y.)
Eckhaus Latta
at the Whitney Museum
of American Art
-Angella d'Avignon
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Issue 13 August 2018

Letter From the Editor Lindsay Preston Zappas
Letter to the Editor Julie Weitz with Angella d'Avignon
Don't Make
Everything Boring
Catherine Wagley
The Collaborative Art
World of Norm Laich
Matt Stromberg
Oddly Satisfying Art Travis Diehl
Made in L.A. 2018 Reviews Claire de Dobay Rifelj
Jennifer Remenchik
Aaron Horst
Exquisite L.A.
Featuring: Anna Sew Hoy, Guadalupe Rosales, and Shizu Saldamando
Claressinka Anderson
Photos: Joe Pugliese
Reviews It's Snowing in LA
at AA|LA
–Matthew Lax

Fiona Conner
at the MAK Center
–Thomas Duncan

Show 2
at The Gallery @ Michael's
–Simone Krug

Deborah Roberts
at Luis De Jesus Los Angeles
–Ikechukwu Casmir Onyewuenyi

Mimi Lauter
at Blum & Poe
–Jessica Simmons

(L.A. in N.Y.)
Math Bass
at Mary Boone
–Ashton Cooper

(L.A. in N.Y.)
Condo New York
–Laura Brown
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Issue 12 May 2018

Poetic Energies and
Radical Celebrations:
Senga Nengudi and Maren Hassinger
Simone Krug
Interior States of the Art Travis Diehl
Perennial Bloom:
Florals in Feminism
and Across L.A.
Angella d'Avignon
The Mess We're In Catherine Wagley
Interview with Christina Quarles Ashton Cooper
Object Project
Featuring Suné Woods, Michelle Dizon,
and Yong Soon Min
Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Meleko Mokgosi
at The Fowler Museum at UCLA
-Jessica Simmons

Chris Kraus
at Chateau Shatto
- Aaron Horst

Ben Sanders
at Ochi Projects
- Matt Stromberg

iris yirei hsu
at the Women's Center
for Creative Work
- Hana Cohn

Harald Szeemann
at the Getty Research Institute
- Olivian Cha

Ali Prosch
at Bed and Breakfast
- Jennifer Remenchik

Reena Spaulings
at Matthew Marks
- Thomas Duncan
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Issue 11 February 2018

Letter from the Editor Lindsay Preston Zappas
Museum as Selfie Station Matt Stromberg
Accessible as Humanly as Possible Catherine Wagley
On Laura Owens on Laura Owens Travis Diehl
Interview with Puppies Puppies Jonathan Griffin
Object Project Lindsay Preston Zappas, Jeff McLane
Reviews Dulce Dientes
at Rainbow in Spanish
- Aaron Horst

Adrián Villas Rojas
at The Geffen Contemporary at MOCA
- Lindsay Preston Zappas

Nevine Mahmoud
at M+B
- Angella D'Avignon

Radical Women: Latin American Art, 1960- 1985
at the Hammer Museum
- Thomas Duncan

Hannah Greely and William T. Wiley
at Parker Gallery
- Keith J. Varadi

David Hockney
at The Metropolitan Museum of Art (L.A. in N.Y.)
- Ashton Cooper

Edgar Arceneaux
at Yerba Buena Center for the Arts (L.A. in S.F.)
- Hana Cohn
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Issue 10 November 2017

Letter from the Editor Lindsay Preston Zappas
Barely Living with Art:
The Labor of Domestic
Spaces in Los Angeles
Eli Diner
She Wanted Adventure:
Dwan, Butler, Mizuno, Copley
Catherine Wagley
The Languages of
All-Women Exhibitions
Lindsay Preston Zappas
L.A. Povera Travis Diehl
On Eclipses:
When Language
and Photography Fail
Jessica Simmons
Interview with
Hamza Walker
Julie Wietz
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick Jackson
Lindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
Reviews
Regen Projects
Ibid Gallery
One National Gay & Lesbian Archives and MOCA PDC
The Mistake Room
Luis De Jesus Gallery
the University Art Gallery at CSULB
the Autry Museum
Reviews Cheyenne Julien
at Smart Objects

Paul Mpagi Sepuya
at team bungalow

Ravi Jackson
at Richard Telles

Tactility of Line
at Elevator Mondays

Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
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Issue 9 August 2017

Letter from the Editor Lindsay Preston Zappas
Women on the Plinth Catherine Wagley
Us & Them, Now & Then:
Reconstituting Group Material
Travis Diehl
The Offerings of EJ Hill
Ikechukwu Casmir Onyewuenyi
Interview with Jenni Sorkin Carmen Winant
Object Project
Featuring: Rebecca Morris,
Linda Stark, Alex Olson
Lindsay Preston Zappas
Photos by Jeff McClane
Reviews Mark Bradford
at the Venice Biennale

Broken Language
at Shulamit Nazarian

Artists of Color
at the Underground Museum

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects

Home
at LACMA

Analia Saban at
Sprueth Magers
Letter to the Editor Lady Parts, Lady Arts
Buy the Issue In Our Online Shop

Issue 8 May 2017

Letter from the Editor Lindsay Preston Zappas
Kanye Westworld Travis Diehl
@richardhawkins01 Thomas Duncan
Support Structures:
Alice Könitz and LAMOA
Catherine Wagley
Interview with
Penny Slinger
Eliza Swann
Exquisite L.A.
Featuring:
taisha paggett
Ashley Hunt
Young Chung
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Alessandro Pessoli
at Marc Foxx

Jennie Jieun Lee
at The Pit

Trisha Baga
at 356 Mission

Jimmie Durham
at The Hammer

Parallel City
at Ms. Barbers

Jason Rhodes
at Hauser & Wirth
Letter to the Editor
Buy the Issue In Our Online Shop

Issue 7 February 2017

Letter from the Editor Lindsay Preston Zappas
Generous
Structures
Catherine Wagley
Put on a Happy Face:
On Dynasty Handbag
Travis Diehl
The Limits of Animality:
Simone Forti at ISCP
(L.A. in N.Y.)
Ikechukwu Casmir Onyewuenyi
More Wound Than Ruin:
Evaluating the
"Human Condition"
Jessica Simmons
Exquisite L.A.
Featuring:
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Creature
at The Broad

Sam Pulitzer & Peter Wachtler
at House of Gaga // Reena Spaulings Fine Art

Karl Haendel
at Susanne Vielmetter

Wolfgang Tillmans
at Regen Projects

Ma
at Chateau Shatto

The Rat Bastard Protective Association
at the Landing
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Issue 6 November 2016

Letter from the Editor Lindsay Preston Zappas
Kenneth Tam
's Basement
Travis Diehl
The Female
Cool School
Catherine Wagley
The Rise
of the L.A.
Art Witch
Amanda Yates Garcia
Interview with
Mernet Larsen
Julie Weitz
Agnes Martin
at LACMA
Jessica Simmons
Exquisite L.A.
Featuring:
Analia Saban
Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews
Made in L.A. 2016
at The Hammer Museum

Doug Aitken
at The Geffen Contemporary at MOCA

Mertzbau
at Tif Sigfrids

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran

Mark A. Rodruigez
at Park View

The Weeping Line
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
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Issue 5 August 2016

Letter form the Editor Lindsay Preston Zappas
Non-Fiction
at The Underground Museum
Catherine Wagley
The Art of Birth Carmen Winant
Escape from Bunker Hill
John Knight
at REDCAT
Travis Diehl
Ed Boreal Speaks Benjamin Lord
Art Advice (from Men) Sarah Weber
Routine Pleasures
at the MAK Center
Jonathan Griffin
Exquisite L.A.
Featuring:
Fay Ray
John Baldessari
Claire Kennedy
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Revolution in the Making
at Hauser Wirth & Schimmel

Carl Cheng
at Cherry and Martin

Joan Snyder
at Parrasch Heijnen Gallery

Elanor Antin
at Diane Rosenstein

Performing the Grid
at Ben Maltz Gallery
at Otis College of Art & Design

Laura Owens
at The Wattis Institute
(L.A. in S.F.)
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Issue 4 May 2016

Letter from the Editor Lindsay Preston Zappas
Moon, laub, and Love Catherine Wagley
Walk Artisanal Jonathan Griffin
Reconsidering
Marva Marrow's
Inside the L.A. Artist
Anthony Pearson
Mystery Science Thater:
Diana Thater
at LACMA
Aaron Horst
Informal Feminisms Federica Bueti and Jan Verwoert
Marva Marrow Photographs
Lita Albuquerque
Interiors and Interiority:
Njideka Akunyili Crosby
Char Jansen
Reviews L.A. Art Fairs

Material Art Fair, Mexico City

Rain Room
at LACMA

Evan Holloway
at David Kordansky Gallery

Histories of a Vanishing Present: A Prologue
at The Mistake Room

Carter Mull
at fused space
(L.A. in S.F.)

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
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Issue 3 February 2016

Letter from the Editor Lindsay Preston Zappas
Le Louvre, Las Vegas Evan Moffitt
iPhones, Flesh,
and the Word:
F.B.I.
at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota:
Faith Wilding
at The Armory Center
for the Arts
and LOUDHAILER
Benjamin Lord
A Conversation
with Amalia Ulman
Char Jansen
How We Practice Carmen Winant
Share Your Piece
of the Puzzle
Federica Bueti
Amanda Ross-Ho Photographs
Erik Frydenborg
Reviews Honeydew
at Michael Thibault

Fred Tomaselli
at California State University, Fullerton

Trisha Donnelly
at Matthew Marks Gallery

Bradford Kessler
at ASHES/ASHES
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Issue 2 November 2015

Letter from the Editor Lindsay Preston Zappas
Hot Tears Carmen Winant
Slow View:
Molly Larkey
Anna Breininger and Kate Whitlock
Americanicity's Paintings:
Orion Martin
at Favorite Goods
Tracy Jeanne Rosenthal
Layers of Leimert Park Catherine Wagley
Junkspace Junk Food:
Parker Ito
at Kaldi, Smart Objects,
White Cube, and
Château Shatto
Evan Moffitt
Melrose Hustle Keith Vaughn
Max Maslansky Photographs
Monica Majoli
at the Tom of Finland Foundation
White Lee, Black Lee:
William Pope.L’s "Reenactor"
Travis Diehl
Dora Budor Interview Char Jensen
Reviews Mary Ried Kelley
at The Hammer Museum

Tongues Untied
at MOCA Pacific Design Center

No Joke
at Tanya Leighton
(L.A. in Berlin)
Snap Reviews Martin Basher at Anat Ebgi
Body Parts I-V at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
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Issue 1 August 2015

Letter from the Editor Lindsay Preston Zappas
MEAT PHYSICS/
Metaphysical L.A.
Travis Diehl
Art for Art’s Sake:
L.A. in the 1990s
Anthony Pearson
A Dialogue in Two
Synchronous Atmospheres
Erik Morse
with Alexandra Grant
SOGTFO
at François Ghebaly
Jonathan Griffin
#studio #visit
with #devin #kenny
@barnettcohen
Mateo Tannatt
Photographs
Jibade-Khalil Huffman
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
Reviews Pierre Huyghe
at LACMA

Mernet Larsen
at Various Small Fires

John Currin
at Gagosian, Beverly Hills

Pat O'Niell
at Cherry and Martin

A New Rhythm
at Park View

Unwatchable Scenes and
Other Unreliable Images...
at Public Fiction

Charles Gaines
at The Hammer Museum

Henry Taylor
at Blum & Poe/ Untitled
(L.A. in N.Y.)
Buy the Issue In Our Online Shop
Distribution
Central
1301 PE
Anat Ebgi (La Cienega)
Anat Ebgi (Wilshire)
Arcana Books
Artbook @ Hauser & Wirth
as-is.la
Babst Gallery
Baert Gallery
Bel Ami
BLUM
Canary Test
Carlye Packer
Charlie James Gallery
Château Shatto
Chris Sharp Gallery
Cirrus Gallery
Clay ca
Commonwealth & Council
Craft Contemporary
D2 Art (Inglewood)
D2 Art (Westwood)
David Kordansky Gallery
David Zwirner
Diane Rosenstein
dublab
FOYER-LA
François Ghebaly
Gana Art Los Angeles
GAVLAK
George Billis Gallery
Giovanni's Room
Hamzianpour & Kia
Hannah Hoffman Gallery
Harkawik
Harper's Gallery
Hashimoto Contemporary
Heavy Manners Library
Helen J Gallery
Human Resources
Hunter Shaw Fine Art
ICA LA
in lieu
JOAN
Karma
LACA
LaPau Gallery
Lisson Gallery
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Make Room Los Angeles
Matter Studio Gallery
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Monte Vista Projects
Morán Morán
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Murmurs
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Paradise Framing
Park View / Paul Soto
Patricia Sweetow Gallery
Praz-Delavallade
Regen Projects
Reparations Club
r d f a
REDCAT (Roy and Edna Disney CalArts Theater)
Roberts Projects
Royale Projects
Sean Kelly
Sebastian Gladstone
Shoshana Wayne Gallery
SHRINE
Simchowitz
Smart Objects
SOLDES
SPRÜTH MAGERS
Steve Turner
Stroll Garden
Tanya Bonakdar Gallery
The Box
The Fulcrum
The Hole
The Landing
The LODGE
The Poetic Research Bureau
The Wende Museum
Thinkspace Projects
Tierra del Sol Gallery
Tiger Strikes Astroid
Tomorrow Today
Track 16
Tyler Park Presents
USC Fisher Museum of Art
UTA Artist Space
Various Small Fires
Village Well Books & Coffee
Wönzimer
Outside L.A.
Libraries/ Collections
Baltimore Museum of Art (Baltimore, MD)
Bard College, CCS Library (Annandale-on-Hudson, NY)
Charlotte Street Foundation (Kansas City, MO)
Cranbrook Academy of Art (Bloomfield Hills, MI)
Getty Research Institute (Los Angeles, CA)
Los Angeles Contemporary Archive (Los Angeles, CA)
Los Angeles County Museum of Art (Los Angeles, CA)
Maryland Institute College of Art (Baltimore, MD)
Midway Contemporary Art (Minneapolis, MN)
Museum of Contemporary Art (Los Angeles, CA)
NYS College of Ceramics at Alfred University (Alfred, NY)
Pepperdine University (Malibu, CA)
San Francisco Museum of Modern Art (San Francisco, CA)
School of the Art Institute of Chicago (Chicago, IL)
The Metropolitan Museum of Art (New York, NY)
University of California Irvine, Langston IMCA (Irvine, CA)
University of Pennsylvania (Philadelphia, PA)
Walker Art Center (Minneapolis, MN)
Whitney Museum of American Art (New York, NY)
Yale University Library (New Haven, CT)

2022-2023 Curator-in-Residence Program

Bemis Center for Contemporary Arts

Category

Residency

Application Deadline

May 14, 2021 | 11:59 PM CST

Information

Residency Session: January 3, 2022–June 30, 2023
Deadline: 11:59pm CST | May 14, 2021
Notifications to all applicants will be made via email by June 30, 2021 

Bemis Center for Contemporary Arts is now accepting applications from national and international curators for its 2022–2023 Curator-in-Residence Program. Beginning January 2022, the successful candidate will participate in an 18-month fully subsidized live/work residency as part of Bemis Center’s acclaimed Artist-in-Residence Program. S/he/they will originate and present one exhibition and related public programs inclusive of local, national, and international artists. The Curator-in-Residence will have space and freedom to work on research and curatorial projects independent of his/her/their exhibition at Bemis.  

Competitive applicants will possess a strong knowledge of national and international contemporary art and a genuine interest in researching and responding to cultural production in Omaha and the region. The Curator-in-Residence will serve as a professional resource for local artists and arts professionals, and as an ambassador of Bemis Center in the community. S/he/they will be an integral member of Bemis Center’s Artist-in-Residence Program, stimulating intellectual discourse surrounding contemporary art practice through studio visits, knowledge-sharing workshops, and other organized programs with fellow artists-in-residence.

Applicants who have experience working in alternative art spaces, challenge conventional exhibition formats, and are invested in social justice and community-centred programming are strongly encouraged to apply. 

ABOUT BEMIS CENTER FOR CONTEMPORARY ARTS

Founded in 1981, by artists for artists, Bemis Center for Contemporary Arts facilitates the creation, presentation, and understanding of contemporary art through an international residency program, exhibitions, and educational programs Located in the historic Old Market, Omaha’s arts and culture district, Bemis Center serves a critical role in the presentation and understanding of contemporary art, bridging the community of Omaha to a global discourse surrounding cultural production today.

Bemis Center welcomes international arts professionals to apply. Proficiency in English is required. Upon notification of acceptance to the residency, the selected individual will be responsible for preparing and submitting the required personal employment visa materials by September 2021. A P-3 visa is recommended. Please visit the USCIS website for more information: www.uscis.gov. Bemis Center will provide appropriate documentation and materials to supplement the visa application process. Due to the current state of temporary, immigrant travel policies to the United States, we are unable to guarantee approval. A visa does not guarantee entry into the United States. As an international call, Bemis Center strives to support applicants from any country.

QUALIFICATIONS

  • Five years equivalent professional work experience in the field with a minimum of 2–3 years of curatorial experience in an academic, nonprofit, alternative space, contemporary performing arts and/or commercial gallery setting
  • Strong knowledge of national and international contemporary art and a keen interest in understanding and working with Omaha’s cultural landscape
  • Excellent verbal and written communications skills
  • Creative and strategic thinker with the capacity to take initiative and to work independently as well as a team player in a fun, yet demanding, arts organization

 

The ideal candidate will understand and promote Bemis Center’s mission as an ambassador of the organization and perform all Bemis-related duties in a professional, responsible manner.

 

STUDIO AND AMENITIES
The Curator-in-Residence is provided a generous sized, private live/work studio including a kitchen and private bathroom and is equipped with basic items (linens, bedding, dishes, a basic set of tools, etc.) and furniture (bed, table, chairs, desk). Bemis residents have access to a variety of additional furniture that can be placed in the studio. Studios are also equipped with a paint sink, plywood-backed sheetrocked walls, accessible windows, concrete floors, and 12’ ceilings. Additional amenities include complimentary utilities, laundry, WiFi, and free parking. The Curator-in-Residence studio is for single occupancy only; Bemis Center is unable to accommodate partners, children, and pets.

 

FINANCIAL SUPPORT

The selected Curator-in-Residence will receive $36,000, which includes a monthly residency stipend for 18 months, studio visit honorarium*, a travel/research allowance, and a curatorial honorarium*. The selected Curator-in-Residence will be offered a relocation allowance reimbursable up to $1,500.**

*Miscellaneous income is subject to reporting on Form 1099.

**Curator-in-Residence will organize personal travel and moving costs to and from Omaha, Nebraska.

 

OPPORTUNITIES AND EXPECTATIONS

Working closely with the curatorial team, the Curator-in-Residence will be involved in all curatorial and administrative aspects of organizing one exhibition over the 18-month residency. The exhibition will be original, conceptually rigorous, and exemplify the true breadth and experimentation currently defining contemporary art. The 2023 exhibition dates are March 23–June 3, 2023. The residency will conclude at the end of the exhibition. 

The Curator-in-Residence will be responsible for research, artist relations, exhibition design and installation, writing/editing of scholarly texts and didactics, budgeting, conceptualizing and leading exhibition-related public programs, and tours.

Curators-in-Residence are invited to participate in opportunities to engage our community such as our public Open House / Open Studios.

 

ELIGIBILITY

Residency opportunities are open to national and international arts professionals 21+ years of age, showing a strong professional working history. Students enrolled in an academic program during the time of requested residency are not eligible to apply.

 

DIVERSITY, EQUITY, AND INCLUSION

Bemis Center for Contemporary Arts is an Equal Opportunity Employer and is committed to creating a diverse environment. All qualified applicants will receive consideration for employment without regard to race, color, religion, gender, gender identity or expression, sexual orientation, national origin, genetics, disability, age, or veteran status. 

Applicants of all races, genders, sexual orientation, religion, ethnicity, national origin, and all other characteristics that make us different are encouraged to apply. Ideal candidates share our values of creativity, trust, courage, diversity, tolerance, and the open exchange of ideas and worldviews. If you have questions about accessibility, contact the Residency Program Manager, Holly Kranker, at 402.341.7130 x 12 or hollyk@bemiscenter.org.

 

ACCESSIBILITY

The Bemis Center campus includes two buildings that are ADA compliant with barrier-free access. The main building spans six levels and houses twelve, private live/work studios between the second and third floors, each ranging in size and configuration. There are five live/work studios on the third floor with roll-in shower stalls. Communal installation workspaces are barrier-free. The private residency entrance to the first floor consists of six steps. There are seven stairs and an ADA-approved ramp to the main entrance, which also accesses the first floor. A passenger elevator operates between the first floor and fifth floor. 

The Okada Sculpture & Ceramics Facility is a single-story, ground-level building located directly across the street from the main building. A cobblestone and brick city street separates the two facilities and conjoins the parking lot, which includes accessible parking spaces at the front entrance for visitors and residents. Okada includes two gender-neutral and accessible bathrooms with handrails. Workspaces can be arranged and organized to accommodate a variety of practices and needs.

The Sound Studio, located on the lower level, can be accessed from the first floor by eighteen steps. The basement level is also accessible from the first-floor entrance of the landing dock by a single chair lift or eighteen stairs. The Sound Studio is barrier-free and ADA compliant.

In striving to create accessibility for all, Bemis welcomes inquiries from applicants with specific questions to ensure we are prepared to meet the needs of any resident. Please direct residency accessibility questions to Holly Kranker, Residency Program Manager, at 402.341.7130 x 12 or hollyk@bemiscenter.org.

 

LEARN MORE ABOUT BEMIS GALLERY AND LOW END ACCESSIBILITY

How to apply

FEES

A $40 USD non-refundable application fee is due at the time of submitting an application through SlideRoom paid via credit card or by PayPal. Submission of completed applications is only accepted online through bemis.slideroom.com. Fees related to visa processes or passport acquisition are the responsibility of the awarded curator. 

 

APPLICATION REVIEW PROCESS

SlideRoom will confirm receipt of your submitted application. Applications are reviewed by a rotating panel represented by national and regional arts professionals such as artists, curators, academics, and/or critics. The review process will take 6–8 weeks from the application deadline. Notifications to all applicants will be sent via email after the selection panel has made its final decision.

 

Residency Session: January 2, 2022–June 30, 2023
Apply: bemis.slideroom.com
Deadline: 11:59 PM CST | May 14, 2021
Notifications to all applicants will be made via email by June 30, 2021.

 

APPLICATION FORM REQUIREMENTS

  1.     Personal website and/or social media handle
  2.     Résumé (pdf)
  3.     Cover Letter

A one-page cover letter outlining curatorial interests, current research, professional experience, and what you aim to accomplish in your residency at Bemis Center. 

  1.     Critical or curatorial writing sample (500 words)
  2.     Didactic writing sample for a “general” audience (500 words)
  3.     Three professional references

Please provide the name, email, and phone number, as well as your relationship to each. Letters of recommendation are not required. Should the selection panel choose your application, your references will be contacted by Bemis Center.

  1.   Please list the first and last names of up to ten artists that you have directly worked with in the last five years.

Include websites/social media handle if applicable. Artists may have been involved in recently curated exhibitions, performances, or essays.

  1.   Visual Portfolio: Include ten media samples of curated works completed in the last five years. Do not include text-based work or multiple page pdfs as a media sample.

Images should be sized no larger than 5MB each.

Video samples should be sized no larger than 250MB each and five minutes in length or less.

Audio samples should be sized no larger than 30MB each and five minutes in length or less.

Include title, year, location, and pertinent details. Media descriptions may also be included. (100 word max.)

When uploading video or audio files, please use the following formats:

Videos: .m4v, .mov, .mp4, .wmv, .flv, .asf, .mpeg, .mpg, .mkv

Video samples should not exceed five minutes in length, 60Mb

3D Models (embedded): .blend, .3ds, .dae, .obj, .fbx, .dwf, .osg, .osgt, .osgb, .ive, .lwo, .lws, .ply, .wrl, .iv, .shp, .stl, .bvh, .flt, .ac, .x, .dw, .3dc, .geo, .gta, .kmz, .vpk

Audio: .mp3, .wma, .ogg, .flac

Documents (10MB each): .pdf

 

For more information, contact Holly Kranker, Residency Program Manager, at 402.341.7130 x 12 or hollyk@bemiscenter.org.