For our fifth annual Queer|Art Mock Panel workshop series, we invited artists, curators, editors, and administrators to help artists across disciplines demystify “The Application”—an integral part of artists’ professional practices, and one often shrouded in secrecy. What is it that really makes an application stand out? How does one balance professional language with their creative voice? How can one best represent their interdisciplinary practice? These questions and more were answered through a “mock panel” format, inspired by artist and educator LJ Roberts at the New School, featuring live application review in a closed, supportive setting. The reviews covered everything from formatting tips to work sample advice, CV edits and deep dives on language.
This year’s reviewers included: painter Grace Rosario Perkins and curator Margaret Ewing (Visual Art); writer, performer, and theater-maker Agnes Borinsky and creative producer Marýa Wethers (Performance); moving image archivist and curator Carmel Curtis and writer and film programmer Shayna Maci Warner (Film); and writer and review manager Suzi F. Garcia and writer Red Samaniego (Literature).
Below, we’re sharing some pearls of wisdom dished out by this stellar group of reviewers:
Be a gracious host. Agnes Borinsky (Performance) reoriented the role of the applicant—you’re not merely asking for support (a residency, a grant, etc.), “you’re hosting the reader, so extend a welcoming hand.” How can you make your reviewer feel welcomed into your practice, especially when they’re not able to experience your work fully in person? Take every opportunity you can to connect with your reader—your audience. Show them around, take them on a journey, and point out the things that matter.
Direct your reader. The diverse arts professionals that will be reviewing your work are often looking at dozens, if not hundreds, of applications, so give your reader the tools to make their job as easy as possible. In work sample descriptions, for example, tell your reader what they are looking at (i.e. a piece of an installation at x venue featuring y elements; a time-coded excerpt of a longer video piece), and what they should be looking for (i.e. the elements you intend to use in future work; the animation style you want to further develop in your next project). Red Samaniego (Literature) summed it up clearly: “You need to teach us how to read your work.”
Braid your narrative together. Think of your application like a story, or a body—how do all of the parts work together to bring something to life? Busy readers don’t always have the bandwidth to connect the dots, so “make the link for the reader rather than making them piece it all together,” said Margaret Ewing (Visual Art). Make sure that what you’re discussing in your artist statement or project proposal aligns clearly with the work samples you choose to share. When you have an interdisciplinary practice, it’s especially important to show how the different things you do fit together; remember, you’re not just listing what you do, you’re showing your unique perspective, your specific processes—how all these pieces come together to make you you.
Tell us what’s changing. Often, artists seek support in times of transition or development, or when they are working toward new goals. Agnes Borinsky (Performance) wants to know: “What’s turning now? What are you wrestling with and wanting to focus on?” Whether you’re seeking to shift your attention to a new medium and learn a new skill, hone in on a specific element of your practice, or make strides on a path towards professionalization, your reviewers want to know why they should support you now, and how this opportunity can help you. Suzi F. Garcia (Literature) said she loves seeing the questions artists are asking of themselves, and of their projects, to better understand what is propelling them forward in their work.
Be clear, specific, and concrete. Regardless of your medium, be as concrete as possible with your language, especially when you’re describing a proposed project. What is your work going to look or sound like? What are the processes and media that you use? Move beyond the theoretical and into clear detail, and make it easy enough for people from a variety of backgrounds to understand. Carmel Curtis (Film) reminded applicants, “you might take for granted the references that your reviewers have, so be as explicit as possible” when referring to the makers and theorists whose work inspires you.
Develop—and maintain—your voice. It can be tempting to rely on ideas of “professional speech” or industry conventions when authoring your application. Resist the temptation! Marýa Wethers (Performance) craves a clear sense of you. In fact, said Margaret Ewing (Visual Art), “as someone who has read a lot of applications, it’s really refreshing to hear that someone has a voice. It shines more when it’s just you. I don’t need to see more ‘art speak’ in the world.” And this applies to the whole application, as you want to give a consistent idea of who you are and what you’re about as an artist. Agnes Borinsky (Performance) asked, “how can the ethos/style/feel of the work be reflected in the ethos/style/feel of the application?” And Suzi F. Garcia (Literature) added, “you don’t have to just be who you are as a writer in the writing sample.” If you’re struggling to bring that voice to life in the more administrative or descriptive parts of your application—your bio, artist statement, and work sample descriptions, for example—Suzi suggested asking yourself: “How would you describe something on a first date? Think about someone you want to impress a little bit, but also want them to know who you are.” Red Samaniego (Literature) mentioned thinking about “a friend/lover/family member who brings out your most creative brain. I like to imagine my most vibrant, fertile audience,” and speak to them.
Know your audience. While you may use the tricks above to develop your voice, you are in fact addressing an audience from whom you’re seeking support. When copy-pasting parts of your applications, don’t forget to include details that are specific to the organizations you’re applying to. Shayna Maci Warner and Carmel Curtis (Film) agreed that “it means so much as a reviewer to show that you’ve done a bit of research about the place you’re applying to,” seeing it as “a sign of respect that you’re valuing” what the organization has to offer.
Introduce your collaborators, and your influences. No artist is an island. When you have collaborators—especially when you’re working in a medium which requires collaborators—it’s important not only to name them, but to make clear what they’re bringing to your project and how you work together; if you haven’t yet established a connection with a potential collaborator, make that clear, too. Even if you’re not working directly with additional people, other artists, writers, and thinkers make up the constellation of references or points of inspiration that are integral to your practice. If there are ideas that you’re working with, feel free to name drop, but remember to give some context. Suzi F. Garcia (Literature) wants to know, “what or who is your work in conversation with?” She also added that it’s helpful to know “the stakes of your project—both for you, and in the larger environment that the work is fitting in.”
Take advantage of space. Red Samaniego (Literature) said, “I want to see you going close to the word limit when you’re telling us about yourself.” Being concise is an important exercise in restraint and, according to Grace Rosario Perkins (Visual Art), “more concise is more captivating.” But don’t be shy! This is your moment to take up space. Red pointed out that when they don’t get a sense of who you are in one part of your application—whether due to a temptation to list out your CV in your bio, or an attempt at brevity—there is more pressure on other parts of the application to flesh out the story. “No part of your application is a throwaway,” they continued, so really use the space you’re given to paint the full picture of who you are, what about your work excites you, and what you want from this opportunity.
Transparency is the way forward. Ask for help! Marýa Wethers (Performance) celebrated the Mock Panel as an important step in bringing the solitary process of application-writing into a space of community support, encouraging artists to ask their friends to read their applications—”but also, your auntie might have some things to say that you didn’t think about!” Whether you’re asking for outside eyes from people in your field or from your grandparent, other people can help you identify your gaps and places of convergence, especially when you are so close to, and often critical of, your own work. Carmel Curtis (Film) advised artists to “continue to share your work in whatever spaces you can that are like this playing ground.” Agnes Borinsky (Performance) also offered that applicants can tell reviewers directly what they don’t know and where they want to grow, saying, “naming absence is a totally legitimate way of inhabiting it. We don’t all have to pretend omniscience.”
Applications can be daunting, but treating them like opportunities to hone your craft can help you develop as an artist, strengthening your ability to articulate your personal perspective. Finding ways to treat each application like an exercise in storytelling and self-knowledge allows the creative play of your artistry to come alive—and when it feels alive for you, it feels alive for your readers, too.
P.S. For more tips, read our previous blog posts from past editions of Mock Panels: “Craft More Compelling Applications with these 10 Helpful Hints” (2022), “Elevate Your Application With These Tips From Queer Arts Professionals” (2021), “Six Ways to Make Your Application Shine” (2020), by Programs & Operations Assistant, Dani Brito, and "How To Sharpen Your Application Skills," featuring writing from current and former Queer|Art staff members Andrius Alvarez-Backus, greer x, Dani Brito, and Kris Grey.