Young Space, no.90
Rarely behaving as intended.
"Fear always accompanies the making of art, generated by the shock of seeing an idea taking its form. A sculpture in the mind is safe and secure—the actual work rarely behaves as intended.”
—Andy Goldsworthy
During the past 11 years, there are some things that have become constant in my work. For the most part, Young Space—in some way, shape, or form—has been a conduit for everything else. Whether it was a curatorial project, a writing gig, a grant, a networking thing, a talk… I could always trace it back to the core project or focus. Lately, I’ve been thinking about the pivot.
Like all artists who build up a studio practice over the years and have an evolving portfolio to show for it, there’s a level of trust established over time that you can do whatever your thing is. Be it painting or ceramics or anything else, it’s where the real value of the practice comes in, well beyond any individual piece. It’s the thing you become known for and relied on to follow through with. But what about when you want to just totally shift gears?
I mentioned a few weeks back that I started a casual role as a travel writing contributor to a couple of publications. The move is, well, less like a move and more like another file folder in the cabinet—one among many projects and interests. But it is noteworthy (to me, at least) that after writing about fishing villages and state parks and must-see beaches, how enjoyable it is sometimes to have something to do that feels completely unrelated to the other focus. And beyond being enjoyable, I wonder if it’s actually necessary, in a way.
It occurred to me recently that I don’t think I really “live and breathe art.” I maybe thought this at one time—perhaps I tried to convince myself of it? My dad’s an artist, so it’s always been something I felt comfortable with, though I might pursue somehow, and enjoyed analyzing a lot in art history classes. I also really like artists—I don’t know where I’d be without the dispersed yet invaluable community that I’ve been able to be a part of through the work I do. But I’ve always been a little self-conscious about the fact that I don’t really collect art in any organized fashion, nor have I had very functional relationships with steady career-focused paths, like institutional curating. I’m uncomfortable, in a Midwestern kinda way, talking about money, so art market stuff is just like, not interesting. I actually always dreamed of being an archaeologist. Somehow, contemporary art just kind of… happened.
In the past, people have been summarily surprised to meet me, finding that behind the Instagram account is just a really normy Wisconsin-raised redhead that kind of just wants to talk about camping and food. I hesitate to say I’m a “reluctant” art-worlder, but I know I don’t fit the mold. Sometimes that has been really useful; sometimes definitely not.
When I co-hosted a residency in Lisbon in 2018, I felt so conflicted about whether to be scouting out every artist’s studio I could find with the visiting artists during the month we were there together or simply soaking in what the city had to offer—whatever that was. We “accidentally” ended up having beers in the middle of the day once or twice when we had originally set out to visit an exhibition or something, and yet the whole time we were talking about art and ideas—so isn’t that basically the point? Does experiencing art or participating in the art world always have to be defined by how many galleries you visit, artists you speak to, or fairs you attend? There are times when these things can blow your mind, but there are also times it’s a relief to recognize when they’re not really essential—at least not all of the time.
Researching places I’ve been or am genuinely interested in going is like escaping daily to some distant place of my choosing, even if just for a few hours. I suppose it’s like having any other kind of hobby, cooking something new, or spending time with a group of friends. Then, when I’ve returned from the Cascades or the Rockies or the Pacific coast, I’m even more ready to write about contemporary art. The mental vacation feels almost as beneficial as a real one.
See you next week.
—Kate
P.S. Re: the quote above—anyone who can get to the National Galleries of Scotland (The Mound) to see Andy Goldsworthy’s retrospective, please think of me. I would have loved to see it!
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What you’ll find below:
Exhibitions to see in Baltimore, Chicago, Gotland, London, Los Angeles, New York City, and San Francisco
Eleven opportunities for artists with deadlines coming up soon
Exhibitions
BALTIMORE | CPM
Brighter Skies
Brighter Skies brings together painting, sculpture, and works on paper by seven artists currently living and working in Baltimore: Zoë Charlton, Erin Fostel, Charles Mason III (pictured), Taj Poscé, John Ruppert, Thiang Uk, and Dolores Zinny.
Runs through August 9
NEW YORK CITY | MILES McENERY
Emily Weiner: Now Eve, We’re Here, We’ve Won
Sky gradients, spirals, symmetry, and artist-made frames converge in paintings that explore human consciousness and meld spirituality, esoteric symbolism, music, and the cosmos.
Runs through August 15
LOS ANGELES | NIGHT GALLERY
Dan John Anderson: Relic, Reliquary, Requiem
From carved cedar, sequoia, walnut, and redwood—along with bronze and the addition of beeswax, stained glass, and aluminum, Anderson’s sculptures appear inhabited by spirits. “Relic, Reliquary, Requiem is born of a lifelong ethos of communion with nature. Growing up in rural Eastern Washington and now living in Yucca Valley, California, Anderson’s foundational language is experiential, shaped by days spent in sun-bleached expanses of trees, rocks, sand, grass.”
Runs through August 23
More Exhibitions Worth a Peek
Laura Rokas: A Meal in Itself at Rebecca Camacho Presents, San Francisco, through August 2
Martyna Alexander: The Distant Now at Old Friends, Chicago, through August 2
Petra Lindholm: Songs of Trees at Galeri Magnus Karlsson, Hellvi Kännungs, Gotland, through August 3
Reika Takebayashi: When we see invisible sea at Public Gallery, London, through August 6
Artist Opportunities
Young Space emphasizes fully-funded opportunities with low or no entry fees and programs that focus on creative and professional development for visual artists and curators. Deadlines are coming up soon to apply for these grants, fellowships, residencies, and more.
Paid subscribers, check out the whole list anytime at yngspc.com/opportunities and enter the password you received in your signup email. Can’t find it? Just shoot me a note. Thank your for your support!
Seattle Art Museum Betty Bowen Award for Northwest Artists
Deadline: August 1
Administered by the Seattle Art Museum, the annual Betty Bowen Award honors a Northwest artist for their original, exceptional, and compelling work. The winner is awarded an unrestricted cash prize of $20,000, and a selection of their works is shown at the Seattle Art Museum. In addition, up to two Special Recognition Awards in the amount of $4,000 and three Special Commendation Awards in the amount of $2,500 are often granted at the discretion of the Betty Bowen Committee.
Submission fee: $10
Ellis-Beauregard Foundation Residency
Deadline: August 1
The Ellis-Beauregard Foundation is pleased to welcome artists to its new campus located on the coast of Maine for a residency in January 2026. Each resident will enjoy a 20x20-foot studio with north facing skylight, gallery lighting, sound reduction, superior ventilation, reinforced walls, a slop sink and plenty of storage space. In addition there is a separate bedroom in the studio apartment with a built in desk, double bed and closet. Residents are also welcome to make use of the exhibition and performance space. The campus is walkable to downtown Rockland, but a small truck is also provided for residents. Artists are provided with a $2,000 stipend.
Submission fee: none
Villa Barr Sculpture Residency in Novi, Michigan
Deadline: August 6
Villa Barr is located on four acres of landscaped grounds in the countryside outside of Detroit, Michigan. This property was sculptor David Barr’s dream house and studio, and residents enjoy access to a private studio equipped with wood and metal working tools. Visiting artists also enjoy the use of the beautiful architect-designed home. Two artists are accepted for each of three sessions in spring, summer, and fall. One visiting artist resides in the home, and a local artist has access to the studio. Each artist is provided with a private studio space in addition to the main shared studio. Residents are each awarded a $500 materials stipend. Visiting artists are also awarded a $500 travel stipend.
Submission fee: $20
Hornsby Art Prize 2025
Deadline: August 7
Established in 2009, the Hornsby Art Prize is organized and sponsored by Hornsby Shire Council and delivered in partnership with the Hornsby Art Society. The non-acquisitive prize celebrates Australian contemporary art and is open to all Australian residents aged 18 years and over. Categories include painting, drawing, printmaking, photography, and sculpture. There is an overall prize pool value of $23,000, with the major prize $10,000 and the Hornsby Shire Local Artist Award $5,000. The Hornsby Art Prize Finalists’ Exhibition will be held at Wallarobba Arts and Cultural Centre, Hornsby.
Submission fee: AUD$40 per piece (max. 2)
Powerhouse Arts Residency for New York City-Based Artists
Deadline: August 10
The Powerhouse Arts Artist in Residence (AiR) program supports emerging to mid-career New York City-based artists working in print, ceramics, public art, and textiles who have been historically underrepresented in traditional AiR programs, specifically Black, Indigenous, artists of color, LGBTQIA+, disabled, and low-income artists. Artists receive access to Powerhouse Arts' facilities, communal studio space within Powerhouse Arts, free materials, professional development opportunities, a $10,000 honorarium, and a $5,000 materials stipend.
Submission fee: none
Sainsbury Scholarship (3 Months) for the British School at Rome
Deadline: August 10
The British School at Rome (BSR), in partnership with the Linbury Trust, is pleased to offer the Sainsbury Scholarship—a transformative three-month residency in Rome, running from September 25 to December 19, 2025. This opportunity is open to an exceptional early-career artist working in any medium. This scholarship is specifically designed to support artists from Black, Asian, and minoritized ethnic backgrounds, who remain underrepresented in the arts and at the BSR. Open to U.K. or Commonwealth nationals and residents.
Submission fee: none
QEST Emerging Maker Grants
Deadline: August 13
QEST offers three grants to support makers and conservators at various career stages, strengthening the pipeline of talented craft professionals in the U.K. The organization supports contemporary and traditional craft, as well as the exploration of innovative techniques.
Scholarships are for mid-career to established craftspeople, offering grants between £3,000 and £18,000, plus a place on the Cockpit PDP. These grants support talented individuals to sustain vital skills through targeted training. Applicants should have a high level of skill, a strong body of work and be aiming to elevate their craft further.
Emerging Maker Grants are for early-stage craftspeople, aiming to develop the next generation of craftspeople, typically those practicing for 4 years or less. The grant provides between £3,000 and £10,000 for essential skills training. Applicants should demonstrate strong potential, a growing body of work and a commitment to progressing their craft.
Submission fee: none
Sam & Adele Golden Foundation Artist-in-Residence Program
Deadline: August 13
The Golden Artist focuses on providing working and learning space for artists working in paint. Artists are provided with materials, 24/7 access to an open studio space, a private apartment, and more. There is no fee to attend, but artists are responsible for their own food and travel expenses.
Submission fee: none
Funded Residency at Old Lock-up Gallery for U.K. Artists
Deadline: August 18
The fully funded residency opportunity at The Old Lock-up Gallery is open to artists who are residents within the U.K. and whose income is below £18,000 (with no more than £5,000 in savings). The residency runs from September 30 to October 4 and also includes £150 towards any travel/materials cost.
Submission fee: none
Gasworks Residency Open Call for Artists Based in the Philippines
Deadline: August 18
This residency open call is for an early-career artist based in Italy. The eleven-week, fully funded residency will take place at Gasworks in London from January 7 to March 23, 2026.
Submission fee: none
Foundation for Contemporary Arts Emergency Grants: Cancellation Funds
Deadline: Rolling
With the generous support of Jerome Foundation, Emergency Grants: Cancellation Funds begin to address the financial impact of cancelled engagements stemming from sudden and continuing losses of federal funding. Cancellation funds are available to experimental artists with previously confirmed public presentations including exhibitions, readings, and performances. Recognizing that artists and venues need to rethink budgets, redirect resources, and limit or eliminate programming, cancellation funds aim to mitigate the loss of financial commitments and outlays made prior to the cancellation. The grants are accepted on a rolling basis and distributed monthly in amounts up to $3,000.
Submission fee: none
National Lottery Project Grants for U.K. Artists
Deadline: Rolling
National Lottery Project Grants is always open for project grants between £1,000 and £100,000.
Submission fee: none
See all opportunities
Paid subscribers can access a full list of all current opportunities anytime—updated at least a couple of times each week.
Whether you’re a free or paid subscriber, you can also browse through listings in earlier digests in the archive.
If you are part of an organization or art business that offers opportunities or services you think artists should know about, consider a featured listing or post. Email me at kate@young-space.com or just reply to this email for more info.
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