How to Apply for Resources as an Artist:
Grants, Residencies, and More
Written by Michael Lodato
Published on January 22nd, 2026
Writing well about one’s artistic process, ambitions, and needs is a challenge, but it’s also a learned skill like any other. When describing their work, “most artists are more comfortable talking about the art part than the logistics,” said Kelly Olshan, Senior Program Officer at the New York Foundation for the Arts (NYFA). But with practice, artists can explain their ideas and their process in a way that is both clear and enticing. Let’s break down applications for residencies, grants, and funding opportunities, and discuss how artists present themselves in the best possible light.
First, as aspiring applicants, artists should clarify their needs and assess their eligibility for each opportunity. Residencies give artists access to space and may even offer funding. Grants typically give artists access to funds for a specific project, though the rare unrestricted grant offers funding for any use that supports an artist’s work. Residencies and grants may have eligibility requirements, like residing in a certain city. That said, lots of organizations cast a pretty wide net. Silver Art Projects, for example, has accepted applicants ages 19 to 74. Organizations may ask applicants to answer particular questions or submit supporting documents, but nearly all applications require three main components: an artist statement, a portfolio, and a statement of intent.
An artist statement is a brief description of an artist’s work and an explanation of how they approach their art. Artist statements should be direct. “People assume that if you’re reading a statement, then you already know what the work looks like. They can underestimate the importance of stating ‘I’m an oil painter,’” said Monica Srivastava, Director of Artist Experience at Silver Art Projects. The “why” is important, but here in the artist statement, the “how” is key.
Next comes the portfolio. According to Srivastava, “You have to make sure that the statement is doing some lifting, and the artwork is doing some lifting. It shouldn’t ever feel like one is doing more than the other.”
Details matter. Pay attention to lighting. Avoid glare. For sculptors, use a spotlight if possible. Take straight, level, high-quality photos. Ideally, viewers should be able to zoom in to see the details of each piece.
Keep in mind that artists don’t need a professional space to take professional photos. “It often works better if they’re photographed in what could look like a gallery or museum,” said Srivastava, “but if you have a white wall and a clean floor, who’s to say that’s not a gallery?”
Applicants must also adhere to the submission requirements for portfolios, like file size and resolution. “That’s so important,” said Srivastava, “those are set for a reason. You don’t want to mess up anything on our side, and we want to be able to appreciate the work that’s being submitted.” Plus, following directions is an easy way to present yourself as a green flag. Some residencies, like Silver Art Projects at 4 World Trade Center, have tight security.
Following the application instructions reflects well when readers are screening for organization and conscientiousness.
Finally, artists submit a statement of intent, a piece of writing that answers the question “why us?” In other words, why do you want this particular grant or residency? Artists should answer with authenticity. If you aren’t the type of person who would drop the word “subaltern,” don’t try to be. Artists won’t win any extra points for that anyway. “Artists sometimes think that they have to go into heady, hyperacademic artspeak or jargon,” said Olshan, “that’s really not the purpose of a grant.” Speak in a professional, but down-to-earth manner, emphasizing concrete goals and results.
Statements of intent describe the scope of the project, so it’s important to lay out the steps involved and outline a budget. Artists should include their own fee in their budgets, typically 20 percent of the total. When proposing a project, be careful not to bite off more than you can chew. “Feasibility is a really key piece of grant and often explicitly a part of the evaluation criteria that we ask panelists to score,” said Olshan. “There’s an instinct to promise the moon and the sky in hopes that if you promise so much, then you’ll be more likely to get the money,” she said, “but I would really advise against that.” Organizations that fund the arts want to know what they can expect to see produced by the endpoint. Explain how the funds will be used, so panelists can judge whether the project is realistic. Try to anticipate the resources needed and account for every part of the process.
Panelists judge applications in part on the applicant’s level of fit. So, getting a rejection is not a mark of artistic quality—it’s more of an assessment of an artist’s compatibility with a given grant or program. “Rejection is part of the process,” Olshan said, “part of being an artist. The arts is a hyper-competitive field. Some of these competitive grants have a two percent or even a 0.01 percent acceptance rate.” Given that context, a rejection does not necessarily mean an artist is doing anything wrong. Grant writing is a marathon, not a sprint. Think of it like applying to college. It’s natural to include mostly target schools on one’s list as well as a few reach schools. “Think about what do you have the time, money, bandwidth to apply for for this particular season,” Olshan said. She advised that artists choose a handful of targets per year, perhaps three or four for which they feel that they have a good shot, and then a fifth application that is more of a reach. Having a manageable strategy for applications limits the chances of burning out. Filling out applications can be an arduous process, but consistency matters.
“We had an artist last year who applied three years in a row and didn’t get in until last year,” said Srivastava, “we remember your name, we remember your application, and we may see your work grow over time.”
Getting started is the hardest part, but seek and ye shall find. Many opportunities are available—for example, Olshan recommended looking into local arts councils. Every state has one, and many cities do as well. “They have staff whose job it is to guide people through their first grant application,” said Olshan. Asked about tips for street artists, Olshan suggested investigating public art open calls. “There’s a ton of funding for public art,” she said, noting the many opportunities in New York, including the MTA’s public art program. In addition, artists new to grant writing can peer behind the curtain by seeking to become a jury panelist. According to Olshan, these roles are a great way to learn about the logistics and decision-making behind grants and awards.
While the process may appear daunting at first, crafting applications eventually becomes part of an artist’s routine—both as a habit to form and a skill to develop. Describing your work well takes times and practice. Like any writing task, the name of the game is iteration and feedback. While submitting competitive applications is hard work, it is also uniquely rewarding. Through the process, artists learn about the nature of their craft and their long-term goals. When an application is accepted, artists not only gain crucial support for ambitious projects, but also the validation that they have an achievable, worthwhile vision that they are ready to bring to life.
Michael is a Brooklyn-based writer, independent tutor, and former philosophy instructor. His comedy has appeared in McSweeney’s, The American Bystander, and Current Affairs. He is passionate about using humor to teach big ideas and has contributed script writing to educational YouTube channels like Crash Course and Wisecrack. He is perhaps best known for the time he accidentally offered an edible to a former Bush administration official, who politely declined.
Instagram: @magnesiummike
Website: mikelodato.com