Eyebeam and Momus are thrilled to announce a paid Critical Writing Fellowship, 2021-22, that will provide sustained mentorship, editing, art-publishing access, and artist/writer/editor network building to an early-career art writer or critic. Starting in August 2021, the Critical Writing Fellow will participate in the Momus Emerging Critics Residency (August 9-20), followed by an 8-month writing incubation period, in which the Critical Writing Fellow engages with and responds to Eyebeam’s inaugural phase of its new Fractal Fellowship program, from October 2021 – May 2022. The Fractal Fellowship program seeks to upend traditional artist-support models, handing full authority to artists to self-generate new branches of connectivity and creating new forms of equitable support.
Attended by a close and sustained mentorship with writer and critic Nora N. Khan, and overseen by the Momus editorial team, this period of research, dialogue, and drafting will result in the Fellow producing a feature-length text (with support in identifying publishing opportunities, including in Momus). In using Eyebeam’s Fellowship- – a de-centered structural approach to artist resource-sharing and coalition-building – as a site of research and engagement, the Critical Writing Fellow will encounter myriad subjects to research and respond to, and develop an important artist and curator network.
Through this bridge-building collaboration, Eyebeam and Momus will be pursuing their shared objectives of extending artistic knowledge, increasing access to art publishing, enabling sustained mentorship, and reading our cultural text more deeply.
Applications for 2021-22 are now closed; all applicants will be notified of the results by July 19.
Equity and Inclusion Commitment
Eyebeam and Momus aim to create a hub for conversation and practice-sharing that is aware and responsive to systemic inequities and invests in the meaningful inclusion of historically-marginalized groups and voices. Both organizations are committed to and value diversity in its programming, as defined by gender, race, ethnicity, disability-status, age, sexual orientation, immigrant status, and socioeconomic status. With a history rooted in innovation and collaboration Eyebeam and Momus’s programs and publishing are grounded in artist-community dialogue and support meaningful access to technology for everyone.
Eyebeam’s Fractal Fellowship program aims to prioritize support for the following communities of artists and inventors by prioritizing their involvement within the first cohort: Black artists, Disabled artists, People of Color, and Indigenous artists. The Critical Writing Fellowship will also prioritize these communities. Please share how your work experience and goals engage one or more of these communities when you apply.
Established in the Chelsea district of Manhattan in 1998, Eyebeam was founded as a resource for artists to engage creatively with technology in a setting that encouraged experimentation. Today, we continue to be a resource for artists and technologists alike as technology’s effect on society grows increasingly complex and problematic. In all of our work, we strive to amplify artists’ ideas that carve a path towards a more just future.
Since 2001, the core of our programming has been our Residency, which evolved into a digital-first Fellowship in the last year. Every year we provide professional guidance, studio space, expert advice, and a significant cash award for up to 30 artists whose practices engage with the most pressing issues of our time. Unlike other fellowships, Eyebeam encourages inquiry-based practices through which artists can experiment and initiate critical dialogues with one another that are centered around technology’s effect on society. By supporting a multiplicity of artists responsive to systems of oppression, Eyebeam includes narratives that better reflect the existing plurality of genders, races, ethnicities, abilities, ages, sexual orientations, citizenships, and socioeconomic statuses in support of an expansively inclusive vision of a better future.
Momus is an international online art publication and podcast committed to reading our cultural text more deeply, and dedicated to the vital, uphill work of art criticism in a critical time. Momus’s writers respond to a discordant, sped-up moment with slow looking and brave positioning. Momus published a print compendium in 2017, and established Momus: The Podcast, which is co-hosted by Lauren Wetmore and Sky Goodden. Currently in its fourth season, it was named one of the top-ten art podcasts by The New York Times. Starting in 2019, Momus began hosting twice-annual Momus Emerging Critics Residencies in its effort to attend to both the heightened stakes, increasing potential, and renewed challenges for art criticism – and to do so outside of a traditional MFA program. Momus is currently working to establish the Momus Institute, in association with Concordia University’s Faculty of Fine Arts. The Momus Institute will provide year-round mentorship, professional apprenticeship, and fieldwork opportunities to emerging art writers, editors, audio producers, and publishers. In working to help diversify and amplify the next generation of contributors to our field, Momusis committed to both creating and strengthening the future criterion of art criticism and art writing.
About Nora N. Khan
Nora N. Khan is a critic. Her research focuses on experimental art and music practices that make arguments through software, machine learning, and artificial intelligence. Her two short books are Seeing, Naming, Knowing (The Brooklyn Rail, 2019) and with Steven Warwick, Fear Indexing the X-Files (Primary Information, 2017). Forthcoming this year are The Artificial and the Real (Art Metropole) and AI Art and the Stakes for Art Criticism (Lund Humphries). This year, she is Editor-in-Residence of Topical Cream, focused on mentoring women and gender non-conforming art and technology critics, and Editorial Lead of the HOLO Annual. She edited Forces of Art: Perspectives from a Changing World (Valiz), Casey Reas’ Making Pictures with Generative Adversarial Networks (Anteism Press), and was a long-time editor at Rhizome (2014-2020). From 2018-2021, she was a professor at Rhode Island School of Design in Digital +Media, teaching criticism, writing, critical theory, and artistic research.
Khan’s research, writing, and curatorial practice extends to a large range of artistic collaborations, which include librettos, performances, and exhibition essays, scripts, and a tiny house. In 2020, as The Shed’s first guest curator, she organized the exhibition Manual Override, which saw 30,000 visitors in two months, and was covered in Vogue, 4Columns and the New York Times. Khan publishes in places like Art in America, Artforum, Flash Art, and California Sunday, and has written numerous commissioned essays for exhibitions at Serpentine Galleries, Chisenhale, the Venice Biennale, Centre Pompidou, Swiss Institute, and Kunstverein in Hamburg. Her writing has been supported by a La Becque Residency (2021), the Fogo Island Arts Writers Residency, a Critical Writing Grant from the Visual Arts Foundation/Crossed Purposes Foundations (2018), an Eyebeam Research Residency (2017), and a Thoma Foundation 2016 Arts Writing Award in Digital Art. You can read more about her work here.