Art Competition Odds

Art Competition Odds: Women’s Studio Workshop 2019 Studio Workspace Residency

The Women’s Studio Workshop’s 2019 Studio Workspace Residency received 98 applications for 6 residencies.

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Selected artists comprise ~1:16, or 6.1% of applicants.

Note: WSW typically awards 5-9 Studio Workspace Residencies, depending on how events impact the maximum number of artists that they can accommodate in the studio.

See all Art Competition Odds.

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Art Competition Odds

Art Competition Odds: Women’s Studio Workshop 2019 Parent Residency Grant

The Women’s Studio Workshop’s 2019 Parent Residency Grant received 118 applications for 2 awards given.

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Selected artists comprise 1:59, or ~1.7% of applicants.

See all Art Competition Odds.

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Art Competition Odds

Art Competition Odds: Women’s Studio Workshop 2019 Artist’s Book Residency Grant

The Women’s Studio Workshop 2019 Artist’s Book Resident Grant received 69 applications for 4 awards.

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Selected artists comprise 1:17, or ~5.7% of applicants.

See the odds for WSW’s Studio Residency Grant in 2017 or 2015.

See all Art Competition Odds.

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Art Competition Odds

Art Competition Odds: Women’s Studio Workshop 2020 Studio Residency Grant

The Women’s Studio Workshop 2020 Studio Residency Grant received about 231 applications for 3 awards.

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Selected artists comprise 1:77, or ~1.3% of applicants.

See WSW’s 2017 odds for this program.

See WSW’s 2015 odds for this program.

See all Art Competition Odds.

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Art Competition Odds

Art Competition Odds: Center for Craft’s Craft Research Fund Artist Fellowship

The Center for Craft’s Craft Research Fund Artist Fellowship received nearly 127 applications for 2 fellowships.

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Selected artists comprise 1:63.5 or less than 1.5%, of applicants.

See all Art Competition Odds.

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Art Competition Odds

Art Competition Odds: Harpo Foundation’s 2020 Grants for Visual Artists

The Harpo Foundation’s 2020 Grants for Visual Artists received nearly 1,300 applications for 10 grants.

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Selected artists comprise 1:130, or less than 0.7%, of applicants.

See all the 2017 odds.

See all Art Competition Odds.

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Impressions

On Fear, Responsibility, and Intelligence

“Perhaps [Dorothea] Lange’s fears came from a deep consciousness of her responsibility. After documenting nearly a half-century of crises and the lives of those most deeply affected by them, Lange understood, possibly too well, the enormous responsibility that comes with telling any story, but especially the story of other people’s struggles. Fear is an embodied knowledge, an almost physical intuition of possible outcomes learned through past experience. It can spin into paranoia, paralyze us, shock us into impassivity. But it can also be a powerful drive, as I suppose it was for Lange, who with all her “darkroom terrors” was still able to document what many others had not yet seen or wanted to see. Fear allows us to give shape to things that we were unwilling to see or unable to name. Fear is a specific form of intelligence that comes when hindsight, insight, and foresight collide.”

—Valeria Luiselli’s profile of photographer Dorothea Lange, “Things as They Are” in the NY Review of Books (November 19, 2020). 
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Impressions

On Aging and the Perils of Perfectionism

“I was not quite 40 but felt, in many ways, older. My hair, once as heroically thick as the David’s, had begun to thin visibly, and I felt sad about this, and I also considered my sadness to be its own failure, because I wanted to be the kind of person who didn’t care about superficial, middle-age things….

“My youthful pursuit of David-like perfection had gone, shall we say, not terribly well. I had turned out to be a strange person, not anything like an ideal. My life was littered with awkwardnesses, estrangements, mutual disillusionments, abandoned projects….

“Perfection, it turns out, is no way to try to live. It is a child’s idea, a cartoon — this desire not to be merely good, not to do merely well, but to be faultless, to transcend everything, including the limits of yourself. It is less heroic than neurotic, and it doesn’t take much analysis to get to its ugly side: a lust for control, pseudofascist purity, self-destruction. Perfection makes you flinch at yourself, flinch at the world, flinch at any contact between the two. Soon what you want, above all, is escape: to be gone, elsewhere, annihilated.”

Sam Anderson, “David’s Ankles,” NY Times, August 17, 2016
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