Each year, two $10,000 Fellowships are awarded to individual visual artists to acknowledge their artistic excellence and encourage their careers. Artists practicing in a variety of media such as painting, drawing, printmaking, photography, sculpture, craft, and new genres are eligible. Fellowship awards do not require matching funds.
Applying artists must demonstrate professionalism in their practice through quality images and documentation. Artists must be Utah residents not enrolled in a degree- or certificate-granting program.
2016 Fellowship Recipients:
I endeavor to express the value of the human experience through installations that incorporate natural materials and traditional, labor-intensive processes. I am particularly interested in exploring how our repetitive tasks and efforts compound, interact, and contribute to a greater sense of purpose.
Materiality is the foundation for my installations. Natural materials and fibers relate to the earth, the lives of men and women throughout time, and to the work they need to accomplish. String, cordage, and rope are particularly meaningful as symbols of tools helpful to perform work and as signifiers of accomplishment.
The repetitive and labor-intensive processes I use to manipulate my materials reflect the tasks of living and the steady, continual efforts of life. Many of these processes relate to traditional fiber techniques such as weaving, braiding, and quilting. These techniques are reminiscent of ancient repetitive work necessary for home and life. Their historical association with work and meticulous constructive processes provide a powerful metaphor for the human experience.
Through small, sustained effort over time, routines and relationships contribute to the learning and progress of an individual. The rhythms, routines, and rituals of life intrigue me. Daily routines and interpersonal relationships are repetitive. They are interlinking tasks we perform that create patterns and bonds in our lives. Over time, these small efforts join, connect, and converge creating a whole that is ultimately stronger than the individual—much like the accumulation of fibers in a rope. However, with that strength comes tension. Experiences, like fibers, do not idly line up but pull, cover, tug, and jockey for position in a complex, shared journey.
Through natural, relatable materials, and laborious, repetitive processes, my installations give voice to the mundane and ordinary. They reveal with magnitude and grace the extraordinary results of simply living.
See more of Bowman’s work on her website.
Using the painted and constructed set, I work almost exclusively in the studio, building places and propositions. My end results are primarily photos but can also include film and installation.
A favorite reoccurring theme would be artificiality and especially, the methods used to rebrand the fake into authentic. This rebranding, usually the domain of film and theater, is, I believe, optimally suited to photography because of its non-meddling nature, giving the duration of focus back to the viewer. Often I appropriate visual gags from narrative media. Gags with baggage become a short cut, boosting story and involvement. Using the constructed stage easily lends itself to dialoguesabout a fake state. As the builder, I control degrees of authenticity. I can place its marker in the final product or not. All imagery remains questionable, presented to a viewer, who calls upon the spirit of authenticity and transforms it calling upon faith, asking, “Is that real? I believe so.” Or confirming it as trickery. This dialogue is half of my action and is the stuff film and theater are made of but without that messy manipulative narration.
Career highlights include: studying botany, photography, painting and film. Produced, wrote, acted in radio dramas, The Church of Jayne Mansfield, which aired on a local religious radio station and, The New Atomic Age, which aired on a high powered Mexican religious radio station. Wrote, illustrated and published comic books, pamphlets, religious tracts, trading cards and Tijuana bibles. Made many films and videos, some animated, some feature length- three of which were featured at Sundance. I have had photos published in Rolling Stone, Maxim, Popsmear, Slug and in other printed and online publications. I have been in group shows and had solo shows, most recently at the Utah Museum of Contemporary Art.
Read the full press release here.
2016 Visual Art Fellowship Juror
JoAnne Northrup is the Director of Contemporary Art Initiatives at the Nevada Museum of Art. In 2011 Northrup was Fulbright Senior Research Scholar at the ZKM Center for Art + Media in Karlsruhe, Germany. As Chief Curator (2008-2011) and Senior Curator (2001-2008) at the San Jose Museum of Art, she curated and authored the first nationally touring survey exhibitions and monographs on contemporary media artists Jennifer Steinkamp (2006) and Leo Villareal (2010). Northrup received a B.A. in Art History from the University of California Santa Barbara and an M.A. from the University of Southern California’s Art History/Museum Studies Program. She currently oversees the Nevada Museum of Art’s efforts to expand the contemporary collection and exhibition program, cultivates collectors and donors, and collaborates with her colleagues to organize the Nevada Museum of Art’s flagship triennial Art + Environment Conferences.
Fellowship Video Profiles
In partnership with “Artists of Utah-15 Bytes,” we produce short artist profiles of the recipients as part of the award. Please see the links below to some of the videos we’ve produced of our recent fellowship recipients.
- Wendy Wischer (2014), Salt Lake City
- Mark Finch Hedengren (2013), Provo
- Christopher M. Gauthiér (2013), Logan
- James Charles (2012), Salt Lake City
- Jared Clark (2012), Salt Lake City
- Kathy Puzey (2011), Logan
- Jan Andrews (2010), Salt Lake City
- Joseph Ostraff (2010), Provo
Contact Felicia Baca at email@example.com or 801.245.7272