Commissioned Artist Application

Dry House Ruins

NPS Photo

2024 Program Description

The Keweenaw Peninsula has been the site of copper extraction for more than 7,000 years. Visitors come from all over the world to visit what remains of one of the Earth’s most productive mining regions. As people moved on, much of the industrial landscape has given way to the return of nature. Beautiful forests surround historic buildings, grasses and wildflowers reclaim open spaces.

One feature of the mines is not visible to modern visitors – the workers and their families who once crowded Copper Country. The goal of this program is to use art to return the presence of people to these historic landscapes.

The Quincy Dry House represents the transition between the domestic and industrial sides of the miners’ lives. While the mines were in operation, miners changed into their work clothes at a Dry House before walking down to the shafts. After work, they would change out of their work clothes and wash up before heading home.

Artists are asked to develop projects that allow visitors to envision what is now a rocky, grassy slope as part of a workplace. How the sense of workers on the landscape is accomplished is up to the artist to propose. Artists should consider that:

• The artwork must be able to be secured to the ground in some way that will prohibit theft
• The artwork must be weather resistant
• The artwork may serve as inspiration for additional work in other areas of the park

 

Program Term

The artist will be contracted for a period of six weeks of the artist’s choice between July 8 and August 30.

Selection Process

Applications will be accepted between February 1 and February 26. Applications must be submitted by 11.59 pm EST on February 26, 2024.

As a condition for acceptance, the artist must provide a work plan. The plan will be sent along with the initial application.

The artist will be provided with up to $17,000 to use based on their proposed budget.

The plan must include:

• Estimated cost of materials and the artist’s time.

• Draft of work schedule.

• Need for housing.

  • The artist must reside more than a fifty-mile drive away from park headquarters to qualify for housing.

• Need for workshop space.

  • Include space requirements, and if assistance is required in locating a suitable space.

• Plan for public engagement.
  This engagement may take multiple forms, including but not limited to in-person lectures, hands-on workshops, open studio hours, social media posts, or other approved forms. The artist must complete 50 hours’ worth of public outreach during their term.
  Consider options that:

  • Are accessible to most ages.

  • Consider potential safety concerns.

  • Have no assumption of previous knowledge or skill.

  • Explicitly list safety procedures and gear (Proper PPE, etc.).

The best plans should:

• Be realistic.

• Align the activities with the work described.

• Demonstrate effective use of the budget.

This initial plan is expected to be a rough estimate. We understand that the artist’s vision for the project may be altered as they immerse themselves in the work. However, any potential alterations may not exceed the existing budget of $17,000.

A panel of park staff and members from cooperating organizations will select the artist from the pool of applicants in March after a round of interviews.

 

Selection Criteria

Artists will be evaluated based upon the following criteria:

1. Purpose – Does the artist’s proposal align with the purpose of the project?

2. Interpretive Value – Does the work show potential to enhance the interpretation of relevant park history and themes?

3. Artist’s Budget - Does the work and material cost fit the proposed budget?

4. Artist’s Skill - Included with the application, the artist will provide a portfolio of previous work. Does the artist indicate the ability to accomplish the type of work they are proposing?

5. Public Outreach – Does the artist have prior experience communicating with the public about their artwork? Have they included appropriate interactive experiences in their proposal? How might they perform in informal/ formal interactions?

 

Work Schedule

At least 50 hours’ worth of public contact time must be logged by the end of the artist’s term. This contact may take multiple forms, including but not limited to in-person lectures, hands-on workshops, open studio hours, social media posts, or other approved forms. The artist will use www.volunteer.gov to track and record these hours. Otherwise, the artist will set their own schedule and work at their own pace. A draft work schedule should be included as part of the workplan.

The Completed Artwork

The final installed art will become the property of the Keweenaw National Historical Park Advisory Commission. Images depicting the art may be used in exhibits, merchandise, or used for educational purposes. The artist retains a royalty-free, nonexclusive use license under the copyright of the art.

Interested? Complete our application form and email it to [e-mail]