Call for Entries | En Foco 2017 Photography Fellowship

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En Foco is currently accepting submissions for its 2017 Photography Fellowship through February 6, 2017.

En Foco, the leading arts organization serving support to photographers of color, is accepting submissions for its 2017 Photography Fellowship, designed to support photographers of color who demonstrate the highest quality of work as determined by a photography panel of peers and industry professionals. Submission Deadline is Monday, February 6, 2017 at 11:59pm. Fellowships will be announced in mid-March. Contact E-mail: fellowship@enfoco.org.

The Photography Fellowship Program will award ten Fellowships of a $1,000 each; participate in the 2017 Fellowship Group Exhibition; feature the Fellows in En Foco’s Nueva Luz publication, in printed and online editions; and provide Professional Development and Networking Opportunities. En Foco is highly regarded for its leadership in the variety of ways it supports photographers of color and for its advocacy role in addressing the issues related to the lack of cultural equity and access.

Who Can Apply: (1) Photographers of Latino, African, Asian American heritage, and Native Peoples of the Americas and the Pacific; (2) Must be a resident of New York City or New York State for the past year at the time of submission and must show proof of residency; (3) Must be at least 18 years of age; (4) Collaborating photographers are eligible to apply, but only one photographer can submit the application; (5) Previous winners of En Foco’s New Works Fellowship Program prior to 2014 are eligible to apply; (6) Photography for consideration must represent work completed after 2014.

Who Cannot Apply: (1) Graduate or undergraduate students matriculated in a fine art and/or photography degree program at the time of application submission; (2) En Foco’s Board members and staff are ineligible to apply.

Panel Process: The Fellowships selected are based exclusively on the excellence and quality of the work submitted. All work will be reviewed by panelists selected from a pool of photography and photography-related professions, such as photographers, curators, critics, and collectors. Each year, new panelists are chosen to ensure a fresh perspective in the fellowship review process.  En Foco’s Board of Directors will review the panel recommendations to assure the integrity of the process and formally approve the Fellowship awardees.

Award Notification: The ten Fellowship Awardees will be notified via email. The Awardees will each receive $750 dollars with the balance of $250 to be remitted at the Fellowship Awardees’ participation in their exhibition.

Submission Requirements: (1) Create an account with Submittable.com; (2) Include a written description (no more than 400 words). Describe specific aspects of your work practices such as subject matter, context, content, location and personal relevance; (3) A one-page resume and 200-word biography; (4) A 200-word artist statement about your work; (5) Five images, follow the sizing guidelines; (6) Head shot (300 dpi, jpeg only). The application form does not have to be completed in a single session. The system will save your draft application. We suggest that you save often as you fill out the form, and that you save a copy of any narrative texts. 

Support for the En Foco Photography Fellowship program has been provided by an anonymous donor with additional support by the New York State Council on the Arts, the New York City Department of Cultural Affairs, and the National Endowment for the Arts. A special thank you to the Andrew Freedman Home.

 

Marketing with Moxie

For the past six months, we’ve spent a huge amount of time helping other artists understand how important it is for them to step up and take control of their careers. Our main argument is simple: If artists want to grow and expand their artistic careers, they need to take a much more hands-on approach to marketing and promoting the work they create.

In other words, in order to be successful, artists need to be more DIY (Do-it-Yourself).  Here’s why:

Reason #1:  DIY means Community
When artists work together they can create amazing events, exhibitions, and opportunities to promote their own work. Your network of creative peers is your greatest resource for finding and getting the information and support you need. Artists thrive in communities. Being a part of a community of artists means having a built in support system that truly understands the obstacles and concerns that other artists face.
Other artists aren’t your competition. They are your greatest allies. Doing it yourself, doesn’t mean going it alone.

Reason #2:
 DIY means More Money
Let’s do what I like to call “art math”.  Let’s say you have a gallery exhibition of 30 artworks, each priced at $3000. The gallery does an amazing job of marketing and selling the work for you and you end up with a sell-out exhibition. That means $90,000 in sales. Fantastic, right?
But wait. Subtract the gallery’s 50% fee they earned for working so hard to promote and sell your work. That leaves you with $45,000. Then subtract another 15% for taxes, and another 20% for expenses. That leaves you with around $30,000. Keeping in mind that you only have a solo exhibition once every 3 years in that gallery, divide that $30,000 by three. That leaves you with roughly $10,000 a year to live on until your next solo exhibition. Congratulations!
Clearly if you really want a fatter bank account, you’ll have to learn how to do build your own collector base year round and promote the sale of your work with or without the help of a gallery.

Reason #3:
 DIY means Freedom and Opportunity
Sure, it’s great when you find a gallery to sell your new work, but what if you aren’t working with a gallery? Or what if the gallery’s jam-packed exhibition schedule doesn’t have room for your work until 2014?  Or worse yet, what if after waiting 2 years for your first solo exhibition, the gallery goes out of business two months before your show is set to open?
When you’re the person at the reigns of your art career, it means you have complete control over how you create, exhibit, and promote your work rather than handing over the fate of your art career to someone else.
Ultimately, when artists embrace a DIY mentality, it means they stop waiting to be rescued or “discovered”. It means that instead of waiting for opportunities to arise, they go out and create opportunities for themselves.

Are you ready to become more DIY?  Join us for En Foco’s workshop,  
Motivation, Marketing and MoxieThis two-hour marketing seminar is designed for artists who are ready to take control of their careers and move towards their goals at a swift pace.

Topics we’ll cover:

  • How to set concrete career goals and figure out what steps to take first;
  • How to fine-tune your website and turn casual visitors into buyers;
  • Strategies on saving time and money with free or low-cost resources;
  • How to prepare marketing materials for approaching commercial art galleries.
Date: Tuesday, September 27, 2011

Time: 6:30 – 8:30 PM

Cost:

$10 for advance registration online
$20 at the door on the day of event

Location:
 
Aperture Building
547 West 27th Street,
Suite 309  (3rd Floor)
(Between 10th and 11th Avenues) 
New York, NY 10001
Charlie Grosso and Kesha Bruce are the founders of Baang and Burne Contemporary (and En Foco’s New Work #11 awardees). To read their weekly art marketing articles and to download your free copy of “The Successful Artist Mindset” visit: http://baangandburne.com/blog

Foot in the door, and beyond….

Martin Hyers and Will Mebane, House 2009
©Hyers and Mebane, House 2009

“The first requisite of success is the ability to apply your physical and mental energies to one problem without growing weary. – Thomas Edison

Last week I attended an opening in Chelsea where my friend Will had work in the show. It was a great show at a well known photography gallery, and the place was packed. As I walked to the door of the gallery, I started to think about the evolution of Will’s photography. Twelve years ago he was a high school teacher who was putting together his first portfolio. I was there (as the assistant) ten years ago when he was hired to shoot his first assignment.

Then a Fulbright Fellowship let him spend almost a year in Nepal shooting, and when he returned he headed for New York City to try and make it as a photographer. In the twelve years between his first portfolio, and last weeks opening, Will did something right. His photos are hanging in a group show with work by Walker Evans, Andy Warhol, the Bechers, and Mapplethorpe.

Will’s success as a photographer can be attributed to good advice and hard work. Getting that first exhibit, or first publication can be the hardest part; which is why we developed the Foot in the Door Workshop. Continue reading “Foot in the door, and beyond….”