Fellowship Proposal: Smithsonian Artist Research Fellowship (SARF), 2019

Submitted: February 2019 Status: Awarded and spent 4 weeks (2 weeks at a time) in Washington DC for the project. Timeframe: One-year research access to selected Smithsonian research areas/archives, with up to $2000 in funding support. Materials submitted: Short abstract, maximum 5 page project description and 10 images.

Fellowship proposal: “Empire Gardens”

Submitted: November 13, 2015. Fellowship opportunity for junior professors, UC Berkeley, Townsend Center for Humanities.  Status: Not accepted. Timeframe: One-year supported project. Would have meant a 50% teaching courseload reduction in order to focus on research, or 1 semester off from teaching. No project funds provided, just time. Assessment: Looking back on this now, I think the scope of proposal was way too big for the year-long limited timeframe of the Fellowship. This is a multi-year project and I should have made clearer that the initial research phase was what was to be accomplished in the first year. I can see the committee thinking this project was too far-reaching for being deliverable. No formal feedback was given, so this is just my personal assessment. I still really like this project however, and will work on it in different capacities, resubmit under different funds, or propose towards a museum/institution that could support it.

PROJECT PROPOSAL: “Money Factory (An Economic Reality Game)”

Submitted: August, 2015. Invited by the curator of the Asian Art Biennial at the National Taiwan Museum of Fine Arts, Taichung, Taiwan to create a site-specific project. This is proposal #2 after being requested to revise proposal #1 in order to better reflect an incentive for museum visitor participation and tailor it towards current economic conditions in Taiwan. Status: Accepted and realized as a full installation that opened one month later (September 2015) as part of the Asian Art Biennial. Timeframe: Three months from initial project proposal to realization. Funding: Commission included two roundtrip visits and hotel accommodations from San Francisco to Taichung: one week in June for research on local economies and one week in September to oversee installation and execution for the opening. Full production funds and graphical execution by the museum (within a budget). US$3000 in artist honoraria and US$400 in per diem provided in total.

==> Exhibition documentation images here.

PROJECT PROPOSAL: “Artistic Capital/Market Manipulations (San Francisco Edition)”

UNREALIZED PROJECT PROPOSAL: "The Situation Room (San Francisco Edition)"

Submitted to: SOMArts Curatorial Commons Residency proposals, November 2013

Status: Passed first round, rejected during final round.

UNREALIZED PROJECT PROPOSAL: "The Apples Store"

Submitted October 2014 to: Temple Contemporary for a collaboration with Tyler School of Art Printmaking Department and the Fox School of Business. Status: passed over due to complications of production, but a similar project, "Market Forces" moved forward successfully instead.

UNSOLICITED PROPOSAL: "Viewing Copy (Traffic Circle)"

Knowing that “viewing copies” of video and film works circulate amongst curators, galleries, artists and museums, create a compilation/database of these works based on my personal friend extension network and within a given art community. Viewing copies are illicit in the sense that they are sanctioned for very specific use and are not the "artwork" per se, although, for all intents and purposes, are at times exactly the files that are used to screen the work. They are not meant to be circulated and are often guarded or under limited distribution. Unlike a larger file-sharing service like aaaaarg.org or The Pirate Bay, “Viewing Copy” becomes a profile and portrait of a scene of artists and curators, reflective of their specific tastes and what they have culled through their own pathways. Not for redistribution or digital download, on-demand screenings would be held within a gallery or viewing space, creating a physical space for communal viewing as opposed to single consumption. Exhibitions would take place in different cities as "swaps" in which, say, the scene in SF would make available their viewing copies for folks in Chicago to view, etc.

GRANT APPLICATION AND PROJECT PROPOSAL: "American Rubble (Micro-Monuments)"

Submitted: Phase 1 project for Haverford College, Philadelphia; Creative Capital Grant cycle 2014 Status: to be notified by Creative Capital if passed first round, June 2014; accepted by Harverford College for Fall 2014

RESIDENCY APPLICATION: European Ceramics Work Center (EKWC)

Submitted: April 29, 2014 For: European Ceramics Work Center (EKWC) Project residency, The Netherlands, for 10 weeks in 2015 Status: Unsuccessful application. Did not receive a formal response back via email and saw the final selections on the website. Submission requirements:

project proposal

budget

14 work samples

cv

application form

35 euro application fee

UNSOLICITED PROPOSAL: "This is Not an Art Fair"

Design and run a gallery so that it looks exactly like an art fair booth, an inversion of the new normal. Hire only artists who work as preparators to design and build the "art fair booth" based on their collective experiences and memories of working and installing within art fairs. Pay the workers double the going rate for art fair work, making it an incredibly expensive installation that doubles as a fictional replica of a composite art fair booth. 

GRANT APPLICATION: Guggenheim Fellowship 2014

Submitted: September 2013 For: John Simon Guggenheim Fellowship Award in Fine Arts Status: Passed initial round in late January, then was asked for letters of recommendation and work samples (images). Accepted, April 2014.  Submission requirements: 

Career narrative (up to four pages)

Statement of plans (up to four pages)

Up to 18 images with caption information

CV (18 pages)

three letters of recommendation

monetary request up to $50,000

Selection of 18 images submitted here:  https://www.flickr.com/photos/49646846@N00/sets/72157638477943366/

PROPOSAL: The International Orange Commemorative Store

Submitted: Nov. 2011 For: Invitation to participate in FOR-SITE Foundation's major public exhibition "International Orange," located at Fort Point, San Francisco.  Status: Proposal accepted and opened in May 2012, running until October 2012. Only major change was that we were not allowed to actually sell anything from the "store," which turned it into a static installation. I absorbed this limitation and it became part of the concept: http://www.stephaniesyjuco.com/p_theinternationalorange.html

PROPOSAL: FREE TEXTS (An Open Source Reading Room)

Submitted: Nov. 2011 For: Invitation to submit proposal to participate in the ZERO1 Biennial in San Jose, CA.  Status: Proposal accepted with slight revisions, and exhibited in Sept. 2012. Final installation had different furniture components and title, and was refined over a year of development. Final documentation: http://www.stephaniesyjuco.com/p_freetextsinstallation.html

PROPOSALS: Custom Transitional Utility Object (Morris Mover) and Temporal Aggregate Configuration (Borrowed Beuys)

Submitted: May 2009 For: Inclusion in exhibition "1969" at MoMA/P.S.1. Invited by the curator to be in the show and to submit proposals for projects in response to an exhibition showcasing seminal artworks from NY MoMA's collection dating from 1969. Several iconic artworks were not able to be lent, and I was asked to step in and create proxies using an alternate logic structure. Status: Proposals accepted and executed for show in October 2009. Total production budget of $900 provided for both artworks. Project documentation here: http://www.stephaniesyjuco.com/p_morris_mover.html and http://www.stephaniesyjuco.com/p_beuys_borrowed.html

PROPOSAL: notMoMA

Submitted: December 2009 For: Exhibition and week-long residence at Washington State University, Pullman, WA. Invited by faculty member to work with his sculpture class, lecture, and have an exhibition. Status: Project accepted and realized in February 2010. Final documentation here: http://www.stephaniesyjuco.com/p_notmoma.html

PROPOSAL: COPYSTAND: An Autonomous Manufacturing Zone

Submitted: May 2009 For: Submission invitation by Frieze Projects, London, for the Frieze Art Fair Status: Project accepted and realized in October 2009 with an approximately $9,000 production budget (minus airfare and hotel). Documentation here: http://www.stephaniesyjuco.com/p_copystand.html

APPLICATION: Bemis Center for Contemporary Art Residency

Submitted: Winter 2011 For: Artist in residence program at Bemis Center for Contemporary Arts. http://www.bemiscenter.org/residency Category: Visual Arts/Sculpture Status: Awarded residency, attended summer 2013. Wound up doing a totally different project because my interests had changed between the year and a half-of application and actual attendance.

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RESIDENCY PROPOSAL:

If granted a residency at Bemis I would focus on creating new sculptural objects and installations that reflect my ongoing interest with the fabrication and accumulation of goods in a globalized economy. In previous works this has taken many forms: from storefront-like installations, presentations of large-scale arrays of items and objects which become activated with viewer participation, and collected displays of labor and craft. 

I am seeking a residency at Bemis specifically because it is located in an area which was once home to large-scale industrial production and flows of goods: in the 19th Century, railroads and shipping influenced the development Omaha. I hope to be able to incorporate this history and research as a larger investigation into American labor and the effects of manufacturing's move to overseas production. While I have been lucky enough to have been included in international exhibitions that address the context of global production, to be able to refocus on the roots of American industry would be an enriching and fruitful direction for a new project.

Using both meticulously-handmade and mass-produced objects, I would explore the frictions that exists between two competing forms of fabrication. This past summer I presented a solo exhibition, "Pattern Migration" at the Columbus Museum of Art that mixed the presentation of historical 19th Century American-made weavings with newly-made, "hybrid" objects. I hope to further this exploration of history and industry at Bemis.

REQUIREMENTS

This would require access to basic woodworking and sculpture facilities and a studio that could accommodate the presentation of large-scale installations.