Artist Resources, Grants for Artists, Creative Projects, Making Money for Artists

Dancer, director of La Rosario Proyectos, yoga practitioner — these are just three of Awilda Rodríguez Lora’s countless, shapeshifting forms. Born in Mexico, raised in Puerto Rico, and working across the Americas and the Spanish-speaking Caribbean, Rodríguez Lora's lifelong practice is defined by its movement — bodily movement, political movement, and moving the field of experimental performance forward with every step. To learn more about Rodríguez Lora and La Rosario Proyectos — a creative project fiscally sponsored by Fractured Atlas — keep reading or listening.

Shoccara Marcus and Tamara Irving wanted their children’s children to know the stories of Atlanta’s Black dance pioneers. So Shoccara, a dance photographer, and Tamara, a dance education consultant, joined forces in 2022 to create a documentary chronicling the history and impact of Atlanta’s first Black dance studios. We sat down with them this summer to learn about the process of creating a documentary, the art of collaborating (with your friends), and what supporting artists means to them today.

If you’re a New York artist or arts organization, we think this article is worth screenshotting, bookmarking, silk screening onto a shirt, or wheat pasting onto your in-laws front door (“my bad, I thought you said you support the arts!”). NYSCA funding veterans already know about the secret season between spring and summer, affectionately dubbed “NYSCA season.” But if you’re new to the block, fear not. From “what even is NYSCA” to “gimme that app deadline,” Fractured Atlas has you covered.

Join Tom Luther and Vicky Blume on a daring, intergalactic quest. The mission? Express Tom’s creative practice in words. Their conversation is the first in a new series of artist interviews called in practice. The series is a collaborative time capsule for the Fractured Atlas ecosystem, creating snapshots in time of our evolving creative journeys. This interview, and all that are to come, will live on Inciter Art—a writing, co-learning, and resource sharing space for creatives with big ideas and bigger questions.

It’s rejection season, baby. For creative beings who bravely put themselves out there this fall and winter, I tip my hat to you—regardless of the outcome. The first months of the year are a notoriously brutal season for artists because, while a small percentage of us just received happy news (you finally got that grant!), the vast majority of working artists are questioning why they poured hours of their precious free time into applications that go nowhere.

It is no secret that women of color filmmakers are operating within an industry that has historically privileged and rewarded white filmmakers. So many women of color filmmakers are grossly underfunded, if not altogether excluded from telling their own stories in their own ways.

For years, as an indie music artist I have researched and practiced building my own brand. Workshops, books, influencers in the world of indie music, and even academic courses teach the components of branding in terms of look, sound, story, message, etc. As it's known, even though it can sometimes be grouped into unappealing thoughts associated with “marketing”, “branding” is a necessary and powerful component to be able to share our art with the world.

Piano and violin duo Gracie and Rachel make music that engages with anxiety, depression, and the general feelings of self-doubt that so many of us experience but can have a hard time talking about.

Plague, revolution, and spending copious hours alone with your thoughts happen to be very relatable experiences for many of us in the past few years. They’re also some of the organizing principles of the life of Julian of Norwich, a 14th-century English mystic, first woman author of an English book, and the subject of Caroline Golum’s medieval live-action drama, Revelations of Divine Love.

As the art world considers the different ways that artists can be supported now and into the future, it can also be helpful to look to the past for successful models.