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Artist Cv Teaching Experience Essay

A CV or curriculum vitae is an overview of your artistic professional history and achievements. Although it looks similar to a resume, it contains different elements which are only related to your artistic professional practice.

One mistake emerging artists often make in writing their CVs is trying to oversell their work. Less is more. Your CV should be neatly organized, and only include information pertinent to your artistic career.

What should you include on a CV? Here is where how to compose one in 10 steps:

1. Personal details.

Often, more established artists will keep it simple. This is because their CV is usually referenced as a biography rather than a resume.

Damian Hirst (b. 1965, UK)

However, you can include contact information if you are sending out your CV to galleries in the hopes that they will reply:

Damian Hirst, (b. 1965, UK)
info@damianhirst.com | http://www.damianhirst.com | 604.555.1234

Either of these formats is appropriate for an artist’s CV. Just keep in mind that you should only include your website if it directly relates to your artistic practice.

2. Education.

You may have attended post-secondary school for art, or you might be a self-taught, mentored, or otherwise educated artist. Generally speaking, this section of a CV relates to institutional education specifically in the field of visual arts. If you do have post-secondary education in the arts field, include the school(s), the year(s) that you graduated, and the degree(s):

University of British Columbia, Master of Fine Arts, 2009
Emily Carr University, Bachelor of Fine Arts, 2005

If you do not have a degree in the visual arts field, fear not. This section of the CV is not a pre-requisite for exhibitions or gallery representation. The only thing to note is that you should not put down any other type of education (high school graduation, degree in business management), unless it very directly relates to the artwork that you make. Leaving this section off of your CV is perfectly acceptable.

3. Exhibitions

Beginning with your most recent, you should list your exhibitions in a manner similar to this:

2011     Title of Show, Museum of Modern Art, NY
2010    I’ve been showing a lot lately, Galerie Espace, Montréal

If you have a large number of exhibitions, you can split them into two or more categories: solo exhibitions, group exhibitions, and even duo exhibitions. This helps define in what capacity your work was shown (you don’t want to undersell your solo show at the MoMA.)

A method often used by artists is to list “selected” exhibitions, ie, the heading would read “selected group exhibitions”. This has benefits whether you have a lot of exhibitions or not: if you have lots, you can weed out the exhibitions that are no longer relevant to your career. If you don’t have a lot of exhibitions, you are assuring the reader that they are not looking at a short list, but rather your most relevant history.

4. Bibliography

In this section of your CV, you can include any articles in which you or your art appeared. If it is an article, it should include the author, title, publication, volume, publication date, and page number:

Coupland, Douglas: “Why I Love This Artwork”, Canadian Art Magazine, vol. 12, February 2011, p. 55-60

If your work appeared on the cover of a publication, you can format your information like this:

Canadian Art Magazine, Cover, vol. 12, February 2011

If writing about your artwork or your artwork itself appears in a book, the formatting should read:

Schwabsky, Barry (Compiler), Vitamin P: New Perspectives in Painting, Phiadon Press 2004, p. 78

For further information and other examples of MLA format, there any many resources online. As an example, here is SFU’s citation guide for MLA style.

5. Collections

Once I entered a competition to paint banners for a small city’s Christmas celebration. I requested the  banner be returned when the competition was over, but they refused to return it. Now I put “City of _____” under the public collections section of my CV. We both win!

Generally, the “collections” portion of your CV is to list public institutions which own your artwork. This could be museums, corporate collections, or even municipalities or agencies. They can simply be listed under the heading collections:

The Vancouver Art Gallery
The Canada Council Art Bank
The Colart Collection

If you only have artwork in private collections and you wish to include this section on your CV, you should not list the name of  the collector unless 1. they are well-known as important collectors of art, and 2. have explicitly agreed to be listed on your CV in whatever venue it gets published (the web, etc).

If  several people own your artwork in private collections and you would like to note that, you can list them like this:

Private collection, Calgary AB
Private collection, Vancouver, BC

Just don’t go to overboard with the list– if you really have lots, you’ll look more understated and impressive by inserting something like this:

Works held in private collections in Canada, the United States, Germany, and New Zealand.

6. Texts

If you have any published writing relating to either your own practice or that of others, you can list it here in proper MLA format:

“This Artwork is Awesome”, Awesome exhibition catalogue, Vancouver Art Gallery, 2006.

The above points are the most common and usually the most notable elements which artists include on their CVs. However, depending on your practice, there may be a number of other professional and artistic points of interest to list. Here are some examples:

7. Teaching

This is a space to list any teaching positions you may have had, either as a faculty member or as a guest lecturer or speaker. You should only include those related specifically to your practice or to visual arts:

2009, Guest lecturer, Emily Carr University
2007, Sessional instructor, SFU

8. Curatorial projects

If, as well as being an artist you have also undertaken curatorial projects (as so many artists seem to do now), you can list them simply as the exhibition itself, or, add on a brief explaination:

2011, “Drawings”, Richmond Art Gallery
2010, “Paintings”, Or Gallery, co-curated by Damian Hirst

9. Awards and Grants

Some artists choose to list awards and / or grants they have received. If you decide to include this, the list should all be specifically related to your artistic practice, unless it is extremely notable, such as the Nobel Peace Prize:

2011, Canada Council grant
2010, BC Arts Council grant

10. Residencies

Artist’s residencies you may have attended are good to include on your CV as they show a dedication to your practice and to your professional development:

2010, Studio residency, School of Visual Arts, New York


One of the best ways to start writing your CV is to see how other artists do it. In addition to the categories listed above, there are many different professional practices or ways of organizing your information. Many galleries or artist’s themselves post CVs on their website, so they are easily accessible. A few to check out:

Catriona Jeffries Gallery artists
Georgia Scherman Projects artists
Trepanier Baer artists
Vancouver artist Evan Lee

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Sample CV (with Commentary)

1. Name and Contact Information

John Doe
2230 Main St.
Los Angeles, CA 90039
(323) 843-4652

Your full name can appear in uppercase, bold or large type—or a combination of these. Be sure your         name is seen but not obnoxious.

Address: Providing your institutional, studio, or home address is optional.

Phone Number(s): List any numbers (work, studio, home, or fax) where you are comfortable being contacted. Some artists prefer to list their cell number as a studio number. Other artists may choose to remove their cell number and other personal address information from their CV—especially from a web version of the résumé or CV. Consider listing at least one phone number, so you can be easily reached.)

List addresses and phone numbers that are current. Make it easy to be reached. Include personal information, such as place of birth, only when it is completely relevant to your artwork or an application requirement. The inclusion of date of birth, race, ethnicity, or marital status is not recommended.

Email: An email address is an absolute must! The address can be either institutionally-affiliated or non-institutional, depending on personal preference. (If you are an employed faculty member searching for another position, it is advisable to use a separate, personal email address.) If you choose to use a personal email address, use one that looks professional. Better yet, use an email address connected to your own artist website’s URL.

Website: Personal websites are becoming more and more essential. Providing a URL to a personal website is highly recommended. Institutional and/or professional websites may be used. Avoid listing any blogs or other recreational material, your CV is strictly for professional purposes.

2. Education

List all academic degrees you have earned (noting honors). The order in which you list your education is as follows: year, degree, institution, city, state, country (if applicable). For currently enrolled degree-seeking students, clearly state that the degree is pending and list an expected graduation date. If you are an older artist and have a substantial CV, you might want to list your education near the back of the CV.

Education (example)

2014     MFA (pending), California Institute of the Arts, Valencia, CA (expected May 2014)

2010     BFA with Distinction, Sculpture, Rhode Island School of Design, Providence, RI

2005    BA cum laude, Studio Art and Art History, University of Chicago, Chicago, IL

2003    Brown University, Providence, RI (French language courses)

It is not uncommon to have studied art at a university or college without completing the degree. You should list these periods of study, but they should be listed after the degrees you have earned.

Degrees outside the studio fields do not diminish your standing as an artist. In fact, the opposite is true. For example, a degree in French could tell a dean or department chair that you might be able to assist with her/his study abroad program. An art history degree might indicate an ability to teach a course in art appreciation.

3. Professional Experience

(Teaching / Academic Appointments / Related Work Experience)

List all relevant teaching and professional employment positions in this section. This should include: the dates of the employment, the employer (university, art studio, movie production company, etc.), and the location. There are many ways to list these professional designations, see below for the various options.

Teaching Experience (example)

2011–Present     Full-time Faculty, Maryland Institute College of Art, Baltimore, MD


2011–13              Full-time Faculty, Maryland Institute College of Art, Baltimore, MD


2011–                 Full-time Faculty, Maryland Institute College of Art, Baltimore, MD

2009–11            Part-time Faculty, Maryland Institute College of Art, Baltimore, MD

2009–10           Adjunct Instructor, University of North Carolina, Asheville, NC

1997–98           Teaching Assistant, University of Kansas, Lawrence, KS (courses taught:  Introduction to
                          Sculpture [instructor of record], Spring 1998, and Drawing, Fall 1997)

OR list the above two positions separately as below:

1998                 Teaching Assistant, University of Kansas, Lawrence, KS (Introduction to Sculpture [instructor of  
                          record], Spring 1998)

1997                  Teaching Assistant, University of Kansas, Lawrence, KS (Drawing, Fall 1997)

1996                 Teacher’s Assistant, Lawrence High School, Lawrence, KS (Drawing, Ceramics)

1995                 Studio Assistant, Norman Art Association, Norman, OK (maintained studio equipment and
                          prepared workshops)

The exact professional titles you provide are very important. There are distinct differences among such titles as Instructor, Lecturer, Adjunct Professor, Visiting Assistant Professor, etc. However, some schools do not have these ranks or distinctions, and the word “faculty” can be used.

If you had the opportunity to teach as a graduate student, it might be useful to indicate whether or not you were the instructor of record. This tells the reader you were responsible for all aspects of the course (lectures, syllabi, grades, etc.).

If you have just completed graduate school and do not have significant teaching experience, you may have art-related experiences and/or other positions outside of the field that are worth listing (e.g., military service, Peace Corps, AmeriCorps). Use a heading that best describes your work experience. It is acceptable to provide brief descriptions of nonacademic positions in a CV.

4. Awards/Grants/Fellowships

(Honors/Scholarships/Residencies/, etc.)

In this section you will list all of your art-related accomplishments. This could be an academic scholarship, a foundation fellowship, an artist residency, or a grant you received. Grants and Awards can be listed at the beginning or towards the end of your CV.

Awards / Grants / Fellowships (example) 

2012    NYFA Fellowship (sculpture), New York Foundation for the Arts, New York, NY

2011     Artist-in-Residence, McColl Center for Visual Art, Charlotte, NC

2009    Residency, Helsinki International Artist Programme, Suomenlinna, Finland

2007    Berkman Development Grant, Carnegie Mellon University, Pittsburgh, PA

2002    Pollock-Krasner Foundation Grant, New York, NY

Keep your awards relevant to your art practice. Even though you won the 5K run last year, this is not the place to present such information.

5. Exhibition Record

The visual artist’s exhibition or creative activity record is the equivalent of a publication record in other academic disciplines. This record may be the most important category in your CV and should be near the beginning. If you have a more impressive exhibition record than list of awards, then list exhibitions before awards. For those wishing to teach, an exhibition record serves as a rough measure of how active you may be as a member of the faculty and often plays a major role in the hiring process.

In listing exhibitions, always include the title of the exhibition in italics, then the name of venue, city, state, and country (if applicable). If an exhibition catalog accompanies the exhibition, this may also be noted with “(catalog)” at the end of the entry. If there is no title for the exhibition (or you forgot the name) it is important that you designate one such as “Group Exhibition.” Failing to list the title of the exhibition might make you look careless or disinterested.

Solo Exhibitions (or Selected Solo Exhibitions)

Artists well into their careers may want to divide the Exhibitions category into separate headings, such as Solo Exhibitions and Group Exhibitions. This allows the reader to easily grasp the number and type of exhibitions in any given year. 

Selected Solo Exhibitions (example)

2013    For The Time Being, Side Street Projects, Pasadena, CA

2012    Ad Infinitum, Art in General, New York, NY (catalog)

2010    Snow Never Melts, Franklin Art Works, Minneapolis,  MN

For artists in certain time-based media, an exhibition might be referred to as a screening. In that case, the category heading might read Exhibitions/Screenings or Exhibitions/Screenings/Performances instead of Exhibitions or Exhibition Record. For performance or social practice artists, the heading Performances or Public Projects may be adequate. Depending upon the nature of the work, an artist may use any one or any combination of headings, such as Exhibitions, Screenings, Performances, Curatorial Projects, or Collaborative Projects.

Group Exhibitions (or Selected Group Exhibitions)

As with all previous exhibition entries, Group Exhibition entries should begin with the italicized title of the exhibition, name of gallery or venue, city, state, and country (if applicable). If the exhibition has no formal title, but is a group exhibition, then you may list it as Group Exhibition (no italics). Again, if a catalog accompanies the group exhibition, this may also be noted with “(catalog)” placed at the end of the entry.

With a curated exhibition, you can list the name of the curator(s). This section may be of particular importance if prominent curators were involved.

“Pay-to-play” or entry-fee juried exhibitions are far less prestigious and should not necessarily be listed on your CV once you have more prestigious shows to list.

Group Exhibitions (example)

2013     The Ungovernables: 2012 New Museum Triennial,  New Museum, New York, NY (curated by                
              Eungie Joo) (catalog)

2012     Neu!, Ebersmoore Gallery, Chicago, IL

2011     The Age of Aquarius, The Renaissance Society, The University of Chicago, Chicago, IL

             Group Exhibition, Gallery A, Richmond, VA

            Worlds Away: New Suburban Landscapes, Walker Art Center, Minneapolis, MN (catalog)

2010     Land Tracking Land, Rochester Contemporary, Rochester, NY (catalog)

Selected Group Exhibitions (example)

2014    Earth Through a Lens, an international juried photography exhibition, Rancho Mirage, CA and             
            electronically at the Museum of Photographic Arts (MOPA), San Diego, CA (catalog)

2013    Domestic Diaries: Photographic Viewpoints, Rockford Art Museum, Rockford, IL (curated by             
             Karen Korner)

2012    10th Annual Iowa Sculpture Festival, Des Moines Area Community College, Newton, 
             IA First Place

All exhibitions listed under one category

There are many ways to present an exhibition record. For less experienced artists (or those who are not interested in the hierarchy of solo versus group exhibitions), you have the option to list all exhibitions under one heading. You may indicate any that are solo exhibitions by stating “Solo Exhibition” or “Two-Person Exhibition” at the beginning of the entry, just after the date. Another option is to use an asterisk (*) or other symbol in front of the entry.  You can include this note next to the Exhibitions title, such as Solo and Two-Person Exhibitions indicated with *.

 Sample #1

Exhibitions (example)

2013    MFA Thesis Exhibition, Katherine Nash Gallery, Regis Center for Art, University of Minnesota,
            Minneapolis, MN

2012    The Night of Day, Fee Kelsey Gallery, Leon, France

2011    Group Exhibition, Reeves Contemporary, New York, NY 

            Better, Southern Projects, Asheville, NC (solo)

           100% Acid Free, White Columns, New York, NY (curated by Micaela Giovannotti)

2010   Dream, Betty Silver Gallery, Atlanta, GA (catalog)

Sample #2

Exhibitions (example)
(Solo and Two-Person Exhibitions indicated with *)

2013    MFA Thesis Exhibition, Christopher Smith Gallery, Minneapolis, MN

2012    *Night, Ashley Johnson Gallery, San Diego, CA

2011    Form & Function, KSA Contemporary, New York, NY

6. Collaborative Projects (if applicable)

If you work in digital art, new media, video, performance art, or other collaborative projects (such as co-curating exhibitions), be sure to note whether or not the work is collaborative. Develop a simple and consistent method for identifying and crediting individual contributors, as well as clarifying your own contribution. One option is to list these under the heading “Collaborative Projects.”

Collaborative Projects (example)

2008    Some Things We Do Together, Momenta Art, Brooklyn, NY (performance in collaboration with Sarah

2003    RN: The Past, Present and Future of the Nurse Uniform, The Fabric Workshop and Museum,
             Philadelphia, PA (in collaboration with Chris Reynolds)

7. Commissions (if applicable)

In this section, you may list any commissioned projects that you have completed. Commissions, if numerous, may be divided into subcategories, such as Public, Corporate, and Private.

Commissions (example)

2009     Public Art Commission, Diversity and Hope, large-scale painting (8 x 16 ft.), acrylic and oil on             
              canvas on panel, Charlotte Convention Center, Charlotte-Mecklenburg Arts & Science Council,             
              Charlotte, NC

2007      Public Art Commission, Through Time, sculpture, Sunset Metro Station, Los Angeles, CA

8. Bibliography (Reviews/Articles/Catalogs/Interviews)

A bibliography in a CV or résumé consists of entries published about you and your artwork. These include reviews or articles (in print or online), books, catalogs, radio and television interviews, and photographic reproductions of your artwork.

The Chicago Manual of Style is a good resource if you are in need of a style guide for listing articles and reviews, etc.  

You can find the Chicago Manual of Style here: 


Print Media (example)

2010    Daniel Mendelsohn, “But Enough about Me,” New Yorker, January 25, 2010. 68. 

1998    Willard W. Wilson, “Sculpture Exhibition: Clinton Shows Region’s Best,” Syracuse Gazette,            
             Syracuse, NY, December 11, 1998. 42.

            Utica Post, exhibition announcement with photograph, Utica, NY, Dec. 8, 1998. 12–18.

1997    Diane Terrel, “New Work in Central New York,” Sculpture 17, no. 1 (January 1997): 63. 

The example (immediately above) refers to a review or article written by Diane Terrel in Sculpture magazine, volume 17, issue one, in January 1997, on page 63. The Chicago Manual of Style recommends that the author’s last name come before the first name in an alphabetical list—but since in a résumé or CV, bibliography and publication entries are listed in reverse chronology, rather than alphabetically, the preferred convention is to list the first name before the last name, as it is easier to read. However, both styles are acceptable.


You should document interviews and/or features about your work on radio or television and enter the following information on your CV or résumé. List the first and last name of the interviewer/author, “title of the segment,” the hosting station, location, and the date in which it occurred. 

Radio/Television (example)

1998    Jane Williams, Interview, WUWJ Radio, Utica, NY, December 9, 1998.

1995    John Doe, “Commissioned Artwork Arrives in Charlotte,” WSOC-TV, Charlotte, NC, March 12,          1995.

Online Periodicals

Author’s first and last name, “title of article,” journal title in italics, volume, issue number (if available), date published, or accessed. DOI (Digital Object Identifier), or the URL.

For online reviews or articles, etc., the following formats should be followed, including listing date of publication. (If the publication date is not available, date accessed should be listed.) The URL may be listed at the end of the entry, at the artist’s discretion; however, links can break, and maintaining links requires upkeep. 

Journals are increasingly assigning a DOI to articles and reviews published online. Initiated by the International DOI Foundation (a not-for-profit member-based organization created in 1998), the DOI is an efficient means of identifying and managing digital entities. Designed not to “break” as some links do, the DOI is unique and remains unchanged even though the digital entity may move to different locations. See the Baylor University site for more information on locating a DOI. You may also find helpful information at the Purdue University Online Writing Lab (OWL) site.

To convert a DOI to a web address, add the following URL to the DOI: http://dx.doi.org/. Thus the example below becomes: http://dx.doi.org/10.4018/ijacdt.2012010103.

Online Periodicals (example)

2012    Patrick Lichty, “On Virtual FLUXUS,” International Journal of Art, Culture and Design Technologies, 
2(1), (January–June 2012). DOI: 10.4018/ijacdt.2012010103

2010    Eva Diaz, “Critic’s Picks,” Artforum, February 28, 2010. http://artforum.com/archive/id=25015

            Jessica Lack, “Exhibition Preview: Omer Fast, London,” The Guardian, October 2, 2010        

2008   Stuart Low, “Rochester Contemporary Art Center features exhibit of Alison Saar art,” Rochester              
            Democrat and Chronicle
, May 11, 2008.  http://www.lalouver.com/html/saar_bio/rochester.html

Website Publications

This is for images or text published on various websites about you and your artwork. First and last name of the author (if known), “title of web page,” publishing organization or name of website, publication date (if available), or alternatively an access date. DOI: if available, or URL 

2012    Hooper Turner, “Artist Statement,” Skidmore Contemporary Art, access date: February 2, 2012. 


First and last name of the author, “title of blog entry,” title of blog in italics, followed by “(blog).” date and time of blog entry. URL

Blogs (example)

2012    Lee Rosenbaum, “Dorothy Kosinski, Phillips Collection’s Director, Named to National Council on             the Humanities (plus some musings on NEA),” Culture Grrl: Lee Rosenbaum’s cultural commentary (blog).  July 11, 2012. 11:52 am. www.artsjournal.com/culturegrrl

Selected Bibliography

When you have a large number of publications about your work on your CV, consider editing the list down to the most important and relevant for a “short CV”; title the category Selected Bibliography.

9. Publications as Author (or Published Writings, Critical Writings, Selected Publications as Author)

This category describes material that you have written. Artists who are also writers should use this category heading or something similar to distinguish it from the bibliography to list books, articles, etc., written by the artist. List any art related publications you have written here, including reviews, catalog essays, blogs, etc. (See below.)

Publications as Author (example)

2011    “A Day in the Life: Editing and Writing for the New Art Examiner,” The Essential New Art Examiner, Terri
            Griffith, Kathryn Born, and Janet Koplos, eds. (DeKalb, IL: Northern Illinois University Press, 2011): 
            259 - 264.

2009    “What does it mean to kill an animal in the name ofart?,” Quodlibetica, Constellation #5 Death, 
              November 2009. www.quodlibetica.com/author/jestep/

2007    “Pop Art and Vernacular Cultures,” Modern Painters, October 2007. 105–106.

10. Lectures / Presentations (Conferences/Symposia, etc.)

Depending upon the nature of the presentation, an artist may use any one or a combination of headings, such as: Visiting Artist Lectures, Presentations, Panels, Workshops, Critiques, and Guest Lectures. For lectures at conferences, be sure to list the title of your paper or presentation, as well as the title of the session in italics, title of conference or sponsoring institution, city, and state. Some universities like to see specific dates as well, which should be placed at the end of the entry.

Lectures / Presentations (example)

2012    “Applying Relevancy,” What Is Conceptual Thinking?, session chair and panelist, sponsored by             
            the Mid-America College Art Association, College Art Association Annual Conference, Los Angeles,
            CA, February 23.

Comments: You may give a presentation or chair a panel at a conference. Many institutions value this kind of activity because it adds to the visibility of a department and institution and helps the faculty member network, etc. Do not list conferences attended; only list conferences if you presented a paper, chaired a panel, led a workshop, exhibited your work, etc.

Visiting Artist Lectures / Critiques (examples)

2007    Lecture/Presentation, Graduate and Undergraduate Critiques, The Ernest G. Welch School of Art                     and Design, Georgia State University, Atlanta, GA, March 21.

2006    Lecture and Graduate Critiques, Syracuse University, Syracuse, NY, November 15.

2005    Workshop, Colgate University, Hamilton, NY, April 28–30.

Giving a lecture or technical demonstration at another institution is an important activity. This is often done in conjunction with a solo show at an institution. Sometimes the visiting artist will be asked to conduct a critique as well. You should specify the type of activity at the beginning of the entry, along with the host institution, city, state, and date(s), as shown above

11. Collections

If your work is part of a collection (private, public, institutional, corporate, museum, etc.), this should be included in your CV. Simply list the name of the collector or collection, city, and state. If your list of collections is long, separate collections into subcategories, such as Private, Public, and Corporate.

Collections (sample)

Agnes Gund, New York, NY

Hirshhorn Museum and Sculpture Garden, Washington, DC 

The Progressive Art Collection, Cleveland, OH

The West Collection, Paoli, PA

Comments: List collections alphabetically under each category or subcategory. Because some private collectors often prefer to maintain privacy, it is best to ask for their consent before listing their names. Do not list friends and family members in this section. A collection listing should only be used for high-profile public or corporate collections, and very impressive private collections.

12. Other Categories

There are a wide variety of professional activities that may require additional headings. 

Artist Residencies (or Artist-in-Residence)

This category is sometimes combined with Awards, Honors, and Grants. It should not be confused with the heading“Visiting Artist Lectures. ”The major distinction is one of duration. This heading includes visits to universities where you are scheduled to conduct seminars, workshops, lectures, etc., over a period of several days, as opposed to residencies, which can last weeks, months, or years.

List the year, name of residency, institution (if applicable), city, state, country (if applicable). You may also include the dates of your residency, however, this is optional.

Artist Residencies (sample)

2012         MacDowell Colony, Peterborough, NH (June 1 - September 30)

2010–11    Roswell Artist-in-Residence Program, Roswell, NM (December 1– November 30) 2008

Other articles related to this topic: Artist Statement, Cover Letter, Proposals and Grants

See our other articles in GYSTNews, or see the list at the left.

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