The Art Writers Mentorship Program cultivates new voices for the arts through writing workshops, instruction in professional practices, and exposure to top practitioners in the field. The program gives participants the time and support to develop and hone their writing skills over six months. It is structured around monthly assignments and workshops that provide critical engagement and feedback in a small group setting.
Huge thanks to our wonderful sponsor for Cycle 6:
Our next cycle begins in March 2018!
Deadline: January 25, 2018
For further information, please contact Stephanie Cash at firstname.lastname@example.org, or 404-602-9513.
CYCLE 6: March 3 – July 14
Session #1 March 3
Stephanie Cash, Executive Editor of BURNAWAY
Session #2 March 24
Felicia Feaster, art reviewer for the Atlanta-Journal Constitution and Managing Editor at HGTV.com.
Session #3 April 21
Kirsten Pai Buick, Professor of Art History at University of New Mexico and 2015 Driskell Prize Winner
Session #5 June 16: TBA
Session #6 July 14
Cinqúe Hicks, art critic
Cycle 5 Mentors
Chuck Reece is co-founder and editor-in-chief of The Bitter Southerner, an online magazine featuring engaging stories about the South.
Katie Geha is Director of Galleries at the Lamar Dodd School of Art at the University of Georgia in Athens. She received her PhD from the University of Texas at Austin and her MA from the School of the Art Institute of Chicago.
Cycle 5 Participants
Shannon Morris is Gallery Director of Augusta University’s Mary S. Byrd Gallery of Art, and serves as curator for the Westobou Festival Gallery. She has served as curator at Georgia College in Milledgeville and on the staffs of other museums within the region including Alabama Contemporary Art Center in Mobile, Alabama; the Telfair Museum of Art in Savannah, Georgia; and the Birmingham Museum of Art. She holds an MA in Art History from the Savannah College of Art and Design.
Nitzanah Griffin is a graduate of Georgia State University, where she received her BA in art with a concentration in art history. Her research interests include contemporary American art and contemporary art of the African diaspora, where transnationalism, identity politics and power converge. She has worked as a gallery assistant at Georgia State University’s Welch School Galleries, volunteered at the Art Papers art auction, and recently completed a multiyear appointment at the High Museum of Art as an Andrew Mellon Curatorial Fellow. She is actively pursuing admittance into a Ph.D. program in art history.
Shady is a PhD candidate in the Moving Image Studies Program at Georgia State University. She teaches Film History and Analysis at GSU and is an instructor for IATSE 479, Atlanta’s Film, Theatre and Television labor union. In 2012, shady graduated from NYU’s Visual Culture program and moved to Atlanta. Shady has worked as a curatorial assistant at Atlanta Contemporary, an independent curator with LiFT Art Salon, and as a costumer at Tyler Perry Studios. Writing has become an exciting portal to her audiovisual experiences and a way to critically engage with and reflect upon Atlanta’s rich art community.
Liz Constable is an educator, artist and writer living in Northern California where she teaches in Gender, Sexuality and Women’s Studies and the University Writing Program at UC Davis. She has published articles in queer feminist film studies, contemporary European cinema and 19th- and 20th-century French and Francophone literature. Passionate about arts education and the power of the arts to raise critical issues about social justice, she brings her practice as a fiber artist into dialogue with art education to write about contemporary intersections of art and cultural activism.
Maggie Davis is a painter represented by Sandler Hudson Gallery. She began writing art reviews in 2011. Davis was co-moderator for the conversation series for Tanz Farm, Season III: FEED “The Artist Who Never Lies” and moderated the panel discussion “Who’s Suburbia” with photographer Sheila Pree Bright for the Roswell Roots Festival of Black History and Culture. She maintains a studio practice at the Goat Farm Arts Center where she explores painting as a means of thinking.
Carl Rojas married into art writing. A philosopher and punk rocker first, he is now a finance leader in the tech industry and is married to BURNAWAY’s Executive Editor. In the last seven years, Rojas has viewed and evaluated hundreds of art shows in galleries and museums. He realized that he had an opinion about these shows and ultimately succumbed to wanting to share his “voice” on art. He is in this class to continue to find that “voice.” Carl likes to write. Art writing is fun.
Testimonials from our participants:
The Emerging Art Writers Mentorship Program has given me the professional and practical skills necessary to succeed in the world of art writing. I came into the program with a BFA and MFA in writing, along with extensive writing and editing experience; however, I have learned so much from this incredible workshop series. The quality of my prose, my understanding of the art world, and my ability to communicate about creativity have flourished because of EAWMP. Burnaway is training the next generation of art writers, and I’m thankful to take part in this program. —Matthew Terrell
My time as a mentee in the EAWMP has not only improved my ability to write about art but also taught me how to think more critically and encouraged me to write more prolifically. Hearing varied perspectives on arts writing, from Stephanie Cash to Chuck Reece, has made me realize that there’s not just one way to write about art. The program has helped me tune into my originality and personality in my writing and has put me on a great path to go from emerging to established arts writer. —Yves Jeffcoat
Art writing is a niche area, and there are few opportunities to gather not only with leading professionals in the field but colleagues with similar interests. I found Burnaway’s Emerging Art Writers Mentorship Program a unique and rewarding program in which to think through broad issues and hone specific writing skills. It was stimulating to have discussions with a diverse, interesting group of art writers. —Linnea West