Past
Grantees

Mónica Savirón received $30,000 for The Ledger Line. This experimental film enacts what ledger lines do, bringing voices difficult to be heard and be accounted for into the musical score. Shifting from archival and found footage to original imagery filmed by Savirón, this work extends the space for what one can hear and express, especially when it comes to sexism, racism, and climate crisis. Sound is the guiding force for the images to move and evolve, tracing lines of cause and effect between our actions and the world.

Tony Whitfield is a multimedia artist, designer and educator whose practice draws upon collaborative relationships to present and interpret urban experience to illuminate social change, particularly in the lives of underrepresented populations, engendering greater understanding of the histories that underpin current cultural phenomena.

During his residency at Camargo, he will be focused on the development of the narrative and textual content of the video and audio- visual components of Over Deep Water, a multimedia theatrical meditation on the experience of caregiving; and Garden Under Bluer Skies, an installation inspired by the palliative potential of herbal naturopathic practices from which HIV/AIDS drug therapies were derived. These two projects will be presented as part of This Dancerie, a cycle of work that explores a century of gay male queer life in Paris and New York. These works recognize the 25th anniversary in 2021 of the implementation of three drug therapies, transforming AIDS/HIV from a terminal illness to a manageable chronic condition.

Manal Abu-Shaheen (she/her) is a Lebanese-American photographer, born in Beirut, and currently living and working in Queens, New York. Her recent solo exhibitions include Theater of Dreams, Bernstein Gallery, Princeton University, NJ; Beta World City, LORD LUDD, Philadelphia, and Familiar Stranger, A.I.R. Gallery, Brooklyn. Her work has been included in group exhibitions at Amelie A. Wallace Gallery, Old Westbury, New York; The Society of Korean Photography, Seoul, Korea; Queens Museum; The Center for Fine Art Photography, Fort Collins, CO; and The Bronx Museum of the Arts. She is a recipient of the Aaron Siskind Foundation Individual Photographer’s Fellowship Grant, Jerome Foundation Travel and Study Grant, Lower Manhattan Cultural Council Workspace Residency, A.I.R Gallery Fellowship, and Artist in the Marketplace Residency at the Bronx Museum. Abu-Shaheen holds a B.A from Sarah Lawrence College and MFA in Photography from Yale School of Art. She teaches at The City College of New York.

Fellowship Statement

My work focuses on the ways in which globalized communication brings idealized images from one culture in contact with the realities of another. Motivated by a lack of visual history of the landscape in Lebanon, I am building my own photographic archive of what Beirut looks like today: a city dominated by billboards. In one sense the advertisements serve as a visualized end energizing capitalist growth, and in another they purport a mythologized western ideal that is incongruous in the post-conflict city. The advertisements and pervasive neo-liberal capital represent our most recent form of colonialism. What is fascinating to me about this system is that it employs images as its most powerful tool. This under-documented place is now occupied by images of a different place and people.

D. Allen (they/them) is a multidisciplinary poet and artist living in Minneapolis. Their first hybrid poetry collection, A Bony Framework for the Tangible Universe (The Operating System, 2019), weaves together poems, lyric essays, dictionary erasures, and images in response to the poet's diagnosis with a connective tissue disorder, asking: What holds us together when the body falls apart? D.’s writing has appeared in QDA: A Queer Disability Anthology, District Lit, Rogue Agent, Lockjaw Magazine, Black Warrior Review, and elsewhere. D. has recently received a Minnesota State Arts Board Artist Initiative Grant, an Emerging Artist Grant from VSA Minnesota, and a Minnesota Emerging Writers’ Grant from The Loft; they have been a resident at the Mallard Island Artist Residency, The Lighthouse Works, Write On Door County, the Andrews Forest, and the Atlantic Center for the Arts. D. earned an MFA in Creative Writing at the University of Minnesota in 2017.

Fellowship Statement

D.’s poetic practice is oriented around presence. Their work takes many forms: word architectures, light drawings, textured surfaces, slow dinners, layered sounds, sustained listening, temporary assemblages, quiet gardening, exploratory movements. Through their work across media and disciplines, D. navigates pain and illness, queer kinship, sex and intimacy, the natural world, and the realities of queer, genderqueer and disabled embodiment. Collaboration and relationship-building are vital to D.’s artistic life.

Currently, D. is developing their first full-length stage work using text, images, light, sound, movement, and large-scale handknit textiles with the support of a 2019 Q-Stage: New Works Fellowship from 20% Theatre Company. D. is also working on a collection of researched lyric essays, while pursuing new collaborations and smaller-scale experimental projects across disciplines.

Photo by poet Roy G. Guzmán.

Noel W Anderson is a professor and Area Head of Printmedia ay New York University’s Steinhardt School of Culture, Education and Human Development. Originally from Louisville, KY, Anderson received his BFA from Ohio Wesleyan University; he holds two MFA’s from Indiana University and Yale University. Anderson’s research initiatives have led to national and international scholarly presentations. He was recently published in October Journal. His works have been exhibited at The Studio Museum of Harlem, Tilton Gallery (NYC), Zidoun/Bossuyt (Luxembourg), and the Global Center for Advanced Studies (GCAS). Anderson was recently a recipient of a Jerome Travel and Study Grant and NYFA Fellowship. Anderson's work explores the tangled historical relationships between weaving, screen culture, and representations of black masculinity. During his time as a Camargo resident, Noel Anderson will work on a series of small- and large-scale tapestries, while researching the history of 17th- and 18th-century French weaving.

Janani Balasubramanian (they/them) is a writer, game designer, and immersive theater maker whose work has been presented on stages across North America and Europe, including The Public Theater, High Line, MoMA, Abrons Arts Center, Andy Warhol Museum, Red Bull Arts, Ace Hotel, Brooklyn Museum, and the Metropolitan Museum of Art. Residency support for this work has included the NEA, Public Theater Devised Theater Initiative, and Mount Tremper Arts. Balasubramanian is currently a 2018-2020 Van Lier fellow at the Public Theater as well as artist-in-residence with the brown dwarf astrophysics group at the American Museum of Natural History. Current projects include Rogue Objects, a live audio game about a celestial object struggling with its consciousness; Transference, a collaboration with stellar astronomer Dr. Natalie Gosnell; Harold and Okno, a Cold War era novel about an extraordinary friendship; and Night Chicken, a farm animal jazz musical.

Fellowship Statement

I am invested in continuing to explore audio-immersive games as a theatrical form. Additionally, I am interested in collaborating with artists in music, film, and VR to develop even newer forms together. I also seek to build from the methods I have developed while in residence with the brown dwarf astrophysics group to collaborate with scientists in other fields. I hope to discover what I, as an artist, can learn from each scientific field’s research practices, and contribute to the rich, historical, and ongoing exchange between theater and science. Finally, I hope to build my fluency with relaxed performance and other accessible theater-making methodologies, and create both large-scale and intimate performance experiences that expand our notion of what contemporary theater can look like, and who and where its audience can be.

Photo by Anna Hadjo.

Rachel Breen (she/her) has exhibited her work across the Twin Cities and nationally. She has received several Minnesota State Arts Board grants, a fellowship from the Walker Art Center Open Field and an artist residency at the Virginia Center for Creative Arts. Rachel’s social engagement projects have twice been a part of Northern Spark, an all-night public art festival addressing climate change. Rachel is a professor of fine art at Anoka Ramsey Community College in Coon Rapids, Minnesota.

Rachel holds an MFA from the University of Minnesota and received her undergraduate degree from The Evergreen State College. She worked as a community organizer for social justice organizations and political campaigns across the country and is a co-founder of Jewish Community Action in Minnesota. These experiences influence the process and content of her art today. Rachel was born and raised in Minnesota. Her ancestors had roots in Poland, Lithuania and Belarus.

Fellowship Statement

At the core of my practice is a sewing machine, which I use to draw, create installations and perform. I describe my work as “public making” as it encourages reflection about social concerns. Through acts of sewing, I divert sewing’s original purpose, that of creating, toward social critique. I call attention to the stitch as a symbol of human interdependence, and I use it to express a belief in the possibility of social change and repair.

My recent work examines the implications of two garment workplace tragedies, the 1911 Triangle Shirtwaist Factory fire in New York City and the 2013 Rana Plaza Factory collapse in Bangladesh. I connect these tragedies to raise questions about the relationship between overconsumption and the abject working conditions of garment workers. With this fellowship, I plan to continue investigating these questions, focusing especially on matters of scale, materials, and public participation.

Photo by Justin Allen.

Shirley Bruno (she/her) holds Masters from London Film School and Le Fresnoy - Studio National des Arts Contemporains where she was an artist fellow. Shirley's shorts have received awards at major festivals including the Off-Limits Prize in Competition for her experimental short AN EXCAVATION OF US at Annecy International Animated Film Festival (2018) and the Prix Ars Electronica Honorary Mention (2018). Her docufiction TEZEN was awarded prizes from the National Greek Film Centre (2017) and the StudioPrix Collector (2016) initiated by art collectors Isabelle and John-Conrad Lemaître. She has received funding and support for her work from New York State Council on the Arts, New York Foundation for the Arts, Jerome Foundation, La Cité International, and LIM—Less is More part of Le Groupe Ouest.

Fellowship Statement

Shirley’s films draw from her heritage preserving and radicalizing her ancestral traditions and mythology. She creates modern myths that expose the slippery spaces between the material and metaphysical world, documentary and fiction, between collective memory and history. She explores the everyday, the Sacred, and the intimate violence in the things left unsaid that mark us generation after generation. Her work often takes its point of departure from neglected histories as well as from rumors, dreams, superstitious beliefs, and memories both real and imagined. Currently, Shirley is developing her first feature film, an intimate meditation on women, land, and family legacy.

Photo by Léa Girardin.

Chia-Lun Chang (she/her) was born and raised in New Taipei City, Taiwan. Her work appears in Literary Hub, PEN America, Hyperallergic, Bettering American Poetry Volume 2, Vinyl, Los Angeles Review of Books, Brooklyn Rail, and Bone Bouquet, among other publications. She’s the author of a chapbook, One Day We Become Whites (No, Dear/Small Anchor Press, 2016) and has been supported by fellowships from the Ministry of Education in Taiwan, the Brown-Tougaloo Partnership, Lower Manhattan Cultural Council, Tofte Lake Center, and Poets House.

Fellowship Statement

I came to the United States to continue my studies, earning a second bachelor’s degree in Fine Arts and a master’s degree in poetry. In these programs and through my work in the writing community, I have deepen my understanding of colonization, women’s rights, and patriotism. Even today, it is difficult to find authentic representations of Taiwan, written by ethnic minorities and native people. Seeking representation, I found two books which spoke to me—Notebook of a Return to the Native Land by Aimé Césaire and Dictée by Theresa Hak Kyung Cha. I admire Césaire for combining anger, violence, colors and temperatures. In Dictée, Cha uses the text as an extension of her body and demonstrates the possibility of developing one’s own multilingual, hybrid-genre voice. With Cha and Césaire as my guides, I have been working on a poetry memoir in which I grapple with the conflict and confusion of identity issues, the lost history of island residents, postwar survival, the causes of female oppression, and the act of speaking out. As a Jerome Hill Artist Fellow, I will expand my first chapbook, One Day We Become Whites, into a book-length project—a Taiwanese poetry memoir.

Jason Coyle (he/him) and Laska Jimsen (she/her) work across nonfiction forms from video documentary to 16mm filmmaking. Their individual and collaborative work has screened at festivals and venues including Ann Arbor, Athens, Big Muddy, IC Docs, Los Angeles Filmforum, Cellular Cinema, and Walker Art Center. Laska and Jason are individual recipients of Minnesota State Arts Board Artist Initiative Grants and a Jerome Foundation Minnesota Film & Video Grant. Laska is Associate Professor of Cinema & Media Studies at Carleton College; Jason is Associate Professor of Media Arts at the Minneapolis College of Art & Design.

Fellowship Statement

Our experimental nonfiction film and video work foregrounds acts of observation in sustained investigations of human-animal relationships, systems of management and classification, and representations of the everyday. Our ongoing series Almanac is a collection of formal studies of light, motion, and time, exploring sensory dimensions of seasonal states through singular moments in afternoons across the year. Research is integral to how we conceive of and create longer-form documentaries. We are currently developing new projects that draw on the history of automation and pose questions about contemporary labor and workplace transformations.

Photo (Jason Coyle and Laska Jimsen’s Deer of North America 2017) courtesy the artists.

Mobile since her birth in Singapore, composer, and saxophonist Caroline Davis (she/her) lives in Brooklyn, New York. Her debut album, Live Work & Play, was featured on All About Jazz’s best releases, and she was named one of JazzTimes’ Best New Artists in 2012. Her second album, Doors: Chicago Storylines, is an audio documentary that uniquely sets stories from Chicago's jazz scene from the 80s and 90s alongside her original music. In 2018, she won the Downbeat Critic’s Poll “rising star” in the alto saxophone category. Caroline’s third album, Heart Tonic, was released on Sunnyside Records to much acclaim in NPR, the New York Times, and DownBeat. Davis’ self-titled Alula, featuring Matt Mitchell and Greg Saunier, will be released on New Amsterdam Records in May of 2019. She has shared musical moments with a diverse group of musicians, from jazz to improvised and composed music, recently including Matt Wilson, Lee Konitz, Angelica Sanchez, Matt Mitchell, and Billy Kaye. Her regular collaborations include Maitri, Whirlpool, and Persona (with Rob Clearfield). She has participated in several mentorship programs, including the International Association for Jazz Education’s Sisters in Jazz and the Kennedy Center’s Betty Carter Jazz Ahead. In March of 2019, she will be a composer-in-residence at the MacDowell Colony to write a set of new works based on the electrical activity of neurons in the brain.

Fellowship Statement

For all my projects, I take care to design the music, hire the right performers, and work towards a message. My process involves reading articles, scribble stream-of-consciousness notes about the compositional tools, shape, and forms of each piece, and sitting down to write. For Heart Tonic, I focused on various types of arrhythmia to write the music after seeking out recordings of irregular heartbeats and speaking with patients who have this condition. In May, I’m releasing an album of trio music (alto saxophone, synthesizers, drums) that was written in response to the vortex generator structure on most birds. I have developed a keen interest in the movements of birds, especially patterns of takeoff, flight, and landing, and the way the alula structure affects them. This work is continuing at a deeper level for the next album, which I am writing music for now. In the immediate future, I intend to immerse myself in the study of neuron function in the brain and to improve my ability to hear/perform complex rhythms. My interest in the first topic developed when I received my PhD in Music Cognition in 2010. I want to understand how neuronal networks communicate, especially with respect to timing and motion, and develop music based on my findings. For the latter, I have been taking classes at Chhandayan Center on Indian systems of tonality and rhythm. With the help of the Jerome fellowship, I’ll be able to take private lessons and improve my abilities.

Photo by Jacob Hand.

Considered one of America's leading spoken word poets, Caridad De La Luz (she/her), aka La Bruja, is a multi-faceted performer named in the “Top 20 Puerto Rican Women Everyone Should Know” (La Respuesta). Known as a “Bronx Living Legend,” Caridad has received a Citation of Merit from the Bronx Borough President as well as The Edgar Allan Poe Award from The Bronx Historical Society. She has performed at The Apollo, Lincoln Center, Gracie Mansion, Cathedral of St. John the Divine, City Hall in New York City and many international venues. Since her 1996 debut performance in the famed Nuyorican Poets Café, she continues to host Monday Night Open Mics where people from all over the world come to perform. The New York Times called her “a Juggernaut" and she is currently cultivating her own art space in the Soundview area of The Bronx called “El Garaje” where she lives.

Fellowship Statement

As an artist connected to ancestral knowledge through my Puerto Rican, Bronx and Taino roots, I create work that speaks about our realities and injustices, as well as to Feminist, Latinx, LGBTQ and POC communities. My goal with this grant is to expand my knowledge of Indigenous practices by visiting artists and healers of First Nations along the Northwest Coast of North America, Peru and Africa. With this knowledge, I will expand my creativity and offer healing circles in The Bronx where I’ve lived my entire life. Through meeting new contacts, I will also be able to invite healers and artists to create and share their knowledge in my space, El Garaje, through creative residencies in the future. My artistic work has always included healing, which is why I chose the stage name “La Bruja” (aka The Witch). My intention is to create transformation via art and Indigenous worldview healing practices.

Photo by Ted Lopez.

Antonio Duke (he/him) is a Twin Cities-based actor, playwright, and teaching artist. He worked with Pillsbury House Theatre as part of the Summer 612 Micro Grant (2011 & 2012), Late Nite Series (2012) and Naked Stages Fellowship (2018) where he created his solo performance play Ashes of Moons. His solo performance play Tears of Moons was part of the Guthrie Theatre’s Solo Emerging Artist Celebration. Antonio’s plays The Death of Kings and The Fog premiered as staged readings at the Guthrie Theatre for The New Griots Festival. His play The Sly Sambo appeared as part of the Fresh Ink Series at the Illusion Theatre. The Fog garnered him The Many Voices Mentorship from The Playwright Center. He's the recipient of the 2019 Artist Initiative Grant through the Minnesota State Arts Board for his solo performance play Missing Mississippi Moons. Training: University of Minnesota/Guthrie BFA Actor Training Program.

Fellowship Statement

My artistic aim is to create stories from the black diaspora as authentically as possible. In my writing I focus on mythology. Within mythos lies intimate and epic circumstances that I am driven to explore. I conjure most of my muse from black spiritualities; specifically, those deities from the Afrocentric Yoruba, Santeria and Voodoo traditions. In my work, I speak about trauma, both personal and historical. Performing traumatic events with Afrocentric cultural aesthetics is important to me because it provides me with the chance to connect with my ancestors. In doing so, I follow in a lineage of West African storytellers called Griots. Stories are strange spells. They are conjurations in our mouths. Playwriting and performance is a spiritual manifestation act rooted in an ancient practice of Afrocentric storytelling. It is through this practice that I can sit with the ancestors that I have yet to meet.

Photo by Bruce Silcox.

Kerri Edge (she/her) is an artivist who uses dance and film as vehicles to shed light on issues of social injustice and commemorate the achievements of African American people. She is Artistic Director of the Edge School of the Arts (ESOTA), which was founded in the image of the Bernice Johnson Cultural Arts Center (BJCAC). ESOTA is dedicated to bringing the art and discipline of African American dance to young aspiring artists and audiences, from local to international. Kerri began her dance training at the age of three at BJCAC in Jamaica, Queens where she met her mentor Michael Peters, who sparked her interest in dance for film. She continued her studies at The Eglevsky Ballet School, LaGuardia High School, Alvin Ailey American Dance Theater, The Martha Graham School, and SUNY Purchase. She earned her Masters in Arts Administration from New York University and is currently a Professor of Dance at Medgar Evers College. Her commitment to the Jamaica arts community is evidenced by her volunteer work with the Jamaica Is . . . Arts Alliance, the Afrikan Poetry Theatre, the Greater Jamaica Development Corporation and the Queens Sickle Cell Advocacy Network.

Fellowship Statement

I am an artist making sense of the world that I am a part of; I would like to leave a trace in forms that are felt and experienced for all people, now and for future generations. I am an artivist grappling with notions of memory and time, along with the role of African American-based dance rituals and body memory, through all of the senses, finding locations for where they intersect and create sensations of depth and wonder. My 4 Little Girls film uses the universal languages of photography, song and dance to depict stories from the American Civil Rights Movement. An extensive education component helps children and adults explore history together through the use of objects from a vast collection of expressive poster samples from the Civil Rights Movement, lessons on two important social issues, and engaging hands-on activities. REFORM: Racial Disparities in the American Justice uses tap dance as a vehicle to shed light on the racial disparities in the American criminal justice system encouraging others to advocate for legislation. The collection of tap dance monologues set to music, poetry and film tell stories that highlight the African American male experience with the criminal justice system and the lasting effects on both the African American family and the community at large. The short stories are compiled into a unified work that stands with victims threatened by the increased discrimination and encourages audience members to realize the promise of equality America makes to us all.

Photo by Saiku Branch.

Jes Fan (they/them) is a Brooklyn-based artist born in Canada and raised in Hong Kong, China. They are the recipient of various fellowships and residencies, such as the Joan Mitchell Painters and Sculptors Grant Recipient, Recess Art Session Residency, Bemis Center Residency, Van Lier Fellowship at Museum of Arts and Design, Pioneer Works Residency, John A. Chironna Memorial Award at RISD. Fan has exhibited in the United States and internationally; selected exhibitions include Mother is a Woman at Empty Gallery (Hong Kong), Disposed to Add at Vox Populi Gallery (Philadelphia), Whereabouts at Glazenhuis Museum (Belgium), Material Location at Agnes Varis Gallery (New York), Ot(her) at Brown University’s Sarah Doyle Gallery (Providence). They received a BFA in Glass from Rhode Island School of Design.

Fellowship Statement

My studio practice is rooted in a haptic approach to understanding how identity is materialized, biologically and ontologically. I use substances such as hormones, silicone and soap—materials that are imbued with erotic and political signifiers to articulate my concerns about diasporic politics, transgender identities, and posthumanism. Currently, I am working on new film, titled Xenophoria. Xenophoria, at first glance, simulates a YouTube cooking video, but the narrative quickly dives into the lab process of melanin production. Here, E. coli bacteria is used as a host, allegorical to ways in which miscegenation has been viewed as a dangerous contamination, and broader anxieties of racial intimacy. The mood of the video shifts and the camera turns to medical portraitures of the 19th century by Lam Qua. A set of paintings that depicts tumors of patients in the Canton region. These paintings ascribe to a colonial period when race and character is still not fully taxonomized, and medical science was sought out as a tool to dissect race as a distinct category. The film ends with a sudden jolt to an interview with a researcher who proposed to harness melanin's anti-radioactive properties for interspace travel in the near future. My work magnifies the surreal realities of existing as a biological body in the age where the body is reconceptualized in digital, informational and molecular terms. It dwells in this productive anxiety and offers no resolution to identity politics that are riven by binaries.

Photo by Han Minu.

Megan Flød Johnson (she/her) is a socially engaged “theatre for youth” artist who brings together youth and their communities through play to spark social action. She co-creates with communities around the country exhibits, events, residencies and performances for the very young.

THE NEST (2014) is an evolving installation about an illusive creature inhabiting public spaces revealed through child-led curation and storytelling. Children’s ideas transform space into a layered, narrative playscape capturing identity(ies) of place, youth assets and reflections on welcoming a stranger. THE NEST was developed at Children's Museum of Pittsburgh (remounted in 2017) and has since traveled to Santa Cruz Museum of Art & History, Noah's Ark at Skirball Cultural Center in Los Angeles, and summer 2019 as an exhibit with the St. Louis Public Library system. THE NEST is the subject of a documentary by filmmaker Alicia Rice called When Kids Meet a Creature.

Megan resides in Saint Paul, MN where she is a Teaching Artist and Program Developer for SteppingStone Theatre and Art Center of Eden Prairie. She holds an MFA in Theatre for Youth and graduate certificate in Socially Engaged Practice from Arizona State University and BA’s in Theatre and Music from Lawrence University in Appleton, WI.

Fellowship Statement

I am a socially engaged “theatre for youth artist” who brings together youth and their communities through play to spark social action. I seek to disrupt dominant narratives and expectations for young people to designate new spaces for process, dialogue, experimental thinking, play and welcoming multiple points of view. Youth agency is central in my work, which experiments with models of participation through performance, unstructured play and hands-on making.

I am working on developing a mobile version of my installation playscape, THE NEST about an elusive creature whom children build a temporary home for in public spaces. I will experiment with different models of engagement for the project including city-hosted events, guerrilla pop-ups, and an original performance. I hope to bring pop-up NEST experiences to youth and families in places where they already are—in parks, parking lots, apartment buildings, clinics, schools, and/or shopping malls. 

Photo by Alicia Rice.