THe Application portal for the 2022 Grant cycle is now closed

Wherewithal

Grants for visual artists in the DC area

Courtesy of WPA and the Andy Warhol Foundation

2020-21 Grantees

Twelve artists and collectives received $5,000 for research and idea development: Sobia Ahmad, CONTROL-ALT-DELETE, Ayana Zaire Cotton, janet e. dandridge, Jeremiah Edwards & Jeremiah Long, Curry Hackett, Michelle Lisa Herman, MJ Neuberger & Susan Main, Mojdeh Rezaeipour, Asha Adia Santee, Jessica Valoris, and Monsieur Zohore. Their research covered such wide-ranging subjects as ancestral memory, abolitionist technology, socio-ecological relationships, and the resurrection of now-forgotten performances.

Watch a selection of 2020-21 Research Grantees Presentations from June 2021 here.

Sobia Ahmad

Memory is a Homeland

Sobia Ahmad will conduct planning and research for the creation of a Knowledge Bank for Diasporic Futures. She will explore how textiles and traditional crafts preserve cultural memory and ancestral knowledge, specifically that of immigrant and indigenous communities. She will collaborate with elders and community members from her ancestral village in Pakistan through storytelling circles and skill-sharing workshops. 

Sobia Ahmad is an interdisciplinary artist whose practice maps the various ways the personal and the political overlap. By charting her own experiences and community narratives, and weaving them with current and historical socio-political contexts, she highlights the inseparability of the self and larger power structures. The work poses questions like: What confirms or dissipates our sense of belonging? What effects do policies have on our personal and collective psyches? And how can our deeply intimate struggles of belonging inform larger conversations about national identity, notions of home, cultural memory, and gender?

Photograph by Naoko Wowsugi

CONTROL-ALT-DELETE

A Series of Interventions in the Gendered Digital Space

This newly formed collective will build a visual language analyzing cyberpsychology, machine learning technology, and popular internet culture. During the grant period, they will train artificial intelligence (using machine learning) to explore gender inequality, performative reconciliation, and define nuances of tone inherent in built-in structures, both online and off. The collective will collaborate with machine learning experts, data specialists, artists who use AI, designers, and the public to realize a series of digital interventions.

Dawne Langford is interested in artist movements that are firmly rooted in the power of the collective, working towards developing collaborative efforts that can creatively set the path to our liberation and better future. Alex Tyson is a researcher and designer with a tech background. She is interested in projects which look at meme politics, internet addiction, technological violence, moving beyond information to understanding, and the role of an individual or group's agency over technology. Dafna Steinberg is an interdisciplinary artist, whose current focus of her practice is photography and hand-cut collage that utilizes paper ephemera, found objects and text. Her work explores the variety of people’s relationships as well as the emotions connected to them. The projects she creates unpack how and why humans need one another. Her work also addresses the inequalities between different people, predominantly by gender, specifically regarding issues of grief, sexual trauma, harassment, domestic violence, and body acceptance.

Ayana Zaire Cotton

Crafting Care: The Poetics of Design, Computation, and Abolition

Ayana Zaire Cotton will research the relationships between abolitionist technologies and aesthetics to understand how they might help us imagine a liberated future. This will involve the study of Indigenous African objects and textiles, and how the fractals in their designs might be used to reorganize our physical world using computing and code. She will collaborate with artists, alternative schools, and an ethno-mathematician.

Ayana Zaire Cotton is a transdisciplinary artist, writer, and software engineer whose current practice is rooted in the research of craft, labor, and liberation. Her past projects include DISTRIKT, a collective print publication platform showcasing the art, politics, and style of the DC metro area artist community and Zaire Studio, a fashion line as a platform for researching labor studies and aesthetics through textiles, photography, and storytelling.

Photograph by Chukwudumebi Ezefili

janet e. dandridge

Inquiries on Release and Other Paths to Liberty

janet e. dandridge's research centers on Post/Present-Traumatic Stress Disorder (PPTSD) driven by the question: How can memory, dreams, asylum, and catharsis contribute to holistic healing for individuals who’ve experienced and continue to experience trauma throughout their lives? This research specifically pertains to societal trauma perpetuated by racism and misogyny, and in particular, the PPTSD of Black women and girls. janet's primary investigations will include conversations with Black women whom are mental health professionals, spiritual guides, artists, activists, and law professionals.

janet e. dandridge is an interdisciplinary artivist (fine artist + activist) based in Washington, DC.  janet intersplices theatrical performance, photography, empirical data, identity politics, and whimsy into a keen reflection on social constructs and governing policies. Her creations are often viewed as public service announcements that initiate dialogue and solutions to cultural, socio-political, and socio-economic struggles of the disenfranchised and dehumanized.

Jeremiah Edwards and Jeremiah Long

Place Based Justice (PBJ) 

With the goal of eventually developing curriculum, Jeremiah Long and Jeremiah Edwards will evaluate the impact of place-based education on local youth in DC’s Black community. They will work in collaboration with local community leaders, elders, artists, teachers, and youth in pursuit of answers to a central question: Can a holistic understanding of one’s relationship to a place instill political urgency, social awareness, and the will to uplift one’s community? 

Jeremiah Edwards and Jeremiah Long are longtime friends and artistic collaborators. Jeremiah Edwards is an illustrator/muralist based in Woodbridge, VA. Jeremiah Long is a ceramicist based in Alexandria, VA. They both are passionate about educating and creating art that uplifts the Black community. 

Curry Hackett

Drylongso: An Exploration of Black Life, Food, Plants, and Land

Curry Hackett will conduct interviews and write speculative case studies on "Black landscapes”—exploring the socio-ecological relationships that Black folks foster and maintain within urban environments. His research is based on the assumption that these relationships exist, or can be envisioned, in spite of pervasive neo-colonial attitudes. Curry will collaborate with such knowledge partners as Black landscape architects, ecologists, herbalists, ethnobotanists, and artists.

Curry Hackett combines architecture, graphic design, and urban design. He is founding principal of Wayside Studio in Washington, DC, collaborating with communities and organizations to engage culture, ecology, and place. Hackett teaches architecture at his alma mater, Howard University.

Michelle Lisa Herman

Up to Code? Where ableism meets patriarchy in art and technology 

As a woman artist with disabilities working in and with technology, Michelle Lisa Herman will research the intersection of feminism, technology, art, and disability. Specifically, she will look at the relationships between ableism and patriarchy and the ways in which assumed defaults, when mediated through technology, continue to perpetuate assumptions that disenfranchise all. Her collaboration will include other women-identifying artists and artists with disabilities, and researchers who study gender inequity in the tech industry.

Michelle Lisa Herman is a DC-based interdisciplinary artist whose practice spans theoretical and philosophical research, feminist and disability politics, comedy, and conceptualism. Herman's work broadly traverses the margins between ability and what is beyond our reach: particularly the limits of perception, attention, connection, and categorization in the digital age.

Photograph by E. Brady Robinson

MJ Neuberger and Susan Main

Meeting Ground 

In a time of ongoing environmental, social, racial, and economic inequity, as well as limited physical human connection, can touching the ground recenter attention, help us overcome trauma, and change the way we perceive the world around us? If so, how? MJ Neuberger and Susan Main will use their research to create a theoretical, practical, political, and aesthetic base for future projects that will grow a community of participants and researchers.

MJ Neuberger and Susan Main collaborate on research that considers the ground as a point of entry to shared space where interconnection between earth and self, individual, and other is made visible. Susan Main’s multidisciplinary work explores individual and social contracts between space, time, and attention, pairing the unmediated event with tools that attempt to measure, define, locate, and orient. MJ Neuberger’s installations, sculptural works, and social practice draw from indigenous and self-created ritual and natural processes to reoccupy bodies abandoned in intergenerational trauma and colonialism.

Mojdeh Rezaeipour 

Mapping Fragments 

Mojdeh Rezaeipour’s research focuses on a collection of ancient fragments of pottery that originate from over thirty sites located across the Middle East.  She will build and share a library of resources, as well as organize a series of independently-led interviews with an intergenerational group of experts, locals, and creators with lineage across the sites. This inquiry is the beginning of a much more expansive body of research, as well as a first step, perhaps, of a collectively imagined work.

Mojdeh Rezaeipour creates mixed media works, installations, and films that explore notions of home, time, and memory. Her practice is largely process-led and moves playfully between media, resulting in a dynamic and ephemeral storytelling language that incorporates existing bodies of her 2D, sculptural, and video work as a part of its immersive vocabulary.  She is a graduate of UC Berkeley, where she studied architecture, and of Alt*Div, an alternative divinity school centering the intersections of healing justice and art as spiritual practice.

Asha Santee 

ASCENTROIX

Asha Santee will research how galactic escapism—an outer space reverie and sonic frequency—in interaction with racial trauma, can offer healing for the Black community. Realized in collaboration with Black therapists and healers, musicians, and comic artists, Asha’s research will be driven by the question, “At what frequencies do Black people experience healing?” 

Asha Adia Santee is a multidisciplinary artist based in Hyattsville, MD. She uses acrylics, broken drumsticks and cymbals, mixed media, and sound to create visual and audible experiences. Her current project, “ASCENTROIX” (pronounced ascentro 9), is a movement-powered, audio, and digital art galaxy that aims to heal the psychological impacts of racial trauma in the Black community through frequency and galactic escapism.


Jessica Valoris 

Black Fugitive Folklore

Jessica Valoris will explore the histories of Black fugitivity, flight, and petit marronage (ways in which enslaved Africans subverted the plantation and captivity through truancy, gatherings, harboring fugitives, creating networks of complicity, and other practices), and how these histories can inform current movements for liberation. She will uncover how small acts of freedom actualize larger movements for liberation, and how Black people carry the lineage of petit marronage. In collaboration with Black authors, thinkers, and artists, and accessing archives including Freedom On the Move and the WPA Slave Narrative Archive, Jessica will explore the question: “What does flight make possible?”

Jessica Valoris is a multidisciplinary artist and facilitator whose creative process is rooted in spiritual practice, historical study, and community wellness. Jessica weaves together mixed media visual art and sound to activate spaces of connection, healing, and visioning. Inspired by Afrofuturism, metaphysics, and historical memory, Jessica's artwork celebrates the resilience and innovation of Black people, Black culture, and Black futures.

Monsieur Zohore

Ghost Stories

Monsieur Zohore will use research as a means of resurrecting performances that have gone forgotten as a result of the circumstances they were made in. Their research will focus on the following questions: What works haunt the specter of performance art? How can they resurrect them into our present? How can they use the resurrection of historical works to help resurrect performance art in the post-pandemic world? Monsieur Zohore will connect with artists, institutions, curators, and academics dedicated to performance art. 

Monsieur Zohore is an Ivorian-American artist based between the DC area and New York City. Their practice investigates the “consumption” and “digestion” of culture through the conflation of domestic quotidian labor and art production through performance, installation, and sculpture.


Criteria & eligibility

RESEARCH GRANTS
Eligibility and Requirements:
  • Applicants must live within the greater Washington area either in DC, Arlington, Alexandria, Fairfax, Montgomery, or Prince George’s counties
  • Applicants must be visual artists, or artists with a history of presenting their work in visual arts contexts/venues (performance, film, text, and/or sound artists are eligible if their work explicitly engages visual arts discourses)
  • Artists can choose to apply for either a Research Grant or Project Grant (not both) depending on which best supports your practice at this time
  • If you are applying as a collective, one person must serve as the applicant, be responsible for the receipt, management, and distribution of the funds, handle all communications with WPA, and be responsible for grant reporting
  • A minimum of $3,500 of the grant should be set aside as compensation for the time you will spend on research and development (reading, writing, communicating with other artists and/or scholars)
  • The remaining $1,500 can be used to pay collaborators or thinking partners and/or gain access to specific resources (travel, book or journal purchases, workshops and classes, photocopying from archives, subscriptions, etc.)
  • Grants can be used to support new or ongoing research
  • WPA asks that grantees prepare a public-facing presentation of their research to be given in the summer 2022, more information will be provided upon award

Ineligible:

  • Full-time undergraduate or graduate students
  • 501(c)(3) organizations and for-profit organizations (LLC, corporations, partnerships, etc.)
  • Research for already-scheduled exhibitions, performances, or presentations at 501(c)(3) organizations and for-profit organizations

Evaluative Criteria:

Successful applicants will excel in one or more of the following:

  • Artistic Impact: The inquiry is experimental, imaginative, innovative, or unconventional, and furthers the applicant's practice in meaningful ways
  • Context/Relevance: The research is considerate of its context; it engages with other artists/thinkers in relevant discourses
  • Feasibility: The applicant demonstrates the ability to carry out the proposed research within the grant period

PROJECT GRANTS
Eligibility and Requirements:
  • Applicants must live within the greater Washington area either in DC, Arlington, Alexandria, Fairfax, Montgomery, or Prince George’s counties.
  • Applicants must be visual artists, or artists with a history of presenting their work in visual arts contexts/venues (performance, film, text, and/or sound artists are eligible if their work explicitly engages visual arts discourses).
  • Projects must be shared publicly during the grant period. These public presentations can take a variety of forms, including but not limited to: in-person or virtual events, exhibitions, performances, publications, interventions, screenings, readings, round-table discussions, installations, lecture series, curated dinners, festivals, and walking tours.
  • The project, as described, should have a clear beginning and end date, either or both of which can fall outside of the grant period.
  • Projects must take place in DC or in the eligible surrounding counties (Arlington, Alexandria, Fairfax, Montgomery, or Prince George’s counties), or take place virtually.
  • Grantees are responsible for organizing and managing their projects as well as finding sites and venues.
  • If you are applying as a collective, one person must serve as the applicant, be responsible for the receipt, management and distribution of the funds, handle all communications with WPA, and be responsible for grant reporting.
  • These $5,000 grants can be used to pay for your time and that of your collaborators, production and material costs, etc. It can entirely fund a small-scale project or event, or contribute to the funding of a larger project with multiple sources of funding.
  • Grantees are required to submit a final report on outcomes and reflections at the end of the grant period.

Ineligible:

  • Full-time undergraduate or graduate students
  • 501(c)(3) organizations and for-profit organizations (LLC, corporations, partnerships, etc.)
  • Projects that will take place in/at 501(c)(3) organizations or for-profit organizations (LLC, corporations, partnerships, etc.)

Evaluative Criteria:

Successful applicants will excel in one or more of the following:

  • Artistic Impact: The project has a core idea/inquiry/theme and its presentation is experimental, imaginative, innovative, or unconventional, and furthers the applicant's practice in meaningful ways
  • Context/Relevance: The project ideas are considerate of their context; the project engages artists/thinkers and audiences in relevant discourses and meaningful ways
  • Collaboration: The project engages multiple artists and thinkers in the development and presentation processes
  • Feasibility: The applicant demonstrates the ability to carry out the proposed project within the grant period

Key dates and contact

2022 GRANT CYCLE

Virtual Information Session: Thursday, September 23

Office Hours: September 22–October 7, 2021

Application Deadline: Monday, October 18, 2021 at 11:59 pm EDT

Independent panel convenes: November 2021

Notifications: December 2021

Grant Period: January–December 2022

Research Grant In-Process Presentations: Summer 2022

QUESTIONS?

Contact Regrants Manager Nathalie von Veh at nvonveh@wpadc.org or follow @wherewithalgrants on Instagram

Apply now

2022 GRANT CYCLE

The application portal is now closed. Applications will be reviewed by an independent panel of artists and arts professionals with up to 12 grants awarded and announced in December 2021. The grant period is from January–December 2022. Please find the application questions and links to apply to both grants below.

RESEARCH GRANTS

These $5,000 grants are for research and ideation. Research Grant funds can be used to compensate you for your intellectual labor, to pay other artists and thinkers for their time and contributions, and for costs associated with gaining access to specific resources.

PROJECT GRANTS

These $5,000 grants are for collaborative projects. Project Grant funds can be used to support ongoing, or new, artist-organized projects that are presented publicly during the grant period in unconventional or D.I.Y. artist-run spaces in the DC-area, or virtually. Projects cannot take place in established commercial galleries, museums, or non-profit art spaces.

QUESTIONS?

Please email Regrants Manager Nathalie von Veh at nvonveh@wpadc.org. For updates, follow @wherewithalgrants on Instagram and sign up for WPA's newsletter here.

Wherewithal Grants

Wherewithal Grants are a funding source for visual artists in the DC-area. Generously funded by the Andy Warhol Foundation for the Visual Arts as part of its Regional Regranting Program and managed by Washington Project for the Arts, these grants are intended to support a wide range of experimental and multidisciplinary practices, particularly those that emphasize collaboration and discourse. Since launching in 2019, Wherewithal Grants has supported 112 visual artists with a total of $160,000 in grants.

2022 Grant Cycle

The application portal is now closed. Grants are for DC-area visual artists and collectives to further their practices through collaborative research and group projects. The application deadline was Monday, October 18, 2021 at 11:59 pm EDT. Applications are being reviewed by an independent panel of artists and arts professionals and up to 12 grants will be awarded. The grant period is from January–December 2022.

Research grants

These $5,000 grants are for research and ideation. Research Grant funds can be used to compensate you for your intellectual labor, to pay other artists and thinkers for their time and contributions, and for costs associated with gaining access to specific resources.

Project grants

These $5,000 grants are for collaborative projects. Project Grant funds can be used to support ongoing, or new, artist-organized projects that are presented publicly during the grant period (January–December 2022) in unconventional or D.I.Y. artist-run spaces in the DC-area, or virtually. Projects cannot take place in established commercial galleries, museums, or non-profit art spaces.

For updates, follow @wherewithalgrants on Instagram and sign up for WPA's newsletter here


Washington Project for the Arts (WPA)

Washington Project for the Arts (WPA) is a platform for collaborative and experimental artist-organized projects, dialogue, and advocacy. Artists curate and organize all of their programming—as an extension of the artist's research. Projects can take many forms, from conversational dinners, exhibitions, field trips, film screenings, grass-roots organizing meetings, performances, publications, symposia, and more. Wherewithal Grants furthers WPA’s commitment to supporting artist-organized culture.


The Andy Warhol Foundation

Established in 1987 in accordance with Andy Warhol’s will, the Andy Warhol Foundation for the Visual Arts’ mission is the advancement of the visual arts. The primary focus of its grant making activity is to support the creation, presentation, and documentation of contemporary visual art, particularly work that is experimental, under-recognized, or challenging in nature.

The foundation’s Regional Regranting Program, launched in 2007, aims to support vibrant, under-the-radar artistic activity by partnering with leading cultural institutions in communities across the country. The program allows the Warhol Foundation to reach the sizable population of informal, non-incorporated artist collectives and to support their alternative gathering spaces, publications, websites, events and other projects.

The regranting programs are facilitated by 516 Arts in Albuquerque; Baltimore Arts Realty Corporation in Baltimore; Gallery 400 and Three Walls in Chicago; DiverseWorks, Aurora Picture Show, and Project Row Houses in Houston; Charlotte Street Foundation and Spencer Museum in Kansas City; Locust Projects in Miami; Midway Contemporary Art in Minneapolis; Antenna and Ashe’ Cultural Fund in New Orleans; Portland Institute of Contemporary Art in Portland (OR); Spaces Gallery in Portland (ME), Southern Exposure in San Francisco, and Washington Project for the Arts in Washington, DC.

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