Young Space, no.91
Screwing things up is a virtue.
"Screwing things up is a virtue. Being correct is never the point. I have an almost fanatically correct assistant, and by the time she re-spells my words and corrects my punctuation, I can’t read what I wrote. Being right can stop all the momentum of a very interesting idea.”
—Robert Rauschenberg
One thing I haven’t looked at in a while is my CV. I used to obsess over it, making sure it was up-to-date for applying mostly to jobs, and sometimes grants. I always wondered how much stock people really even put into it, considering that at least in terms of writing, I presume my writing samples do the real work of showing what I can do—the CV being a place to basically share in which publications the work appeared.
It’s not so different for an artist’s exhibition history. I’ve always looked at the artist’s CV as a document that says one of a few things. Either you’re really fresh, there’s little on it, but I can see you’re committed and you’re collaborating with friends or fellow students. Building the CV is important. Then there’s the established artists’s CV, which is often ironically sparse and focuses only on the highlights. This kind of says, “Shoot, I don’t really even need this but here you go”—and sometimes a CV just stops being necessary, full stop.
And then there’s the CV that’s in its prime. It’s characterized by the types of things you’d expect from someone who’s been working for a few years, like having shown a bit with a few galleries in group shows, participated in a residency or two, had perhaps one or two solo shows, and while still working out gallery representation, they’ve demonstrated that they’ve been somewhat “vetted” but there’s still a lot of room to grow. The CV ultimately says, “I’m working really hard, and I’m still figuring out where this goes.” This might sound gatekeepy—because it is—but the CV does give a glimpse of how serious you are and how seriously others take you.
Recognizing one’s peers in the list of recent collaborators can be really helpful. But the things a CV doesn’t tell you are things like, how well might we work together? What overarching goals or expectations do you have? Have these been met in the past? Have pieces sold? How smooth was communication? Logistics?
A CV is handy for considering other elements like, who else might I recognize, who this person has worked with before, that I can either speak to or compare notes with? Whose program do I respect and feel some synchronicity with—making it feel like a good fit to also show this artist?
From a curatorial or editorial perspective, though, I honestly hardly ever pay attention to artists’ CVs. I like to have them handy, but I can’t think of a single time I ever used that document to make a decision about whether I would work with them at all. Incidentally, I do put a lot of stock in artist statements, though. Like if all I got was a bunch of images of work and a very simple, well-written statement, that’s most of what I need to know right there. But it’s still nice to have a bit of a history; it’s hard to go wrong with additional information and context.
That said, what I’ve always found interesting, is that artists don’t have this same range of resources available them when it comes to the other way around. Beyond an exhibition history, how does a gallery or organization demonstrate that it’s trustworthy, experienced, fair, professional, and good to work with?
Sometimes I get questions from folks within my network who wonder if I know anyone who has worked with such-and-such a gallery before. Usually, if I can, I direct them to someone I know who worked with that gallery before. Sometimes there are anecdotes I’m aware of, and I try to be transparent about any chit-chat I’ve heard. But there are often times when a new gallery sprouts up, there’s not much to show in terms of its history, and I’ve never heard of it before either.
There are, of course, horror stories abounds about gallery-artist relationships that went bad. Gallerists lose their artists’ confidence or make shady deals and then turn around and just reopen with a new name, and people are none the wiser. Or artists don’t get paid, or there’s just really bad management, or expectations or the professional relationship just doesn’t gel.
A lot of this has to do with the frank opacity of the art market itself. Privacy and discretion are paramount, especially the bigger the ticket, which makes it really difficult from an emerging artists’ perspective to know what to expect. All they have is the gallerists’ word, and no matter what, galleries are in the business of selling.
At the risk of sounding cynical, it’s important to acknowledge that things don’t always go to plan. And I’m definitely not saying that all gallerists are out there pulling the wool over artists’ eyes—far from it. I know and have worked with a slew of remarkable people whose interests truly keep their artists in focus at all times. I believe this is the majority of gallerists. Many artists have amazing, long-term relationships with a number of galleries, among which many often collaborate with each other and co-represent artists in a way that would have been unheard of a few decades ago. And it usually pays off because they put on better shows, build stronger and longer-lasting relationships, and give their collectors and general audience a sense of true investment.
But it still begs the question—how do artists trust that a dealer or a gallery they may have never heard of is, well, trustworthy?
This isn’t usually an advice column (lol) or even really a professional practices resource, but my thoughts on this come down to communication. In every way, clear, concise, and open communication is your #1 tool for dissecting whether the risk is worth taking. It’s always a risk when you’re working with someone new or a relatively new program, but never be afraid to ask someone else what they think or what their experience has been. And always ask questions. Even if—especially if!?—you’re really excited, think of a few questions to ask. Not only does this show that you’re serious about understanding the offer, but you also show that you’re no pushover, and you like a two-way street.
Especially for younger artists, who are still building a network, navigating new opportunities can feel like a real challenge, but there are always people to ask for guidance—professors, friends, people in other industries. Sometimes the most useful feedback can come from people who aren’t art world folks because they can view things more objectively.
Receive an email that feels a bit too good to be true? Get a message from someone out of the blue who wants to show your work? Never reply immediately. Sit on it for a minute, and do your research. The scams are out of control these days—a whole different playing field. But the same rule applies if you hear from someone who genuinely wants to work with you. Do your research. Trust your instincts. They’re the most powerful tool you have.
See you next week.
—Kate
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What you’ll find below:
Exhibitions to see in Berlin, London, Los Angeles, Mildenhall, Milwaukee, São Paolo, and Toronto
Twelve opportunities for artists with deadlines coming up soon
Exhibitions
SÃO PAOLO | MENDES WOOD DM
Akiko Kinugawa: Above the focus, behind the ear
“I chose this title from an exercise of locating the area of my brain that is activated when I look at my work or at other things. When I look vaguely at something that I am faced with, my eyes lie on a single point, and, instead of focusing clearly on any substance, my consciousness seems to spread above and behind my ears.” —Akiko Kinugawa
Runs through August 9
LOS ANGELES | NAZARIAN CURCIO
This Is Not a Toaster
A group exhibition featuring the work of Carmen D’Apollonio, Woody De Othello, Vincent Pocsik, Brian Rochefort, Isabel Rower (pictured), Davina Semo, Katie Stout, David Wiseman, and Tori Wrånes.
Runs through August 23
MILDENHALL, WILTSHIRE | HUXLEY PARLOUR
Flora’s Cloak
For their summer group exhibition, Huxley Parlour brings together eight artists who explore both universal and personal mythologies, often using figuration to explore cycles of growth and decay, fertility, ritual, and interconnection.
Runs through September 3
More Exhibitions Worth a Peek
Anthony Miler: Tomorrow’s Not What It Used to Be at The Pit, Los Angeles, through August 9
Ruairiadh O’Connell, Anna Paterson, Neal Tait at Lungley Gallery, London, through August 9
Kaden Van De Loo: Hurry-Up Offense at Portrait Society Gallery, Milwaukee, through August 29
Better Living at Cooper Cole, Toronto, through August 30
Joachim Lambrechts: The Need for Speed at Kristin Hjellegjerde, Berlin, through September 9
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!
Durational Pedagogies Fellowship, Dia Chelsea, 2025–26
Deadline: August 10
Fellowships at Dia offer emerging artists, educators, and cultural producers in the suggested age range of 20–26 exposure to and practice in being both the author and protagonist of their own creative, intellectual, and professional trajectories. Based at Dia Chelsea and engaging Dia’s constellation of sites, the fellowship explores the potential for meaningful learning experiences at the intersection of contemporary art, experimental pedagogy, and community engagement. The cohort will consist of eight fellows, and the fellowship runs from October 2025 to June 2026. A stipend of $2,500 is included.
Submission fee: none
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
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
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 the Philippines. The eleven-week, fully funded residency will take place at Gasworks in London from January 7 to March 23, 2026.
Submission fee: none
Gasworks Residency Open Call for an Italian Artist Based in Italy
Deadline: August 28
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
Hunt Museum Open Submissions
Deadline: August 31
This exhibition offers a unique platform for both emerging and established artists to showcase their work in one of Ireland’s most respected cultural institutions. Submissions of work are invited from visual artists working in paint, photography, sculpture, print, drawing, and mixed media.
Submission fee: €15, plus additional €15 per artwork, up to 3 (total of 4)
Lui Shiming Art Foundation Artist Grants 2025
Deadline: August 31
Each year, the Liu Shiming Art Foundations selects up to five artists to receive a $5,000 grant. Artists from any country may apply, and to be eligible, applicants must have either received a degree in studio arts between 2015 and 2023, or had their debut show at a gallery or juried art exhibition between 2015 and 2023.
Submission fee: none
The Svane Family Foundation Culture Forward Grants (San Francisco)
Deadline: September 1
Culture Forward is a five million dollar grant initiative by The Svane Family Foundation supporting arts, entertainment, and culture in Downtown San Francisco. Since January 2025, Culture Forward supports creative projects that attract families, students, and young professionals to Downtown San Francisco. Grants are open to individual artists, collectives, and arts and culture organizations. Grants range from $100 to $10,000.
Submission fee: none
Corsicana Artist + Writer Residency
Deadline: September 1
Corsicana Artist and Writer Residency, located fifty miles south of Dallas, Texas, offers residents the opportunity to develop their work in refurbished, historic buildings across their campus. Residencies last two months and host two artists and one writer. Given the small town setting, residents are encouraged to interact with the cultural, architectural, and geographic landscapes of the South and West of the United States. Included in the residency are opportunities for education, exhibition, and publication of work. Artists must pay a $200 administration fee; there are no additional costs.
Submission fee: $30
1858 Prize for Contemporary Southern Art
Deadline: September 7
The Gibbes Museum of Art in partnership with 1858 Society is accepting applications for this $10,000 prize. Eligible applicants must reside, work in, or be from one of the following southern states: Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, or West Virginia.
Submission fee: $35
Rauschenberg Medical Emergency Grants
Deadline: Rolling
These grants of up to $5,000 support direct treatment expenses that have been incurred, or are needed, for medical, dental or mental health treatment. Artists practicing in the visual arts, film, video, electronic, digital arts, and choreography are eligible. The program is offered approximately every two months in rolling cycles.
Submission fee: none
Gottlieb Emergency Grant Program
Deadline: Rolling
The Adolph and Esther Gottlieb Emergency Grant program is intended to provide interim financial assistance to qualified painters, printmakers, and sculptors whose needs are the result of an unforeseen, catastrophic incident, and who lack the resources to meet that situation. Each grant is given as one-time assistance for a specific emergency, examples of which are fire, flood, or emergency medical need. Amount may be up to $15,000, typically $5,000.
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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