STILL SEARCHING Art Exhibit - by Artist Damon Lamar Reed

"Art is Business" Join artist Damon Lamar Reed in his quest to bring missing Black women in Chicago home through the Still Searching project.

 STILL SEARCHING Art Exhibit - The Artisan Collective - South Shore Chamber of Commerce by Artist Damon Lamar Reed

About this event
This Black History Month, experience a vivid series of portraits of missing Black women and girls in the Chicagoland area at the Still Searching exhibit by Damon Lamar Reed, a prolific Chicago hip-hop artist, and muralist.

On February 25, between 6pm - 9pm, join to learn more about this project, raising awareness about missing black women in Chicago. See the portraits and then catch a sneak peek of the upcoming documentary on the project, which has received funding from Hulu through the Hulu/Kartemquin Accelerator Program.

This event is free to the public with a suggested donation of $10 per attendee. Proceeds from prints, raffles, and donations will go to the Still Searching project to support public artwork that raises awareness of missing women in Chicago.

Refreshments will be served.

About Damon Lamar Reed

There's truth to the saying that a picture is worth a thousand words. Artist Damon Lamar Reed brings that truth to reality. From hip-hop to public art, he strives to create messages that reach the depth of the human condition.

After graduating from The School of the Art Institute of Chicago, Damon began his career as an artist and entrepreneur. To date, he has created over 280 public art projects, including works for Super Bowl 46, Showtime(The Chi), Gatorade, the Chicago Blackhawks, Ticketmaster, and Sears, to name a few. His work is featured in books such as Kym Pinders', Painting the Gospel: Public Art and Religion in Chicago. During the George Floyd riots, the BBC featured Damon's art's impact; recently, News Nation, ABC, CBS, WGN, and NBC featured him because of his latest series, Still Searching, where he paints portraits of missing women in Chicagoland. He is also filming a documentary with the same name backed by Hulu, Kartemquin Films, and Still, I Rise Films.

Archive and Legacy

"Art is Business"

 Good news! ArtSlant will live on as a resource in two digital archives: the Library of Congress and the New York Art Resources Consortium (NYARC).

The Library of Congress welcomes ArtSlant as "an important part of [its web archive] collection and the historical record." Initially, the ArtSlant archive will be available to researchers at Library facilities and by special arrangement. After one year, the Library may also make the collection available more broadly by hosting it on its public access website. Learn more about the Library's Web Archiving program goals here and check out their web archives.

The New York Art Resources Consortium will also include ArtSlant in its web archive collections. NYARC comprises the research libraries of The Brooklyn Museum, The Frick Collection, and The Museum of Modern Art. These libraries are committed to "enabling access to the broadest possible range of print materials related to art and art history," and now they are also making archival copies of important web resources for preservation and access purposes.

All of the content included in the web archive collections is made publicly accessible via NYARC's Archive-It account (full-text search and metadata), within a shared catalog via records they create for websites (called ARCADE—the union catalog of the Frick, MoMA, and the Brooklyn Museum), and via full-text search in the Internet Archive's Wayback Machine.

We hope you feel as proud as we do that the art and writing of everyone in the ArtSlant community will live on in these resources. We have been honored to shape and continue what Georgia Fee and Catherine Ruggles began, supporting ArtSlant's commitment to artists, arts writers, and criticism for over a decade.

The Internet Archive's Wayback Machine allows you to search for Web pages no longer accessible to the public. Browse by date through over 150 billion pages archived since 1996.

The Archive's mission is to help preserve digital artifacts and create a publicly accessible Internet library for researchers, historians, and scholars. The Archive collaborates with institutions, including the Library of Congress and the Smithsonian.

It can take 6 to 24 months for pages to appear in the Wayback Machine after collecting them. The Archive does not collect pages that require a password to access, pages tagged for "robot exclusion" by their owners, pages that are only accessible when a person types into and sends a form, or pages on secure servers. If a site owner requests the removal of a Web site, that site will be excluded from the Wayback Machine.

Note: Another source of previously published Web pages is Google. The search engine maintains a "cache" — a page version from when they last indexed it. Access is via the "cached" link that shows up under a search result.

Archives Collaboratives
- the PopUp Research Station CAFÉ have collaborated with: Space in the Gap, Near North West Arts Council/Artists Design the Future, and the Phantom Gallery Chicago Network.

FY 2023 Grant Announcement: (Initial) Planning 

The National Historical Publications and Records Commission (NHPRC) of the National Archives supports projects that promote access to America's historical records to encourage understanding of our democracy, history, and culture.

PopUp Research Station will be applying for the areas of documentary editing and publishing; archival preservation and processing of records for access; developing or updating descriptive systems; creation and development of archival and records management programs; development of standards, tools, and techniques to advance the work of archivists, records managers, and documentary editors; and promotion of the use of records by teachers, students, and the public.

Pop-Up Research Station Weekly CAFÉ Zoom Meeting

"Art is Business" Join us every  Tuesday, 11am PST/1:00pm CST/2:00pm EST  
Join Zoom Meeting
Meeting ID: 813 6636 7712
Passcode: popup

Effective Grant Writing for Emerging Artists

"Art is Business" Reposted article written by Erin Sickler | Oct 5, 2021, | Finances

Grant writing can be intimidating for the inexperienced artist. Asking for money to support projects is stressful, especially when factoring in the reality that thousands of other creatives are competing for these same funds on their projects. Don't despair! Take a deep breath and settle in to take notes on our top tips on how to write effective, compelling grant applications.

This may sound obvious, but many grant proposals are rejected because they fail to read and follow the grant requirements. Don't fall into this simple trap! Especially if you are submitting a complex application, comb over the details to help you to see if you are following all the instructions and not missing a deadline.

First, understanding the granting organization's mission is crucial. All granting organizations and foundations have a mission statement, usually posted on their website. Additionally, most organizations will have information about their scope of activities, plans, and projects. Comb through and align your language with the mission and guidelines appropriately. A quick tip: reviewing a list of past recipients is one of the best ways to determine whether your project is a good fit for their funding priorities before you put all the effort into writing a grant proposal. 

Common elements that make up an artist grant proposal include an artist statement, a project statement, a portfolio and/or work sample, and a budget. It's important to note that the budget is usually the most important factor of all of these. Your budget will indicate to the committee whether or not you have a realistic grasp picture of the project scope. For example, if the project requires unique materials or fabrication, receiving a quote on these aspects of the project in advance will help argue your case. While emerging artists can generally expect less funding than well-established artists, asking for too little can also be a red flag if the funds requested are insufficient to meet the project requirements.

Finally, make sure you save all materials submitted in the grant proposal. Keeping good records will also help remind you that writing effective grant proposals is a process. Over time, you can revisit older grant proposals and borrow relevant language, while also observing just how much your applications have improved.

Do your research on all the available grants with!

As an emerging artist, you may be full of potential, but you have yet to prove it. At this stage, it is easy to underestimate yourself. Confidence is key to mastering the grant writing process, but at the same time, be sure to revise and ask for advice from more experienced grant writers where possible! Have a realistic yet positive view of your skillset. In his 1961 visitors pamphlet for The Watts Towers, Simon Rodia said, "You have to be good-good or bad-bad to be remembered." Rodia himself did not seek grants to begin his monumental public work: he just went out and did it. Approach your grant applications with grit and determination, and you're well on your way to mastering the skills needed to succeed at grant writing.

Not every opportunity will take you down the right path. Funding priorities shift and change, as do selection committees. Many artists will apply to the same organization year after year, so keep your head up and play the long game. Trust your intuition and stay true to yourself.

 Having a career as an artist requires many soft skills: personal attributes that enable you to interact and succeed professionally. For artists, these skills can vary widely. Curiosity and resilience are key soft skills for an artist. Remember that there is more than one path to reach a destination, and you do not need to compare yourself to others to capitalize on your strengths when "selling" your art project. Instead, work on communicating what unique aspects you incorporate into your art-making through your distinct voice. 

Writing mind-blowing grant proposals is a hard skill that takes time to master. If it is daunting to submit your first grant proposal, try to begin with a level-headed approach. Express your personality and your practice on the page as much as you can. Grant writing is a special form of writing, but it doesn't have to be especially academic. Grant committees are sympathetic to artists; above all, they want to understand where you are coming from and what you are trying to communicate with your work. This message can get lost if you are being too verbose or cryptic. William Zinsser's classic book of non-fiction writing, On Writing Well, can help you improve your writing skills if needed.

Know your practice well when writing a grant proposal. Focus and be attuned to what makes your artistic approach unique, and also to understand your relationship to the artistic traditions you are engaging with. Being unique is a paradox. While it is true we are all unique, we can get too absorbed with expressing our unique viewpoints. Follow the adage, "show don't tell." Telling someone you are unique is not the same as demonstrating it in your grant application. As an emerging artist, the bulk of your material comprising your grant writing should come from details about exploring your early experiences, such as life experiences that play a key factor in your art, identifying mentors or influences, and describing the technical processes involved in making your work. Try to make this information as specific as possible. Stay away from general concepts. Tell the story behind what it is that really is unique to you.

The grant manager, or the person who organizes the application submission process on the organizational side, firmly understands how a grant represents an organization's mission. Some grants will specifically list a contact, but if not, you can find this person by contacting the organization. If parts of the grant application are unclear to you, do not hesitate to contact the grant manager. Make sure you prepare your questions ahead of time.

Most grant managers are happy to answer basic questions. At smaller organizations, they will often go a step further. If a grant manager is willing to spend some time with you then, it doesn't hurt to ask if you can run a proposal by them to learn more about if it matches current funding priorities. Taking this extra step can drastically improve the chances of your application.

If you receive notice that you did do not get the grant, don't hesitate to ask for feedback. Some organizations keep notes of the grant committee's comments and will provide them upon request. Otherwise, the grant manager may be able to give you some direction. If you do get the grant and have the opportunity to work with the organization, you should also still ask for feedback. You might inquire about what made your proposal stand out to the granting organization. 

Viewing the grant writing and submission process as an ongoing quest for information rather than a do-or-die situation will keep you stay calm and clearheaded, soft skills that in the long run, enhance your chance for success.

Have any tried and true methods worked for you when grant writing? Any notable tips for artists writing grant proposals for the first time?

Comment below!

Erin Sickler

From Bronzeville to Beverly: One Artist’s Black History Inspiration

"Art is Business"  reposted an original article by Kristin Boza

Rhonda Hardy’s parents were born in Louisiana. As children, their families were part of the Great Migration, the historic movement of an estimated six million African Americans from the South to urban areas in the Midwest, Northeast, and West. Many African Americans who came to Chicago from the South, including Hardy’s grandparents and parents, settled in Bronzeville.  

Hardy’s rich family history inspires her art. The Bronzeville Babies series is focused on historical clothing and styles, and Urban Comforts is a textile line influenced by African stamps and motifs. 

“When I was growing up, I listened to the stories told by my parents, grandparents, and aunts,” Hardy said. “I internalized all of the stories about who they came up with during the Great Migration, what they did when they got here, and where they worked. It was a natural progression for me as I got older to begin doing more research on African American history.” 

Hardy began her journey at what is now known as the DuSable Museum of African American History, which at the time was The Ebony Museum of Negro History and Art located in curator/artist/educator/writer/activist Margaret Taylor Burroughs’ home on the South Side.  

As a student at Southern Illinois University, Hardy earned a bachelor’s degree in clothing and textiles and a master’s in African and African American culture. Her master’s thesis focused on the designs of African fabrics and clothing styles of African Americans.  

“I documented what was worn by the slaves, by people during the Reconstruction period, and the styles worn during the Black empowerment movement of the 1960s,” Hardy said. She eventually began working for the University of Illinois Urbana-Champaign Extension campus conducting outreach in predominantly Black neighborhoods in Chicago.  

After retirement, Hardy was able to focus once again on her art and fashion. A Beverly/Morgan Park resident, Hardy remains very connected to the Bronzeville neighborhood. As a re-emerging artist, she created a series of soft-sculpted dolls commemorating the Great Migration for a Bronzeville exhibit.  

“I have eight different dolls in my line and they each have their own name and story,” Hardy said. “With my fashion background, I’ve been able to make patterns and clothing for the dolls that help tell their story. All of the clothing is as authentic as possible; the biggest challenge is finding the right fabrics worn during the doll’s time period. The dolls and their clothing make a statement about where they were and what they were thinking during a period in our history.” 

The Pullman Porter doll wears an authentic replica of the Pullman Porter uniform. Hardy used the doll during an artist-in-residence program at The Nautilus School, 1917 W. 93rd St., to teach the history of Pullman. 

The Urban Comforts line consists of tea towels, wall hangings, pillows, and tablecloths made from African-inspired prints designed by Hardy and created through a stamp printing process.  

Hardy’s work inspires others to share their stories. “I participated in a few Beverly Art Walks and people would see my work and just start talking about their own communities and where their family was from,” she said. “We’re all grounded in history, and we have our own story that makes up who we are as a person.” 

Hardy’s work can currently be found at Made Artisan Collaborative, 1802 W. 103rd St., or online at 


The Evanston Art Center is seeking curatorial proposals for the 3rd annual 2022/23 Curatorial Fellowship!

The Evanston Art Center, an artistic hub on the North Shore for over ninety years, believes that some communities are all too rarely represented in the curatorial world. Therefore, the EAC developed a recurrent, project-based position for a curator to create an exhibition of their choosing to address this situation. The EAC is specifically seeking a BIPOC curator with ties to Evanston and the Chicago Metro area.


March 6th, 2022
Request for Proposals
Name of program:
Curatorial Fellow
Program Overview:
The Evanston Art Center (EAC), an artistic hub on the North Shore for over ninety years, believes some communities are too rarely represented in the curatorial world. To address this situation, the EAC is building a recurrent, project-based position for a curator who will work with the EAC to develop an exhibition of their choosing. The EAC is specifically seeking a Black, Indigenous, or Person of Color (BIPOC) curator with ties to communities of color in Evanston and the Chicago Metro-area to create an exhibition, along with related materials.
The curator will choose the exhibition's subject, theme, and content, with the EAC acting as a facilitator. It is the EAC’s intent that such an exhibit will build new ties to historically underrepresented groups and
introduce Evanston and the greater Chicago area to new curatorial and artistic perspectives.
Supporting Evanston Art Center’s Mission and Vision:
This program serves as an extension of the Evanston Art Center’s non-profit mission to foster the appreciation and expression of the arts among diverse audiences. It also fulfills its vision to be widely recognized as dynamic art education and exhibition center that encourages freedom of artistic expression and enriches cultural life. The EAC strives to be a hub of artistic endeavors, a passionate advocate for the arts, and a valuable partner for arts initiatives in the Evanston community.
Jury Process:
The winning proposal will be selected by the Exhibition Committee of the EAC, a group comprised of board members and external colleagues and allies in the cultural sector, including artists, curators, art historians, collectors, and gallerists. In addition, a personal interview with some of the EAC Exhibition Committee members, President & CEO, and staff will take place for selected finalists.
Evaluation Criteria:
The Curator Identifies as BIPOC
The Curator has a Strong Connection to Evanston and Network Within BIPOC Communities in Evanston.
The Project Plans to Connect the EAC to Underserved Communities in Evanston and the Chicago metro area and Specifically BIPOC Communities.
The Project is Articulated Coherently and Clearly
The Project Presents New Perspectives
The Curator has Interesting and Recent Experience Presenting Contemporary Art.
Personal Interview
Communication Skills
Resume and references
Request for Proposals
Application Process:
All interested curators must submit the following materials for approval by EAC staff and its Exhibition Committee:
Exhibition Narrative (limit of 500 words):
What is your artistic vision / proposed plan for a curated exhibition at the Evanston Art Center?
The exhibition will be shown in the Main Gallery on the first floor of the Art Center at the end of the
curator’s fellowship for a period of roughly 6-8 weeks.
Public Programs (limit of 300 words):
How do you anticipate or wish to plan public programs or engage the Evanston Art Center community
in association with your curated exhibition? Please explain. The EAC is eager to support the creation
of public programs and welcomes the curator’s ideas, introductions, and networking assistance.
5-10 visual samples of curatorial work
All visual samples must be clearly labeled.
May include examples of the proposal.
Proposed needs for your exhibition
Resume / Curriculum Vitae
3 References
Application Deadline:
March 6, 2022
EAC will notify selected finalists the week of March 14, 2022.
Finalists will be interviewed by the week of March 21, 2022.
Curatorial Fellow will be selected by April 15, 2022.
Expectations and Limitations for the use of the Space:
Exhibition programming, lectures, and performances are all welcomed and encouraged along with other forms of public programming during the exhibition's run.
The curator is encouraged to propose workshops and/or educational offerings that can be enacted by the EAC staff.
The curator should plan to spend a reasonable amount of time at the EAC to ensure service to the whole
All sculptures exhibited must be able to be moved by two people. As the Evanston Art Center hosts many rentals in the gallery space, sculptures that require more than two people to move must be placed on wheels or on a platform for the safety of the artwork.
All material presented must be suitable for all age groups.
Key Personnel:
Logistics: Cara Feeney, Evanston Art Center, Director of Exhibitions
Oversight: Paula Danoff, Evanston Art Center, Chief Executive Officer
Exhibition Committee Members
Exhibition Dates: July 8 – August 20, 2023
Floorplans & Photos:
Request for Proposals
Curatorial Fee: $2,500 payable in full to the curator over 4 installments after quarterly updates to the Exhibition
1st Installment: July 15, 2022
2nd Installment: October 14, 2022
3rd Installment: January 13, 2023
4th Installment: April 14, 2023
Exhibition Expenses: not more than $2,500 payable as reimbursements to the curator for documented expenses.
Curatorial Fellow will perform the following duties related to the development and implementation of this program:
Write thematic copy to be used in external marketing and the exhibition.
Assist with planning exhibition-related programming and participating artists and Evanston Art Center Staff.
Propose and assist in executing events or engagements with the community.
Provide an itemized budget for reimbursement.
Provide quarterly updates to the Exhibition Committee.

The Evanston Art Center exhibitions and education staff will:
Handle and oversee onsite logistics related to installation-site logistics for signage and lighting.
Provide on-site assistance to curators and artists' city requests and scheduling.
Support and participate in the curator’s public programming/education plans.
In collaboration with the curator, coordinate the design and printing of all exhibition marketing materials, including press releases, postcards, and brochures.

Proposals should be sent by MARCH 6, 2022, at Midnight to:
Cara Feeney, Director of Exhibitions:

Organizing/Arranging Collection and Preparing it for Storage and Access


Lisa Gaines McDonald, Reseach Explorers, Inc. 

Lisa Gaines McDonald has conducted qualitative research since 1994 through her company Research Explorers, Inc. Her specialty has been in the areas of communications and messaging testing, consumer package goods, social marketing, healthcare, arts, and new products and services. Over her career, she has worked with a broad range of respondents including African Americans, women, the elderly, public officials, tweens, teens, medical professionals, and business owners. 

Topic: Pop-up Research Station CAFE
Time:,11:00 AM Pacific Time (the US and Canada), 1pm CST, and 2pm EST

Join Zoom Meeting

Meeting ID: 813 6636 7712
Passcode: popup

The Pop-Up Research Station will be a place to glean information. We hope to give emerging artists and arts organizers the necessary skills to advance their creative visions." While providing municipalities, communities, developers, and realtors the business case for helping artists advance their vision. 

BMRC's Introduction to Archiving Workshop: Part One via this link:

Community Engagement Archivist Tanya Calvin walks through the processes of determining the value of materials, organizing and describing them; small preservation tips, and providing access to collections for users. This workshop was designed to answer from the BMRC's Community Needs and Assets Assessment and the Community Discussions that followed it. The BMRC's workshop was made possible by the Andrew W. Mellon Foundation.

Phantom Gallery CHI


"Art is Business" FRCBP    Report by Daphne Burgess Bowens The public outreach campaign involves high school students from Luther ...