2023/2024 BRIClab Application FAQ

• Contemporary Art: 3 - 5 residencies
• Performing Arts: 8 - 10 residencies, depending on scheduling
• Video Art: 6 residencies
• Film & TV: 3 residencies

• $2,500 for each residency
• Contemporary Art will offer an additional stipend of $2,500 to artist collectives and collaboratives. Collaboratives can apply with two lead artists in the residency (even if there are more involved in the project).

No, housing is not provided with this residency program.

• BRIClab review panels reflect BRIC’s values and artists, and will be inclusive of disabled, BIPOC, and LGBTQ+ reviewers. Panels are made up of BRIC staff, alumni artists, and active participants in relevant fields. Evaluation will be based on how the goals of the proposed projects match up with resources available, relevant work samples, and the creation of diverse and representative cohorts.
• Artists will receive final word from BRIC by the end of June 2023.

• You can apply to multiple tracks but you can only get selected for one program at a time.
• You can use the same project to apply to different tracks. 
• You can reapply if you were not selected for that track in previous cycles, or if you participated in a different track.

We understand that many artists and creators work in multiple media, either simultaneously or at different points in their careers. We suggest you look at the specific resources available in each track, and select which one best suits your practice at this point in time. For instance, if you are primarily a painter but are incorporating video into your work and could benefit from access to training and equipment, the Video Art track is best for you. If you make video art but need studio space and have a practice that intersects with the Contemporary Art theme, "All My Relations," the Contemporary Art track will be most appropriate.

• For most programs your primary residence should be in New York City.
• BRIClab Contemporary Art offers the possibility of a virtual or hybrid residency that does not require artists to be based in NYC.

• BRIClab Film & TV, Video Art, and Performing Arts are open to collaborations, but for those tracks, there is only one $2,500 stipend per residency.
• Due to space and resources for support, Film & TV limits collaborations to two leading artists. 
• Contemporary Art is open to collaborations and collectives. 1-2 lead artists should apply on behalf of their collaboration or collective. Contemporary Art will offer an additional stipend of $2,500 to artist collectives and collaboratives with 2 lead artists in the residency.
• Performing Arts projects often have multiple collaborators who are working on the residency at the same time, but there is only one lead artist listed.

• For most residencies, artists will suggest possible mentors. In the case that suggested mentors are unavailable, BRIClab staff will work with the artist to find the most appropriate mentors and/or advisors. Mentors receive an honorarium for their participation.
• Mentors meet with artists multiple times during the residency and provide direction and feedback.
• For Contemporary Art the artists will suggest peer advisors, who should be someone that they already have a relationship with which they want to deepen through their project.

For the first time, hybrid and/or virtual residencies are offered in the Contemporary Art track. We see this as a first step towards possibly implementing this across the tracks in the future to make the program more accessible.

BRIClab is unable to sponsor a visa at this time.

Contemporary Art: Successful work samples should contextualize the proposed project within your existing practice. We recommend sharing high quality images of recent, individual works that are completed. Please don’t share works in progress for your proposed project. We also suggest images that show the depth of one project opposed to the breadth of your entire practice.

Film & TV: A good work sample provides the reviewers with a sense of the emotional stakes and complexity of the characters in the film. The sample does not have to be long or perfect but it should have an excerpt or a series of excerpts that draw the reviewers in and makes them want to see more. It should take us visually into the world of the film and set up intriguing characters and unique stories. It is also a good idea to include a variety of characters, situations, and locations. The work sample should also demonstrate the filmmaker's skills and ultimately their ability to build a scene and complete their films. 

Performing Arts: A successful work sample is relevant to the proposed project. The sample does not have to be long or finalized, but it should help the reviewer understand the project and make them want to see more. Prior work is less helpful than documentation of the proposed project.

Video Art: A good work sample can be video but could also be individual  images of previously completed artwork (photography, sculpture, painting, drawing). If a video, the clip should be 2-3 min. of a complete work that is relevant to the proposed project and demonstrates the artist’s skills and the type of work they are hoping to build on during the residency. 

BRIC strongly encourages Open Captioning on all video submissions, so that samples are accessible to all reviewers.

• Video Art: For video and short film artists or interdisciplinary artists that have done some video-based work in the past. The residency asks artists to explore and experiment with new forms of short films or videos. Artists are not required to have prior experience with the format they are exploring but are asked to create at least an 8 min. video work by the end of the residency (9 months). Any classes taken in support of the work being made will take place concurrent to the capture of the work in the first 3 months of the residency.
• Film & TV: For documentary filmmakers working on a non-fiction film (short, episodic, or feature).

In general, residents only have access to BRIC Media equipment if they become Certified Community Producers, and attend prerequisite certification courses led by BRIC’s Media Education department. More information on this opportunity can be found here: How to Become a Community Producer at BRIC. 

• BRIClab Video Art: Access to all media classes at no cost and use of studio spaces & media lab for up to 80 hours during the residency. Artists each have up to 20 hours of 1-on-1 time with a media instructor for specific technical help. Artists are expected to become Community Producers, and complete at least three Media Education classes
• Film & TV: Access to the resources & facilities at 75 Rockwell (edit suites, color correction, etc.). FTV filmmakers have access to media classes depending on availability at no cost and have limited access to the studio spaces and the media lab in the community media center during the residency. 
• Contemporary Art and Performing Arts: Residents can access field cameras and audio equipment if they become a Certified Community Producer and complete required certification classes. 
• Other access to classes and/or equipment may be arranged on a case by case basis, in collaboration with BRIC staff and dependent on equipment and class availability. These resources are currently shared across a very large network of Community Producers, so availability might be limited.

• BRIClab residencies will follow BRIC safety protocols. This page is regularly updated with any changes in policies: https://www.bricartsmedia.org/safety
• Contemporary Art residents will have the opportunity to draft a Community Agreement for their studio to address needs and requests regarding shared space use, guests, COVID-19, and other concerns.

• BRIC is committed to expanding access for disabled artists, audiences, and staff. BRIClab is our largest incubation program for artists in all of BRIC’s disciplines. We are intentionally prioritizing applications to address past inequities and exclusions, both at BRIC and in the larger arts ecosystem. 
• We are centering disabled artists by ensuring we have disabled leaders as panelists and decision makers; working towards a more accessible application process; working to distribute this opportunity to disabled artists, partners, and groups led by and supporting disabled community members; and in the case of Contemporary Art, building on processes and thematics that come from the disability arts movement itself.

We interpret disability as a spectrum that includes neurodiversity, chronic illness, mental health disabilities, and invisible disabilities, as well as disabilities that affect mobility, sight, hearing, and other senses. No one will be asked to verify their disability in any way. We understand disclosure can be a complicated and personal decision.

No, absolutely not. There is an optional box to check on applications asking if you identify as disabled. We ask this to inform BRIC’s work towards building an inclusive and representative cohort, but no one will be asked further questions about status. The information will be available to panel reviewers, but not made public outside of the review process.

• While we can’t guarantee every need will be met at all times, we are extremely dedicated to working with you to support your ability to work and participate in the BRIClab residency. The workspaces are technically accessible, but we recognize that access means different things for different people. BRIC has a limited but additional budget set aside to help us make the residencies more accessible. The first step will be to review requests together once you are selected. From there, we will have regular check-ins with artists to follow-up and make sure that we are following through and/or addressing needs as they arise.
• Examples of access needs we have addressed in past residencies and other programs include: specific ergonomic work-space seating; adding air purification systems; providing budget for ground transportation; ensuring CART at public programming; adding budget for a companion at events; addressing chemical and scent sensitivities.

Filmmakers own all the rights to their content.

We recommend submitting a BRIClab-specific budget that gives a breakdown of the $6000 that will go towards reimbursement for production costs.

No. BRIC can reimburse the filmmaker for production costs including fees for the production team. Please list this in your budget if you anticipate these costs.

Films can be in any language; however if the film is not in English, work must be subtitled.

We do not fund student projects or commercial/promotional films.

These hours are typically used for a production resource, such as a lighting or audio engineer, to provide support during the tech rehearsal and work-in-progress performances. Some examples might be:  helping the resident artists hang lighting, run a lighting or audio cue board during performance, operate projection cues, etc.

Please contact Jessica Sucher, Director of Community Engagement, at jsucher@bricartsmedia.org, 718.683.5622. Because we are a small staff, and may receive many inquiries, please allow at least 7 business days for a response.

For inquiries on how you can support emerging and mid-career artists through BRIClab as a grantmaker or corporate sponsor, contact Julia Metro at jmetro@bricartsmedia.org