2026-06-02 23:21:31
With bodies composed of ghostly ferns, flowers, and fungi, Molly Devlin’s fantastical and ethereal acrylic portraits invite us into a dreamy woodland realm. Her works tap into the beauty and resilience of living creatures, from a white bear cloaked in translucent butterflies to a diminutive mouse composed of different lifecycle phases of a dandelion. Part fauna and part flora, each elegant animal is a reminder of nature’s interconnectedness.
Devlin is currently working toward a solo exhibition opening in early August at Corey Helford Gallery in Los Angeles. She’s also finishing up a mural in collaboration with S.V. Williams along the American River in Sacramento. See more on Instagram.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Spectral Fronds and Flowers Comprise Elegant Animals in Molly Devlin’s Paintings appeared first on Colossal.
2026-06-02 04:01:00
In Sydney’s Circular Quay, a 6.5-meter-tall installation spins, twirls, and totters amid a public thoroughfare. Titled “There, Now, Here,” the kinetic artwork is by the Brooklyn-based duo Wade and Leta and is in almost constant motion, thanks to wind, motors, and willing participants hopping on a see-saw.
With black and white stripes alongside a more muted palette, the colors of the playground-style project reference Dorothea Mackellar’s beloved poem “My Country,” which professes her devotion to the Australian landscape and what she dubs the “sunburnt country.” Harnessing the washed-out tones of a sun-bleached environment, the artists present their signature bold works in more subtle hues, as if the pieces have been baking under the light for years.
A sonic component created by Josh Burgess accompanies the sculpture and can be manipulated by the public through accessible controls. “If one were to listen closely, they can hear the rush of water on the rocks, the dings of the light rail, the crosswalk signal, and most importantly, the local wildlife,” the artists say. “Our favorite piece is a nod to the ‘bush doof’ using the sounds of a lyrebird as the structure.”
“There, Now, Here” is the pair’s first public work in Australia and part of the annual light and music festival Vivid Sydney. Find more on Wade and Leta’s Instagram.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article An Interactive Sculpture by Wade and Leta Celebrates the Sun-Bleached Australian Landscape appeared first on Colossal.
2026-06-02 02:00:00
When Craig Hubbard moved from Brooklyn to Venice Beach in 2013, he had an established creative career as an animator and comic book colorist, but it had been a long time since he had picked up a camera. The golden hour hues of the West Coast’s legendary sunsets reacquainted him with lens-based work, and he began documenting the areas he frequented in his spare time. “As an avid surfer and former skater, I gravitate toward skateparks and water,” he tells Colossal. And with the ocean, of course, come the waves.
Venice Beach is a funky, coastal Los Angeles neighborhood that has retained its laid-back, surf-loving vibe despite new developments. Surfers await swells in areas like the Breakwater and the Venice Beach Pier, and Hubbard heads out with his own board and his camera. “Dusk, dawn, and fog banks activate my senses,” he says. Tapping into his enthusiasm for graphic design, he focuses on bold outlines and forms, high contrast, and the energy of directionality and motion. “Nature ultimately does the heavy lifting, though,” he adds.
Hubbard’s photos are ethereal and cinematic, with surfers and wave crests illuminated by the early morning sun or backdropped by the marine layer. Sometimes the intense spray, curl, shoulder, or lip become the sole subjects of the portraits. “The water is the muse and artist,” Hubbard recently told an interviewer. “I’m just a biased translator and documentarian. Lastly, my ego relaxes in the ocean; the need to peacock recedes. This is where my best work comes from—or favorite, I should say.”
Follow Hubbard’s work on Instagram and see some of his videos on YouTube.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Pacific Surf Takes Center Stage in Craig Hubbard’s Dreamy Photos appeared first on Colossal.
2026-06-01 22:49:42
New York City in the 1980s felt like a very different place. Imagine subway cars cloaked inside-out in graffiti and Times Square without the monumental LED screens. Evidenced by the likes of photographers Steven Siegel, Willy Spiller, and Jamel Shabazz, not to mention Charlie Ahearn’s Wild Style (1982), a period of intense, new, rough-around-the-edges energy was canonized. The era marked the birth of hip hop and New Wave, MTV, iconic fashion, legendary nightlife, and Pop Art.
In 1978, just prior to the economy reeling during a major recession, a 20-year-old Keith Haring (1958-1990) moved to Manhattan to study at the School of Visual Arts. “I arrived in New York at a time when the most beautiful paintings being shown in the city were on wheels—on trains—paintings that traveled to you instead of vice versa,” he said in a piece writing published by the The Keith Haring Foundation. The artist was fascinated by people’s responses to art encountered out in the open and unexpectedly—when it found its way into daily life and became a conduit to conversation and curiosity.
Whether with chalk or black paint, Haring could create decisive, confident line drawings of angels, UFOs, dancing figures, snakes, and other motifs virtually anywhere, many of which were temporary. His work is a highlight of the rescued Luna Luna amusement park, and a mural in Amsterdam was obscured by cladding for three decades before being rediscovered. My dad fondly recalls seeing Haring’s paintings in the hallway of the former Manhattan Pearl Paint art supplies store in 1980. I grew up recognizing his signature cartoonish style long before I knew who he was, wearing his work on a favorite T-shirt. And it’s this prescient “art everywhere” focus that grounds an exhibition opening this week at Crystal Bridges Museum of American Art called Keith Haring in 3D.
While he didn’t consider himself a graffiti artist, Haring reveled in the technical precision of tags and unique interventions by street artists like Fab 5 Freddy, Lady Pink, Jean-Michel Basquiat as SAMO with collaborator Al Diaz, and many others were painting all over the city. “Graffiti spoke of a world that was hip and streetwise, creative and spontaneous and underground—all that he admired and wanted to be,” says the foundation. And as the trains rolled through subterranean stations lined with advertisements, Haring noticed something else: ready-made blank canvases.
During the recession, advertisers pulled their investment in subway station ad space, and the MTA replaced empty billboards with large sheets of black paper. By this time, Haring was already interested in the idea of art outside of gallery and museum spaces and how “different people saw different things in the drawings,” he says. As he made big works in an open-air space, he was fascinated by the number of people who would stop and the conversations he work would ignite. “This was the first time I realized how many people could enjoy art if they were given the chance,” he said.
Haring’s subway series, Art in Transit, launched him to the apex of the 1980s art scene, where Andy Warhol was already cementing Pop Art’s presence and a circle of graffiti artists, performers, and other creatives were defining the look, sounds, and feel of the decade. Haring made his drawings very quickly to avoid arrest—the police hauled him away on at least one occasion—and his friend, photographer Ivan Dalla Tana, documented many of the works before they were torn down or destroyed. Fortunately, a handful survive, including one in Keith Haring in 3D.
The tall chalk drawing on black paper is one of few two-dimensional works in the show, but it’s one of many in the collection of Larry Warsh, who has collaborated with curator Glenn Adamson to bring together a wide range of Haring’s sculptural and multimedia pieces. Today, Haring’s work is among some of the most recognizable by mainstream audiences, yet despite critiques that his work has become “sanitized” in its commercialization—something he was actively, and even controversially, a proponent of during his lifetime—viewers are invited into a unique dialogue with literally a new dimension to his work.
The exhibition is situated within a long, open space, so that viewers can see from one end to the other and meander through different areas free from a prescribed or chronological route. Most of the peripheral wall space is also entirely empty, steering visitors into the center to circumambulate a wide variety of forms and installations. Wandering around steel sculptures, ceramic vessels, archival items, and paintings on numerous found objects, the “all-over” sense of Haring’s oeuvre is manifest. I get the sense that Haring could see the potential in any object or space. If something had a surface, it could be art. How or where you personally encounter it, however, is fundamentally a part of the experience, and this is woven into the exhibition’s design.
From inflatable versions of his iconic “Radiant Baby” motif to an altarpiece made following his diagnosis with AIDS to a series of giant, router-carved “totems,” the works in Keith Haring in 3D celebrate experimentation and collaboration. The exhibition also spotlights, if incidentally, imperative issues in contemporary art today, from cultural appropriation to queer experience, not to mention his candid and direct approach to sharing his experiences with AIDS, from which he died at the age of 31.
Many of the artworks in the exhibition are drawn from Warsh’s personal collection. He had the foresight to collect artworks and fragments of Haring’s studio along with hand-painted garments, the embellished hoods of damaged yellow New York City taxi cabs, a headboard, and even a refrigerator tagged by an array of graffiti artists. With a magpie-like eye for the artist’s recognizably bold-lined paintings, Warsh rescued an illustrated steel I-beam from the building Haring worked in on Broome Street, plus jackets and other garments that the artist painted, among many other objects.
Warsh has long been fascinated by the way the artist applied his visual language to just about anything he could get his hands on. A papier-mâché sculpture called “Untitled (Elephant)” has a unique story to it, too. Adamson shares that the elephant belonged to Warhol, who encouraged Haring to add his own interpretation, but hidden beneath its black-and-white composition is actually an original pink-toenailed version by Basquiat.
A series of works Haring called Totems were inspired by Native American totem poles of the Pacific Northwest region, which he viewed as symbols of community and unity. Large wall-hung mask works are clearly influenced by African masking traditions, coated in Haring’s characteristic lines and bold shapes. Adamson acknowledges that today, we view a white artist’s appropriation of these cultural customs through a different lens, and he expounds on Haring’s interpretation of the “totemic” in a recent article published in Artforum.
Other facets of the exhibition highlight the role of music and pop culture, the New York City club scene, the commodification of art, and Haring’s death from AIDS. A number of posters and merchandise-type objects nod to the artist’s Pop Shop, a retail-meets-art-installation he opened in 1986 in New York City’s Soho neighborhood. It may be seen in the spirit of Claes Oldenburg’s The Store installation in 1961, which also circumvented the conventional gallery show with a DIY, entrepreneurial spirit—something we see so much of today with the aid of social media but at the time was virtually unheard of. Haring’s Pop Shop was controversial, but it was meant to prove a point: “It’s about participation on a big level,” he said. He wanted his art to be as accessible to as many people as possible.
That Haring’s work was virtually everywhere—music videos featuring Madonna and Grace Jones, on advertisements, in fashion, throughout subway stations—is the guiding principle behind Keith Haring in 3D also marking the inaugural show in Crystal Bridges’ expansion. The entire permanent collection has been re-imagined throughout a series of both existing and new spaces, which will open in their entirety this weekend.
Adamson and Warsh originally conceived of Keith Haring in 3D as strictly a book project, but it quickly evolved into something much more. A new book of the same title does coincide with the show, positioning the artist’s three-dimensional works in a new light. Find your copy on Bookshop, and visit the exhibition in Bentonville, Arkansas, starting June 6 and continuing through January 25, 2027. You might also enjoy the Keith Haring Pop Up Book by Poposition Press.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article ‘Keith Haring in 3D’ Highlights the Artist’s Prolifically Art-Filled Life appeared first on Colossal.
2026-05-30 04:00:00
Toronto-based Kurdish artist Roda Medhat pushes the boundaries of fabric into the realm of sculpture, exploring the ways in which traditional West Asian textiles can be translated into various media. As digital fabrication and 3D scanning cross paths with memory and material, Medhat’s practice asks “how we carry our stories, and what happens when those stories are translated into new, synthetic languages?”
The artist’s new solo exhibition, titled From the Loom, fills Toronto’s Abbozzo Gallery with large-scale sculptures in conversation with a new series of textile works. Known in part for his neon installations, the artist also presents several glowing light-based works encased within glass or acrylic, redolent of patterned Kurdish rugs.
Several of Medhat’s images and symbols—most prominently young boys riding horses and interacting with nature—are sourced from Kurdish children’s books. These icons are woven directly into the surface of each textile by way of an electronic Jacquard machine, further accentuating the contrast between preserved cultural objects and contemporary reconstruction. In the exhibition’s statement, Medhat shares that his work “functions as a distillation of a wider body of research,” including the contemporary subversion of archival materials.
“The Sheep and the Chevrolet,” an anchoring work within the exhibition, reimagines François Balsan’s problematic 1947 ethnographic work of the same title. Pitting bucolic Kurdish life with Western modernism, Balsan’s off-key travelogue presented a stereotypical, highly subjective view of Kurdish culture. Medhat’s bold sculpture invokes 3D printing to construct a monumental sheep composedly sitting atop a small Chevrolet vehicle, offering a playful point of reconceptualization.
From the Loom is on view through May 26. You can find more from the artist on Instagram.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Roda Medhat Subverts Traditional Kurdish Narratives Into Modern Tactile Experiences appeared first on Colossal.
2026-05-30 02:34:14
Every month, we share opportunities for artists and designers, including open calls, grants, fellowships, and residencies. Make sure you never miss out by joining our monthly Opportunities Newsletter.
BOAPS–Summer 2026: Grants, Exhibition, Publication, Promotion, Sales, Career BoostFeatured
Ready to showcase your art internationally and receive cash grants? BOAPS (Summer 2026 Edition) invites visual artists worldwide, working in any medium, to submit their strongest works with complete creative freedom. This seasonal open call offers $10,000 CAD in annual cash grants and exclusive awards, along with solo and group exhibitions, publication in catalogues and art magazines, global promotion, sales exposure through Biafarin and Artsy, audience engagement and feedback, editorial reviews, and professional recognition designed to support artistic growth and international visibility.
Learn more and submit: www.biafarin.com/boaps
Deadline: 11:59 p.m. PDT on June 9, 2026.
Spring $1,800 Innovate Grants for Art + PhotoFeatured
Innovate Grant awards two $1,800 grants each quarter to one visual artist and one photographer. In addition, 18 applicants will receive honorable mentions, be featured on the website, and join a growing community. International artists and photographers working in any medium are eligible. All applicants retain the right to the work they submit.
Deadline: 11:59 p.m. PDT on June 18, 2026.
Hyundai Motor Group–The 7th VH AWARD Featured
A global award for emerging media artists engaging with the context of Asia, featuring production grants, an online residency with Ars Electronica, and global exhibitions. This 7th edition introduces a new “Honorary Mention” category and awards the Grand Prix winner an additional $30,000 grant. Read more on vhaward.com.
Deadline: July 21, 2026.
Open Calls
BEERS London Group Exhibitions (International)
This is an opportunity for artists working across all media to apply to be a part of a group exhibition at BEERS London. BEERS’ objective is to discover new, compelling, and contemporary work to present at its gallery. There is a £10 application fee.
Deadline: June 1, 2026.
BOOOOOOOM 2026 Art & Photo Book Award (International)
BOOOOOOOM is teaming up with Bookmobile to offer the chance to have your work published as a standalone book. This year, eight projects will be brought to life—each by a different artist, illustrator, or photographer—at zero cost to the individual. One zine proposal is free for non-members. BOOOOOOOM members can submit unlimited proposals.
Deadline: 11:59 p.m. PDT on June 5, 2026.
Circulation(s) European Young Photography Festival (International)
The Circulation(s) festival takes place at the Centquatre-Paris, a cultural place in eastern Paris, and continues in the form of tours and off-site events in France and Europe. Emerging photographers are invited to submit their work for the 2027 festival. The application fee is €20.
Deadline: 11:59 p.m. CEST on June 7, 2026.
hosq Notations #2 Open Call (International)
hosq is an international cultural hub in Armenia. Notations is a laboratory and festival for artists working across sound, music, media, installation, performance, and research. This year’s theme is “rituals.” An 11-day research and production period culminates with installation for the festival.
Deadline: June 10, 2026.
Forecast Call for Public Art Proposals for Westonka Library (International)
Hennepin County Library contracted Forecast Public Art to curate and commission three permanent artworks at the Westonka Library in Mound, Minnesota, near the western edge of Lake Minnetonka. Two opportunities are open, including one with a production budget of $60,000 and another with a budget of $75,000 for two locations.
Deadline: 11:59 p.m. CDT on June 14, 2026.
SaveArtSpace Miami Ad Space Open Call (International)
SaveArtSpace presents The Extravagance of the Quotidian, a public art exhibition curated by Hermes Berrío on bus shelter ad space opening July 31 in Miami. The application fee is $35 for one to three images; each additional image carries a $10 fee.
Deadline: June 15, 2026.
A Look to the Future: America at 350 (California)
A Look to the Future is an investigative art exhibition at Brea Gallery imaging what America will look like 100 years from now. How will people relate, govern, create, remember, and care for one another? What new myths, systems, landscapes, and identities will define the country’s next century? What will hold us together and help us look to the future? Original artwork must be created within the past three years, and all mediums are welcome.
Deadline: June 15, 2026.
RESIST Open Call (U.S.)
Could there be a smaller revolt than a stamp? RESIST is a juried artiststamp exhibit challenging our current political situation and is presented by Hive Center for the Book Arts in Evanston. The three-day exhibit is free and open to the public, with sheets of stamps available for purchase. There is a $25 entry fee.
Deadline: June 15, 2026.
Shapes and Colors 2026 Art Award: Exhibition, Publication, Sales, and Global Promotion (International)
Shapes and Colors 2026 invites artists worldwide to explore form and color through abstract or representational, digital or traditional works. Selected artists receive a smart online exhibition, Artsy feature, global promotion, catalogue and art magazine publication, press release, visitor engagement, editorial reviews, audience feedback, and exclusive awards. Learn more and submit: www.gallerium.art/shapes-and-colors
Deadline: 11:59 p.m. PDT on June 16, 2026.
Fair Play Art Fair (International)
Fair Play Art Fair is built around the idea that artists should be selected on the strength of their work, not their ability to pay to exhibit. There are no stand fees to participate. Instead, the fair only succeeds when you do, taking a commission on sales. The first edition will be held this October in London, and there’s a £70+VAT fee to apply.
Deadline: 17:55 BST on June 22, 2026.
21st Edition of Arte Laguna Prize (International)
Apply for this unique opportunity to exhibit your work at the Arsenale Nord in Venice. The finalists’ exhibition will take place from November 6 to 29, with 120 artists selected by a jury including the winner of the first prize of €10,000, among other awards. The application fee is €97.60 (VAT included) for artists under 35 years old and €122 for those 35 and older.
Deadline: June 30, 2026.
Shelley & Donald Rubin Foundation Sight/Geist Open Call (New York City)
This open call is for emerging film and performance artists. Selected artists will receive a stipend of either $300 for a short film in a group screening, $500 for a solo screening, or $750 for a solo live performance (with an additional $250 for production costs).
Deadline: 11 p.m. EDT on July 5, 2026.
The 17th Epson International Pano Awards (International)
A $50,000 prize pool awaits entries to the Pano Awards, featuring a new aerial category. Winners are exhibited at the Garden Gallery at the Botanic Gardens of Sydney, and a silent auction will benefit the Rainforest Seed Conservation Project. Non-professional and student photographers can submit to the Amateur Awards for $20 per entry, and all photographers are eligible to submit to the Open Awards for $22 per entry.
Deadline: July 13, 2026.
Grants
Artadia Awards (San Francisco Bay Area)
The Artadia Awards provide financial support, exposure and recognition to artists. The $15,000 awards are unrestricted, allowing artists to use the funds in any way they choose.
Deadline: June 1, 2026.
The Anolic Family Awards (International)
The Anolic family offers several opportunities for Jewish artists early in their artistic careers. One visual arts award is $1,000, while another $1,500 grant will be awarded for the creation of a unique, one-of-kind, or limited edition work of art in the field of Jewish book arts.
Deadline: June 1, 2026.
Walker Youngbird Foundation Emerging Native Arts Grant (U.S.)
The Emerging Native Arts Grant is a cornerstone initiative of the Walker Youngbird Foundation, created to support early-career Native artists who are honoring tradition while boldly shaping the future of contemporary Indigenous art. Awarded twice annually, the $15,000 grant provides funding, mentorship, and a curated showcase to artists at a critical stage in their development—offering them the resources and visibility they need to take bold next steps in their creative journeys.
Deadline: 11:59 p.m. EDT on June 18, 2026.
Art Fluent Evolution Grant (U.S.)
The Evolution Grant will provide unrestricted funding of $1,000 to an individual artist with recognized artistic excellence in fine art media and a demonstrated commitment to their art. There is a $35 application fee.
Deadline: 11:59 p.m. MDT on June 19, 2026.
2026 Chrysalis Award for Emerging Ceramic Artists (U.S.)
The Chrysalis Award was created by the James Renwick Alliance for Craft to support and inspire emerging craft artists in the United States. Eligible applicants are in the early stages of their professional artistic careers—regardless of age—and have completed their training within the past five years. This year’s award will recognize an emerging artist working in ceramics, who will receive a $5,000 unrestricted award, a one-year JRACraft membership, and the opportunity to present their work at a JRACraft event.
Deadline: August 23, 2026.
The Adolf and Esther Gottlieb Emergency Grant (International)
This program provides one-time financial assistance to qualified painters, printmakers, and sculptors whose needs resulted from an unforeseen catastrophic incident and who lack the resources to meet that situation. Awardees typically receive $5,000 and up to $15,000.
Deadline: Rolling.
Pollock-Krasner Foundation Grant (International)
The foundation welcomes applications from painters, sculptors, and artists working on paper, including printmakers. Grants are intended for one year and range up to $50,000. The artist’s circumstances determine the size of the grant, and professional exhibition history will be considered.
Deadline: Rolling.
Residencies, Fellowships, & More
Headlands Center for the Arts Residencies (International)
The Artist in Residence program at Headlands Center for the Arts in Sausalito, California, awards fully sponsored residencies to approximately 50 local, national, and international artists each year. Residencies of four to ten weeks include studio space, chef-prepared meals, housing, travel, and living expenses.
Deadline: June 1, 2026.
Gasworks Residencies (Greece and New Zealand)
Gasworks invites artists at a pivotal point in their career based in Greece or New Zealand to apply to an 11-week, fully funded residency that will take place at Gasworks in London from September 30 to December 15.
Deadline: 1 p.m. BST on June 1, 2026.
Gasworks Residency (Paris)
This residency open call is for an artist based in Paris, who has presented their work in several venues to date. The 11-week, fully funded residency will take place at Gasworks in London from January 6 to March 24, 2027.
Deadline: 11:59 p.m. CEST on June 2, 2026.
Gasworks Residency (Caribbean)
This residency open call is for an early-career artist based in the Caribbean. The 11-week, fully funded residency will take place at Gasworks in London from January 6 to March 24, 2027.
Deadline: 1 p.m. BST on June 29, 2026.
AlterWork Studios Residency Program (International)
This residency was designed to allow emerging contemporary artists time and space to create new work exploring their practice. Artists may submit a proposal of how they intend to utilize the space as a studio to create new work or a specific project. The residency will culminate in a solo closing reception. The cost to the artist is $400 per month and a $200 non-refundable administration fee.
Deadline: June 30, 2026.
Wassaic Project 2027 Artist Residencies (International)
Wassaic Project invites applications for both summer and winter residencies on-site in Wassaic, New York. Residencies are offered on a sliding scale from $0 to $900. Most of the cost is covered by the generous support of donors and grants, but Wassaic Project recommends a contribution of $900 per session to those who are able to contribute. There is a $25 application fee (a waiver may be available).
Deadline: July 1, 2026.
Pine Meadow Ranch Center for Arts & Agriculture Residencies (International)
Pine Meadow Ranch Center for Arts and Agriculture (PMRCAA) offers two- and four-week residencies from March to mid-November. Two to four residents share a large, historic home on the ranch property, and each is assigned their own private studio. Since 2018, the program has been supporting artists, scientists, writers and researchers from a variety of fields and with a range of experience levels, and practitioners in a wide range of disciplines are invited to apply. The 2027 theme is “process and material.”
Deadline: 11:59 p.m. PDT on July 6, 2026.
Retreat to Art Residency (International)
Retreat to Art is a program run by the Bored Peach Club in Gozo, Malta. Each edition is shaped by a lead artist who defines the week’s focus, working framework and direction according to their practice. The edition planned for one week in early September 2026 is led by British artist Pete Codling and is limited to 15 participants. The fee is €1,950 per person, or €1,650 for a shared space.
Deadline: Until filled.
Quarantine (International)
Dubbed “purgatory for artists,” Quarantine is a week-long intensive art program on an 18th-century quarantine island off the coast of Menorca, Spain. The program is open to beginners and professionals alike and offers three 45-minute private mentorships throughout the week, with activities lasting 12+ hours per day. Phones are banned.
Deadline: Rolling.
Residencia Corazón (International)
Residencia Corazón is an independent, artist-run residency in La
Plata, Argentina—a home for artists since 2006. The program welcomes visual
artists, writers, curators, and creative researchers from around the
world for one- to three-month residencies. Each stay is fully personalized, and fees range from $800 to $1,500 per month.
Deadline: Rolling.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article June 2026 Opportunities: Open Calls, Residencies, and Grants for Artists appeared first on Colossal.