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TAC AIR combines studio access with a rigorous interdisciplinary curriculum, regular critical dialogue and mentorship, providing residents an opportunity to learn and explore the textile medium, and an alternative to traditional higher education programs. The residency culminates in a group exhibition produced and hosted by TAC. Since 2010, TAC AIR has graduated over eighty artists and designers whose work continues to further textile art within the fashion, fine arts, design and art education fields.

Program Details

Program Activities
Faculty
Facilities & Benefits
Tuition & Scholarships
Application & Selection Process
FAQ

Over the course of 9 months, TAC AIR residents delve into a full curriculum of technical classes, textile history and conservation and professional development. Ongoing critical dialogue, allows residents to gain a greater awareness of their practices and contextualize their work within contemporary and historical textile art.

October–December: Play

The first 3 months are a time for play and exploration, learning new techniques and getting acquainted with a studio practice in this particular setting. Curriculum will include master classes on technical development, such as weaving, machine knitting, natural dyeing and surface design treatments, as well as professional development topics such as social media, marketing and photography.

January–March: Research & Concept

Starting the New Year, residents dive into research and development of their final project for the exhibition. Curriculum will include seminars in textile history, conservation, and contemporary craft theory, as well as writing workshops. At this time, residents are introduced to their personal mentor, with whom they will work one-on-one to help guide the development and completion of their personal project. At the end of this period, residents are expected to present formal project proposals for the final exhibition.

April–June: Project Creation

The last portion of the program is dedicated to project creation and professional development. Seminars are based in personal writing reflection, grant writing, art law and material sourcing. Each cycle culminates in a formal critique, where it is expected that residents present matured concepts and work for the final exhibition.

Classes, critiques and mentorship are facilitated by some of today’s leading textile artists, designers, curators and arts administrators. A sampling of guest critics, lecturers and mentors include:

Sarah Scaturro  / Gina Gregorio  / Pascale Gueracague  / Grace Bonney / Tara St. James  / Sabrina Gschwandtner / Rebecca Kelly  / Sarah Byrd / Annie Coggan / Carin Kuoni (Vera List Center) / Alexa Winton (Parsons) / Marci McDade / Liz Collins / Elana Herzog / Elissa Auther  / Shannon Stratton / Erin M Riley / Pascale Gatzen / Natalia Nakazawa  / Carolyn Sickles / Samantha Bittman / Carlos Motta / Misha Kahn / Kiva Motnyk  / Mary Ping / Sarah Jimenez / Bill Carroll /Annie Larson / Doug Johnston / Sarah Zapata / LJ Roberts / Chloe Bass / Nina Katchadourian / Paolo Arao / Dexter Wimberly / Caroline Kaufman / + more

Studio Facilities

  • 24/7 access to personal 8’ x 8’, well-lit space. Each space has 3 full walls, including shelving, as well as a “tack” wall.
  • 24/7 access to TAC studio and equipment (includes floor looms; home and industrial sewing machines; knitting machines; drying rack; utility sink; dye lab for natural and synthetic dyes; dryer; steamer; screen printing facilities which include 3 yardage tables, large exposure unit and washout booth

 

Additional Benefits

  • Access to resources and fiber arts community
  • Exposure through TAC marketing and social media
  • $750 worth of free classes at Textile Arts Center, followed by 30% off all additional classes taken

Tuition

The tuition of Textile Arts Center’s Artist in Residence Program is $10,000 per resident, split into the following payment plans:

$1000 upon acceptance (June, 2022)
$9000 due on the first week of October, 2022

OR

$1000 upon acceptance (due June 17, 2022)
$2000 due on the first week of October, 2022
$790 monthly from October 15, 2022 through June 15, 2023

Scholarship

The Textile Arts Center is committed to fostering diversity, equity, and inclusion in all its programs. The TAC Artist In Residence Scholarship will support one artist or designer who demonstrates commitment to their art practice, identifies with a historically underrepresented community in the arts and states the need for financial assistance to participate in the program and advance their artistic practice. Applications for the scholarship are submitted along with the program application.

TAC AIR Scholarship is made possible from donations of TAC AIR and WIP alumni and instructors’ work, WIP workshops and by TAC.

Eligibility

We are looking for artists and designers at all career stages, working in textile/fiber media or looking to explore and develop a new body of work in this medium. Eligible applicants must be 21+ years old and have good English proficiency. We encourage international artists to apply, but applicants are responsible for all necessary VISA arrangements and fees.

Application

Application fee: $25 (Early Bird, application submitted by March 1); $35 (applications submitted by March 22)

All applications must be submitted digitally through Slideroom by March 22, 2021

Application URL: https://tac.slideroom.com/#/permalink/program/59438

Selection Process

The selection process is led by a committee of Textile Arts Center’s staff, as well as professionals working in different fields of textile arts.

Selection criteria include:

  • Quality of work
  • Clear plan on work to be created during time of residence
  • Desire to work within a strong community

Selected applicants will be asked to come in for an interview.

Application Calendar

Application Dates for Cycle 14:
February 1- March 22, 2022

Interviews:
Mid-April, 2022

Notification of Acceptance:
Mid-May, 2022

Next Cycle Dates:
Cycle 14: October 2022-June 2023

What is the TAC AIR application process?

Applications for Cycle 13 of AIR open on February 1, 2021. All applications must be submitted electronically through the online platform by the deadline, March 22, 2021.

You will need to write about your work, interests and experience, and —most importantly—your desire for participating in the program. Additionally, you’ll be required to submit a portfolio of 5-10 high-resolution images of your best work that most relates to what you hope to accomplish during the program.

If you experience any issues with the online application platform, please contact isa@textileartscenter.com by March 14 in order to answer your questions in time. Please do not wait until the last minute.

Is there an application fee?

For AIR Cycle 13, there is an application fee of $25 for application submitted by March 1, 2021; and a fee of $35 for applications submitted by March 22, 2021.

Do you accept international applicants?

Yes! In the past we’ve had several international artists move to NYC for the duration of the program. TAC can offer some guidance and support for your VISA application, but residents are responsible for all VISA arrangements and fees.

Is there any degree requirement to apply?

There is no degree requirement to apply to TAC AIR and we encourage applicants from all backgrounds.

What’s the selection process?

All applications will be reviewed by a jury committee made of TAC staff, and professionals working in different fields of fiber arts. After the first round, selected applicants will be contacted for an interview. Interviews will be held during the month of April. Candidates will be contacted by mid-May with their acceptance status.

What are interviews like? Who conducts them?

Interviews are typically about 30-40 minutes, and are conducted by Kelly Valletta and Isa Rodrigues, TAC Co-Executive Directors. Applicants should be ready to discuss their work, their reasons for wanting to participate in the program, and what they hope to accomplish creatively and professionally.

What if I am not in NY and get invited for an interview?

We strongly prefer that candidates be able to have an in-person interview, but definitely understand that this is not always possible. In these cases, we will schedule a video call interview. We do not hold phone interviews in order to be able interact with you in some way and get to know you.

If I’m accepted for TAC AIR, what is needed upon acceptance?

Accepted applicants must notify TAC of their official acceptance to be part of TAC AIR no later than June 1st. At this time, you will be required to sign the AIR Contract and submit a tuition deposit of $1000.

Are there any financial aid options available?

The Textile Arts Center is committed to fostering diversity, equity, and inclusion in all its programs. The TAC Artist In Residence Scholarship will support one artist or designer per cycle who demonstrates commitment to their art practice, identifies with a historically underrepresented community in the arts and/or states the need for financial assistance to participate in the program and advance their artistic practice. TAC AIR Scholarship is made possible from donations of TAC AIR and WIP alumni and instructors’ work, WIP workshops and by TAC.

Since only one artist per cycle will recieve the Residence Scholarship, we encourage applicants to begin researching third-party funding by the time of application, including artist grants, loans, credit, or others.

Here is a brief list of some places to look for grants and resources:

Additionally, we encourage and support residents to organize their own crowdfunding campaigns.

What kind of time commitment is the AIR program?

We expect that accepted residents make the program a priority for the full cycle. It is an intensive professional development program that will take a lot of focus, work, and time. We believe the investment in you and your work makes it worth this level of effort and attention.

However, we do know life goes on and NYC is a tough place to survive and be creative. We want this program to work for artists and designers as a complement to their lives – not remove, isolate, or bring them down. We absolutely accept candidates that have full or part time jobs.

Critiques and class times are twice per week, generally totalling to about 6 hours per week. Monday evenings are critique nights, while class evenings are usually on Thursday evenings or weekends. This can vary throughout the cycle based on instructor availability. Residents are updated on dates far in advance, and given a calendar to work around.

We expect and recommend that residents spend about 15-20 additional hours per week in their studio on their work. Residents have 24/7 access to their studios, so weekends and late nights are okay.

Have a question for an AIR alum about their experience?

Here’s a few you should feel free to contact:

If you still have questions, feel free to email Isa Rodrigues.

Applications for TAC AIR Cycle 14 are now closed. We will announce the application in early 2022.

Current TAC AIR Cycle 13 Artists

Adriana Gramly

Adriana Gramly is a media artist focusing on the goofy, beautiful, and joyous realms of animation and textile design. Each of her textiles, films, drawing, and writings reflect a search for home and human connection in an overwhelming world. Her biracial experience is often an in-real-life exploration of finding home and getting a taste of it in sometimes contradicting places. It’s the search for these contradictions that lends her work to be made in an intuitive, found object, and collage driven spirit. In 2019, with degrees in Film/Animation/Video and Textile design, Adriana graduated from the Rhode Island School of Design. Her films 1927 and Midden have been included in festivals internationally and she is now a artist in residence at the Textile Arts Center in Brooklyn, NY.

Headshot of Adriana Gramly in front of a purple background.
A close up of a plush textile sculpture showcasing multiple fabrics and patterns.
Two stop motion husky dogs with a pink background. One dog is panting with its tongue hanging out.

Emma Safir

Emma Safir (b. 1990 she/her/hers) is a Brooklyn-based artist who holds a BFA in Printmaking from RISD and an MFA in Painting & Printmaking from Yale School of Art.

Emma Safir’s work navigates the opacity of intersubjective experience and the transience of memory. Through the material exploration and manipulation of weaving techniques, smocking, lens-based media, rasterization, upholstery, among other methods, the objects she makes function as screen simulations, proxies and portals. Simultaneously convex and soft, absorbing and emanating light, the work employs illusion in order to both disorient and placate. The softness is deceptive. Although inviting, Safir’s pieces are resistant to being made sense of—creating an enticing object that cannot and will not allow itself to be understood.

A white person with long brown hair and yellow glasses behind a green plant
Two Green and yellow textile paintings on a white wall
Two Brown and blue and purple textile paintings on a white wall

Jia Sung

Jia Sung uses the familiar visual language of folklore to examine and subvert parameters set around the humanity of women, queer people, and those considered ‘other.’ As a Singaporean Chinese queer woman born in Minnesota, raised in Singapore, and now based in Brooklyn, her experiences of transplantation and coming-of-age in the west have pushed her to question what it means to reconnect to inherited stories without reenacting dynamics of fetishization and orientalism. Drawing on motifs from Chinese mythology and Buddhist iconography, she decenters the cisheteronormative values embedded within these archives by reinterpreting them through a queer feminist lens. Her recent work spans paintings, zines & artist books, poetry, and tapestries incorporating embroidery and beadwork.

Jia Sung with white shirt and red lips and long dark hair pulled back looks into the distance with green tree leaves in the distant background.
A figure in a white dress eating an orange snake while standing in a garden.
A beheaded figure and donkey, stumbling across a landscape in front of a giant yellow sun with beaded drops of blood.
A monkey-headed figure riding a bull, painted in red paint on top of a blue background.

Linda Sok

Linda Sok is a Cambodian-Australian artist focused on investigating the culturally and personally significant period, the Khmer Rouge Regime, which forced her family to flee Cambodia. Her practice navigates the complexities of the trauma embedded in the Cambodian diaspora and aims to shift its legacy from one focused on genocide to one of healing.

With careful considerations for cultural objects, rituals, traditions and their materiality, her practice often manifests in sculptural installations. By accessing fragments of the past, she attempts to re-contextualize lost traditions and culture to allow living descendants to process the traumatic history experienced by older generations.

Linda with long brown hair and round glasses and blue shirt smiles at the camera with artwork in the background.
A large colourful patchwork textile hangs from the ceiling with gold trinkets adorning its surface
A gallery space filled with pieces of handmade paper in organic shapes in fleshy pink and cream colours.
Strips of gold, pink, and brown coloured Cambodian silks encrusted in salt hang across a gallery space. Image courtesy Casula Powerhouse Arts Centre, photo by Chantel Ban.

Lucas Montenegro

Creating a life for myself, far from home, has allowed me to observe my culture and family dynamics from a distance. Recognizing my family’s emotional baggage and how trauma is passed down from the other side of the world can be a relief and a curse. There are certain subjects that are only discussed in Spanish and others in English. It seems like my debauchery, sexuality and gender identity exists in the US while my childhood fragility and raw emotions still remain in Chile. The process of knitting or weaving, is a self-reflective, meditative exercise that culminates in an object. This object then becomes a vessel for those emotions. Everyone has a point of entry to textiles, whether it be fabrics, soft objects, clothing, home goods, etc, the familiarity that is inherently present.

Headshot of Lucas Montenegro smiling with his hand behind his head.
Bodyshot of a male model wearing a knitted onesie.
Bodyshot of a male model surrounded by 3 bustles/hoop skirts.
Bodyshot of a male model wearing a knitted top and sweater, pants and skirt.

Melika Abikenari

Melika Abikenari is an Iranian interdisciplinary artist based in Brooklyn. Her work explores the enduring and evolving nature of experience and memory. Her main concern, both practical and theoretical, is the nature and function of memory, how it is constructed and reconstructed, which is to underscore its contingent and persistent character. Her practice comprises a wide array of mediums including sculpture, installation, video, performance, research, documentation, and drawing. She holds a BA from UCLA School of the Arts and Architecture (2017) and an MFA from Cranbrook Academy of Art (2021). She is a recipient of the Anderson Ranch Arts Center 2020 Scholarship Partnership Program, and the Meredith Beau CAA ’97 and Scott Beau Materials Fund.

Melika has red lip and bangs with long brown hair and a black shirt. Across her face is netting
A rectangular textile piece hangs on a white wall. The piece consists of large and small dark brown motifs sewn on a sand-colored 144” x 72” piece. A dark brown line starts from the bottom part of the largest motif and extends to the floor.
Melika is standing on and bent over a large raw canvas that is on the ground while making a mark with a piece of red raw clay. There is a large sculptural pile of raw clay next to the canvas facing Melika.

Tashiana St Aude

Tashiana St. Aude is a biracial Haitian American textile and fashion designer, whose main interest is to create statement pieces and everyday wear while keeping textiles waste from landfills in third world countries. She recycles clothes to design new clothing through textiles processes.

What is a pair of jeans? What do they do? What are their characteristics? How does a pair of jeans act? What if we took many pairs of jeans and envelope all of them into these characteristics? What if a pair of jeans only has half of those characteristics? Do you consider it a whole pair of jeans, or is it only half? One jea? Are you even comfortable asking that question? Why? So why ask?

Tashiana smiles at the camera with a black shirt on
This is a virtual garment in Clo, where I imported the fabric and attempted to see what type of garment it could make. This is another way, that I will be working from the physical relm to the digital realm. I’m hoping to use Clo to create a virtual heaven space, as I use TAC to create the textiles for the space.
The Commodity Jacket: This jacket is an introduction to the way I work with waste material. I uploaded a jacket pattern onto the computer and formulated it for the Jacquard loom. I then took it to the loom where I wove in out of unwanted garments that I had shredded into yarn. In this way, the weaving became the jacket, and the jacket became the weaving.
Reclaimed silk organza, shibori dyed in cochineal and indigo, as an attempt to replicate the sky.

Tinglan Huang

Tinglan Huang is a mixed-media sculptor who was born and raised in the south of China and currently lives in Brooklyn, New York. She received her MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art; and her BFA in animation at LuXun Academy of Fine Arts, China.

She focuses on considering the personality’s transformation invoked by social contradictions and changes in self-being. Also, she experiments with an archetype, which can reveal an individual's sub-consciousnesses. Using lines with various materials, like steel stick, wire, hemp rope and yarn, she creates the different structure of her being, from a spot to a line, then to a surface, finally a complex form. Her previous work was large scale and expressed by intensive layout.

A frame loom weaving with a smaller frame loom inside of it with blues and purples
Tan baskets spread out around the corner of a wall
A weaving in a frame loom of red and yellows at the top and grens at the bottom

TAC AIR Alumni

Cycle 12 2021/22
Clare Hu
Elaine Shen
Elizabeth Tolson
Emily Small
Francisco (Echo) Eraso
Jeanne F. Jalandoni
Jessica Elena Aquino
Ryan Scails
Cycle 11 2019/20
Anthony Shimek
Aomi Kikuchi
Cong-Tam Nguyen
Marta Nowak
Melissa Joseph
Rowan Renee
Yidan Zeng
Zuhoor Al Sayegh
Cycle 10 2018/19
Dance Doyle
Erin Palumbo
Familien Iglesias (Bo, Lisa, Janelle)
Noah Pica
Romina Chuls
Shihui Zhou
Tiantian Lou
Winnie van der Rijn
Cycle 09 2017/18
Chang Yuchen
Cory Siegler
Hannah Whelan
Jamie Boyle
Junyu Li
Lily Moebes
Meghan O'Sullivan
Rhonda Khalifeh
Cycle 08 2016/17
Andrew Boos
Isabella Amstrup
Martha Skou
Mia Daniels
Rebekah Bassen
Sarah Finkle
Vien Le Wood
Cycle 07 2015/16
Alex Goldberg
Collette Aliman
Fanny Gentle
Ignacia Murtagh
Jamie Israelow
Maeve Myfawnwy
Victoria Manganiello
Yunjung Kang
Cycle 06
Aimee McLaughlin
Alayna Rasile
Anne-Marie Lavigne
Christi Johnson
Emelie Röndahl
Hannah Schultz
Iris Plaitakis
Yoshiyuki Minami
Cycle 05
Amanda Hu
Chi Nguyen
Joey Korein
Kaelyn Garcia
Sarah Abarbanel
Yto Barrada
Cycle 04
Eleanor Anderson
Kate Parvenski
Kelly Valletta
Kristin Morrison
Lucia Cuba
Mandy Kordal
Cycle 03
Josefina Concha
Katie King
Melissa Dadourian
Natalie Moore
Stacie Baek
Veronica Fuentes
Cycle 02
Annie Coggan
Candice Thompson
Julia Ramsey
Katie Minford
Stacie Baek
Whitney Crutchfield
Cycle 01
Astrid Lewis Reedy
Denise Maroney
Jill Magi
Julia Ramsey
Tali Weinberg
Whitney Crutchfield
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