Joel Bevacqua, Buda: Dawn of the Psychopaths,  5/17/1991, installation view.

 

Access Complete List of FF Fund Winners, 1985-2023

FF FUND Recipients by decades

2023-24 Recipients

 

This season marks the 38th anniversary of the Franklin Furnace FUND. Initiated in 1985 with the support of Jerome Foundation, Franklin Furnace has annually awarded grants to early career artists selected by peer panel review to enable them to prepare major performance art works in New York. This season, Franklin Furnace received 252 applications.

This year’s peer artist review panel met on July 18, 19, and 20, 2023 and decided to award five $5,900 and five 4,000 grants from support Franklin Furnace received from Jerome Foundation, the Silicon Valley Community Foundation, the New York City Department of Cultural Affairs in partnership with the City Council, and the members and friends of Franklin Furnace Archive.

2023 Peer Review Panelists: Arantxa Araujo (Fundwinner 2019), Amy Khoshbin (Fundwinner 2017), Jill McDermid, Gylbert Coker and Angel Nevarez (Fundwinner 2006). 

2022-23 Recipients

 

This season marks the 37th anniversary of the Franklin Furnace FUND. Initiated in 1985 with the support of Jerome Foundation, Franklin Furnace has annually awarded grants to early career artists selected by peer panel review to enable them to prepare major performance art works in New York. This season, Franklin Furnace received 328 applications.

This year’s peer artist review panel met on July 26, 27 and 28, 2022 and decided to award thirteen $4,500 grants from support Franklin Furnace received from Jerome Foundation, the Silicon Valley Community Foundation, and the New York City Department of Cultural Affairs in partnership with the City Council.

Helixx C. Armageddon
Anna Costa e Silva & Nina Terra
Kiyo Gutiérrez
Natasha Iqbal Jozi Dani

2022 Peer Review Panelists: Jessica Elaine Blinkhorn (Fundwinner 2019), Billy X. Curmano (Fundwinner 1996), Nicolás Dumit Estévez Raful Espejo (Fundwinner 2004), Rosamond S. King (Fundwinner 2014) and Verónica Peña (Fundwinner 2017).

2021-22 Recipients

This season marks the 36th anniversary of the Franklin Furnace Fund. Franklin Furnace received 284 applications.

This year’s panel of artists met on July 23 and 24, 2021 and decided to award five $5,000 grants, and four $3,333. Franklin Furnace received support from Jerome Foundation, SHS Foundation and the New York City Department of Cultural Affairs in partnership with the City Council.

Mrinalini Aggarwal (Supermrin) & Jessica Fertonani Cooke
Caroline Garcia & Gabriela López Dena

2021 Panel Members:  IV Castellanos (Fundwinner 2019), Kara Lynch (Fundwinner 2011), Carlos Martiel (Fundwinner 2016), Marlene Ramirez-Cancio and Joyce Yu-Jean Lee (Fundwinner 2013).

2020-21 Recipients 

This season marks the 35th anniversary of the Franklin Furnace Fund. Franklin Furnace received 334 applications.

This year’s panel of artists decided to award four $2,500 grants, four $7,500. Franklin Furnace received support from Jerome Foundation, and the New York City Department of Cultural Affairs in partnership with the City Council.

Three photos left to right: 1) a human figure in chiaroscuro lighting, encased in fine netting hunched, on a wood floor; 2) A black-and-white photo of a person with both arms raised and knees bent, performing in front of a projection; 3) A person performs with their back to the camera, a long blonde braid hangs down their back. Other figures punctuate the dark in the surrounds.
Three photos from left to right: 1) two people standing in the dark under a purple umbrella, bathed in dark purple light. Rain seems to be falling around them. 2) A woman with an Afro stands behind a dining table cooking or assembling ingredients. A video is projected behind her. 3) A woman with poufy hair sits wearing all black in front of a darkened audience. Behind her is a yellow backdrop.

2020 Panel Members: Francheska Alcántara (Fundwinner 2017), Hector Canonge (Fundwinner 2012), Anya Liftig (Fundwinner 2014), Shaun Leonardo (Fundwinner 2015), Carmelita Tropicana.

2019 Winners

This season marks the 34th anniversary of the Franklin Furnace Fund. Franklin Furnace received 270 applications.

This year’s panel of artists decided to award three $3,000 grants, two $4,000, six $5,750 grants, and one $7,000 grant. Franklin Furnace received support from Jerome Foundation, The SHS Foundation, and the New York City Department of Cultural Affairs in partnership with the City Council.

Four very dramatic photos depict dynamic men and silhouettes captured in performance action. A yellow–orange background adds more intensity to the set of images.
A set of three photos, the first is taken outside where the light blue sky is cut by the sandy ground. The first image depicts the sky and what looks like a desert, with a face-down female partially buried in the sand. The second image focuses on a person walking on an urban sidewalk towards the camera, reading a book while holding a fabulous large white umbrella and wearing an audacious white ball gown-esque dress. Lastly, the same person is standing outdoors, enveloped in an oversized phosphorescent costume, leaving only the top part of their head visible.
Four different brightly-lit images of a woman in a variety of poses: kneeling and leaning forward with her head inside a plastic container; kneeling with a large patterned head scarf; arms out and captured mid-spin; crawling on the ground towards the camera, beneath the words "Grope Therapy."
A set of three photographs, the first and last showcase different views of the same image of two costumed characters, one with a bright red clown nose, in a spoken word performance. The middle image depicts a white man with red hair, off-center against a pale background, standing very straight with his hands in his pants pockets.
Four photographs awash in blacks, browns, grays and white. The first photo shows a seated woman next to a well-lit indoor display case. The second photo is a close-up of the woman looking in a mirror while applying mascara to her eyebrows. The third photo depicts a woman performing on stage, in a wheelchair, in front of another person and a stool. The fourth photo depicts the same woman outdoors, at a table loaded with many performance props.
Two photos side by side, each with one fair-skinned woman with their hair pulled into a bun, seen from behind. They are both face down on a road with simple props, wearing sleeveless activewear and dramatically reaching forward with their arms.
Eight dim, almost black-and-white, images. The first features a white woman with very straight black hair in a bob cut. She looks to the left with a sculptural bust on a pedestal in the foreground. The next images show her in action in a dark space with the bust. Lastly, a darkened image of the sculptural bust, with hands reaching towards it.
Three photos. In the first, seven bent and pierced planks take up most of the frame, with something, possibly a face, barely visible in an opening between the planks. Second, a woman in a slightly formal black dress is seen from above, lying on the floor with two bone-like artifacts—she seems to be bent over in pain. Lastly, she is seen indoors, posing atop an upside down tub, her head hidden from view.
A set of four images. The first image depicts a hooded Black woman holding hands across a black-clothed table with a blonde, pig-tailed woman in a beige top; the second image shows a seated, partially-dressed Black woman against a very dark background, a standing figure completely covered in a multi-faceted black costume; the third image depicts a cloaked figure on a park bench, with a Black woman seated next to the bench, staring intently at the figure; lastly, an outdoor night scene of partial figures, one wearing a jacket covered in partially-legible white-lettered words.
Four images. First, a man standing on stage yelling into a microphone with arms extended upward—orange light flickers across his face. Second, a man wearing a paint-splattered white t-shirt dress lunges forward with his right fist punching forward. Third, a largely purple image shows a man in front of a white-painted brick wall, with a large Afro hairstyle and a microphone in hand—a textured cloth takes up most of the frame. Lastly, a dark-blue image of three performers in action on stage.
Three photos capturing a fair-skinned woman in performance. First, she is gliding across a purple room in a flowing floral-print Alice in Wonderland dress. Next, a blurry close-up of a stuffed rabbit pointing to the artist's legs tangled up in yellow rope. Lastly, the artist is crawling on the floor towards the audience, with the shadow of a stool on the stage wall behind her.
Three images that feel eerie and mystical due to the darkness and green lighting. The first image is a peek behind dark curtains; in the second, a woman stands stiffly between the partially opened curtains; and in the third, two artists face each other sideways, belly to belly.

2019 Panel Members: David Antonio Cruz (Fundwinner 2013), Ayana Evans (Fundwinner 2017), Jay Sanders, Mirland Terlonge (Fundwinner 2015), and Tobaron Waxman (Fundwinner 2003).

2018 Winners

This season marks the 33rd anniversary of the Franklin Furnace Fund. Franklin Furnace received 287 applications.

This year’s panel of artists decided to award three $4000 grants and four $7000 grants. Franklin Furnace received support from Jerome Foundation and the New York City Department of Cultural Affairs in partnership with the City Council.

First image: outside on a sunny day, in the middle ground on a lawn, two men in hazmat suits stand about four feet apart, holding a large white ring, behind a complex sculpture of an imaginary creature on the ground. In the second image, on a wide swath of rocky ground against a cloudy skyscape, the two men stand near a third very tall sculptural figure. The third image is a close-up of two imaginary sculptural creatures with extremely large ears, beneath leafy bushes.
First image shows a Black woman in a black-and-white outfit in motion on stage, attempting to balance two books on her head. Second image depicts two people descending the stairs in front of a glass building, with two other people behind them carrying what appears to be a large plate of glass. Third image presents a dramatic snapshot at night where a glowing amber light comes in from the upper left hand corner. Speckles of light rain down from it, creating a beautiful contrast against a ghostly building at night.
A set of three images. First, a dark room wherein a spotlight shines on a woman with cropped straight black hair using two mallets to play a vibraphone. Second, close-up of a musician playing a hand-held percussion instrument at a microphone. Third, a side view of an Asian woman playing the vibraphone, her arms raised, and a lovely hazy purple hue pours over the scene.
The first, closely-cropped photo, shows the torso of a Black woman, naked from the waist up, kneeling gracefully, their arm raised. The second photo is of the black-and-orange haired artist standing proudly, the words "Ain't I A Woman" written on their chest. The third image is a close-up of the same person, looking sideways, her left arm raised as if gently showing off her bicep.
A banner headline "Taxilandia by Modesto Flako Jimenez” spreads across the bottom of three photos. In the first, shot from inside a taxi, half of the driver's face can be seen. He wears a cap and eyeglasses. Behind, we see the upper body of his passenger, a large man in a black-and-white checked shirt, tilting towards the side, arm raised. In the second, a photograph taken from the driver's seat depicts a Black man in a winter coat, with a jaunty hat, holding up a photograph of a group of people. The third image, taken through the windshield from outside of the car, shows the driver, with one hand on the steering wheel, looking left across an urban street.
A set of four photographs. First photo shows a jumbled yet compact sculpture made with a variety of materials. Second photo features two women chefs in aprons toasting what appear to be pancakes or arepas on a large flat griddle, a tall person stands between them wearing an elaborate sculptural headdress, just below a lavender neon silhouette of a howling coyote. Third photo depicts a man seen from the waist up who holds a tall silvery metal sculpture surrounding his face and extending above his head. The last photo depicts a group of four women, all with both arms raised, dancing near each other. Each woman wears a different-colored ball gown: creme, pink, pistachio, and lilac, and matching zebra-striped masks which cover their heads and necks, leaving only their eyes visible.
A set of three photos. The first photo shows an outdoor courtyard surrounded by ornate bright-white classical buildings. A man, wearing a deep red beret and a black robe leaving one shoulder bare (recalling how togas are worn off the shoulder), stands atop a white pedestal, lifting his left arm in what seems like a friendly, welcoming gesture. Second photo presents a close-up of the arms and hands of a Black person kneading flour into a dough ball atop a table covered in the U.S. flag. The third photo shows dramatic lighting partially illuminating two figures in the dark. The person on the left stands sideways behind a low altar-like table with objects. She uses one object to pour oil over the back of the second person, who is bent over so that only their back is visible, and the liquid leaves trails as it runs over the skin.

2018 Panel Members: Becca Blackwell (Fundwinner 2019), Naimah Hassan, Shelly Mars (Fundwinner 2008), Ricardo Miranda Zúñiga, and Jack Waters.

2017 Winners

This season marks the 32nd anniversary of the Franklin Furnace Fund. Franklin Furnace received 244 applications.

This year’s panel of artists decided to award six $2000 grants, two $2500 grants, and four $7000 grants. Franklin Furnace received support from Jerome Foundation, The SHS Foundation, and the New York City Department of Cultural Affairs in partnership with the City Council.

In the first of three photos, a woman lies face down in the middle of a glossy concrete floor with a few votive candles lit in the background. She wears a large headpiece made of dozens of ivory-toned rectangles. In the second image, a woman stands on a white-sheet covered sidewalk in front of a building made of large stone blocks. She stands in front of a red banner, holding a red object, with a tangle of red ribbon at her feet. The third image depicts this artist walking away from the camera trailing bars of soap attached to white ribbons on the broken concrete sidewalk behind her. The sun is about to set on this urban scene with pedestrians, buildings, and the street leading into the horizon behind the artist.
The first of three photos depicts the stern of a sailboat on water, with one crewperson visible aboard. A woman, tied upside down by her feet to the boom, hangs above the water, her long dark hair barely skimming the surface. A land mass can be seen far off in the distance behind her. The second image shows two video monitors, one large and one small. On the large monitor two women in black tank tops stand in water up to their waist. The third image is a closely cropped view of two people in the stern of a wooden boat at sea. The legs of a man in black swim trunks stand above a long, wavy haired strawberry-blonde woman in a blue patterned outfit. She lies on her back, her head tilted backwards, her right arm encircling the man's left leg, her left arm clutching the gunwale, her pale bare thighs visible behind and between the man's darker legs.
The first of three photos is an extreme close-up of a Black woman holding one green apple by her teeth. A second green apple is clutched backwards in her right arm, as if she is about to throw it at the view. The artist rests face down on her thighs on an outdoor staircase, lunging towards the camera while wearing a one-piece, fluorescent, green-and-black tiger print bodysuit, her long dark braids dangling. In the second image, wearing the same leotard, she stands indoors in black high heels, leading audience members in a dance. All have their arms raised in the air. In the last image she is lying on her side doing a leg lift, her bright green body suit sharply contrasting with the bright-red cloth covered workout bench.
A fair-skinned, bearded man, wearing a shocking-purple suit with a pink stripe on the pant leg, hot pink-and-white high top sneakers, and a white pointy dress hat with a black band, strides dramatically across a red-brick city street, their right arm raised. In the second image, the artist lays face down across the utility box attached to an urban light pole, their arms and legs hanging down. They wear a golden helmet, knee-high black boots, black gloves, and a black t-shirt underneath a fuschia dress with an animal print belt. In the third image the same person seems to be dancing by himself. They fill the whole frame and make a dramatic hand gesture in a billowing loose-fit orange fabric top over black pants. In the final image they stand on a street corner in front of colorful store signs, sporting a chartreuse-colored ensemble, holding an artifact, and gesturing with their right hand, garnering the attention of two passersby.
A total of four photos. In the first, a naked female walks away from us with white rectangles taped to her legs, posterior, and back. In the second image, the same Asian woman wears a white dress and sneakers with red laces, standing in front of a pole in a subway car, surrounded by seated passengers. She holds two signs, one with black letters on white declaring “Mutual Hatred"; the second just below the first, with the same statement in white letters on black. In the third photo, a woman stands in the spotlight on a stage, barefoot in a white top and black shorts, seen from the side/behind in performance. The fourth dimly lit image shows her from the waist up, naked with her arms out and palms forward, her skin plastered with many small strips of black tape.
The first image presents a feminine fair-skinned woman whose face seems painted in translucent silver paint. She is also wearing a silver hood and miming binoculars with her hands. In the second image, a platinum-blonde-haired woman stands on stage with four other performers, in front of large projected images of performers. The third image is of a poster composed of six numbered vertical strips, each of a different color. Each one has a full-length portrait of the artist similar to the first image described here. She is using different gestures with the words “Terror Level” set above her.
"Three images, all with bright light bulbs dangling from above. In the first, a white-clad performer is kneeling on stage, hands pressed to the floor. Their face is seen behind a large clear bubble. Behind in a semicircle, a dozen or so performers each hold a long wire connected to a light bulb. The second image is a close-up of people who appear to be audience members holding the lightbulbs. In the third image, the performer kneels with the audience behind, the same bubble over their head, and a bucket and props on the stage behind. "
In the first photo, a woman is seen mid-dance step, surrounded by a standing audience. She has short cropped spiky hair all black except for a shock of pink, and wears a black-and-white bodice and hot pants. The second photo presents the artist standing in the foreground in a long pink dress. Her left hand raised above her head, holding a white object. A building sits atop the hill in the distance. In the third photo, she stands outdoors under a tree, wearing a large white bandana tied in a big bow, and a multi-colored gingham skirt which doubles as a picnic blanket being used by other people. She is handing something to a man standing to her left while a woman seated on the blanket/skirt watches on.
The first image shows a fair-skinned woman dressed in white with short black hair on stage, seated with arms raised almost as if she is playing the harp. In the second one, she is standing in a forest surrounded by three goats, wearing a patterned green dress which blends into the leafy autumn scenario. One goat seems to be nibbling at her dress. Lastly, wearing a black leotard, she is captured in action on stage, with a fierce expression, bending backward, her arms reaching out towards us.
In the first of three images, a woman, wearing a skin-colored leotard and a blue-and-black helmet on her head, lies on her stomach on a concrete urban plaza. Her head on her elbow, she is looking at a crowd of people watching from a distance. The second image presents a close-up of her face where she is submerged underwater using a breathing apparatus. In the third one, she is in a black outfit leaning forward onto a big white table. A version of the American flag has been painted on it. Instead of the lines neatly coming together, the red paint is smeared as if blood. She leans over the table with her head facing down.
In the first image, two young Black women in loose-fitting white dresses are holding strings which go somewhere unseen. In the second, one of the women from the first photo is seen in a field in autumn, leaning all the way back with her eyes closed. Her right arm is pointing down, left arm held aloft. The third photo looks outdoors through a rectangular opening in a green wall (or door?). On the other side, a pair of hands with pointy long silver fingernails reaches up from below, surrounded by small stalky plants growing in a natural setting.
The first of four images shows a seated audience observing a naked performer with long red artificial hair crawling away from them while grasping the top of two brown bottles. The second image depicts the same artist on a blue-lit stage, walking alone amid rows of brown bottles and other props. In the third image, wearing black gloves and a wig of white braided hair, the artist is wrapped, face and all, unevenly in whitish cloth with a bottle stuffed down their "corset." The fourth image shows them sitting in a wooden folding chair while holding a round metal tray between their feet, looking at their image reflected therein.

2017 Panel Members: Hector Canonge (Fundwinner 2012), Beatrice Glow (Fundwinner 2013), Rosamond S. King (Fundwinner 2014), Julie Atlas Muz (Fundwinner 2013), and Theodora Skipitares.

2016 Winners

This season marks the 31st anniversary of the Franklin Furnace Fund. Franklin Furnace received 421 applications.

This year’s panel of artists decided to award eight $5000 grants. Franklin Furnace received support from Jerome Foundation, the New York City Department of Cultural Affairs in partnership with the City Council, and general operating support from the New York State Council on the Arts.

In the first is a composite of four images of the same young olive-skinned brunette striking different poses: on the beach, two indoor selfies, and one highlighting her butt while in a black top and tight-fitting magenta pants. In the second image she is seen squatting from behind in a black shirt, red sneakers, and skin-tight green yoga pants, lifting a large tractor tire in front of a Gold’s Gym building, and flexing her gluteus maximus. The third image shows two pictures of her laying on beds in lingerie and looking sexily at the camera, seemingly taken from a website akin to OnlyFans. She is wearing lingerie in both photos as she looks sexily at the camera. The fourth image combines two pictures of her wearing yoga pants, seen from the back only from her neck to her knees.
The first photo depicts a Black woman with short white hair covered in what seems to be human organs. The second shows a close-up of what looks like two pieces of light-colored skin sewn together. The third one depicts what seems to be a furry blanket which has one end lifted up to reveal what looks like human organs inside.
"This image shows three simple doors almost floating in a plain grayish background. The first white door in its frame is partially open, the second and third doors are closed, with the only difference being that the third door is slightly darker than the other closed door. "
Posed against a gorgeous deep blue sky full of white cotton candy clouds, a person holds a textured piece of wood the size of a baseball bat. They hold it with strength and confidence and their face reflects the same. They are fair-skinned, have chin-length curly reddish hair, and seem to be wearing red lipstick. It is a dramatic image that could have been inspired by Uma Thuman's character in the Kill Bill movies. The second image is taken outdoors under a cloudy but brightly sunlit sky. A dark-haired woman stands in a white sleeveless dress which seems to be absorbing the red (blood?) liquid covering the ground beneath her. The last one shows a formal dining room with curtained walls, and six white women in sleeveless party dresses, all blondes of various shades, sit around a table. At the head of the table a female presenting person seems to be holding court, wearing a Crayola yellow wig and a fire engine red dress. They are dining and seem engaged with each other somehow, each with a stemware glass of white wine at the ready.
In the first of three photos, against swirls of blue, a strong figure stretches out their right arm, gripping a sword, with a fierce countenance as if they are commanding someone. They wear a black lacy dress and a poofy headdress made of tulle. Their outfit is wild, like a Samurai warrior's, but made of gauzy fabric, somehow simultaneously masculine, severe, and feminine. The second image shows three people kneeling in front of a regal woman seated in a white armchair. The seated woman faces the others and sports a white dress, pink collar, and a tall Marie Antoinette-like hairstyle, all of them reflected in a gilt-framed mirror on the back wall. The third photo shows the headdress from the first image, here on a wig stand atop a museum display case, in front of a photo of the same object in a different configuration.
The first of three photos shows a woman in a sleeveless white shift, on her hands and knees facing forward. Her face is completely covered by a pale gray hood through which only her brown hair protrudes. She is in a window-lined room filled with sculptural objects that resemble camping tents. The second image shows two figures standing in the same room—one stands in the back in a celadon and red artistic outfit, the other is centered in the frame, holding a very long pole ending in a circular net, raised as if ready to swoop it down to capture a flying creature. They each wear what could be beekeeper head coverings. The final image depicts a wildly-patterned hand-sewn "crazy quilt" on a parquet floor.
These three complex photos depict crowded scenes. The first appears to be a jam-packed party in a ballroom, with golden balloons afloat among a crush of costumed revelers, including one person with her head and arms sticking out of a broad, rectangular red-and-white striped costume. The second shows three prancing actors close together in matching mottled brown body suits, bending down with their posteriors high, with children in the front row of an auditorium. On the stage background the words “DEE DOO” can be seen, the two letter Os look like eyeballs. The final image shows a solitary actor on stage, wearing a scuba mask, arms and legs spread wide, in front of a red, white, blue, and black banner that seems to have been made by children.

2016 Panel Members: Donald Hải Phú Daedalus (Fundwinner 2011), Joyce Yu-Jean Lee (Fundwinner 2013), Tracie Morris, and Clifford Owens (Fundwinner 2000).

2015 Winners

This season marks the 30th anniversary of the Franklin Furnace Fund. Franklin Furnace received 492 applications.

This year’s panel of artists decided to award eight $3500 grants and six $6,000 grants. Franklin Furnace received support from Jerome Foundation, The SHS Foundation, the New York City Department of Cultural Affairs in partnership with the City Council, and general operating support from the New York State Council on the Arts.

The first of three images is a dark photo in front of a curtain depicting a short-haired man submerged up to his lips in water, the top half of his face reflected in the pool. The second image shows the man, fully clothed, diving into a large body of water, his reflection again appears below. In the third image he cradles a football-sized mass of white translucent material which appears to float with its top portion aflame.
The first of three images focuses on two Caucasian men, one redhead seen in the foreground from behind, wearing a red top, facing a bearded man in an aqua-toned top over a white t-shirt. The second image depicts three men on a darkened deep purple stage. The final image captures the redhead from behind again, near a lectern holding white papers and facing a smiling man wearing dark clothing and a long red scarf.
The first of five images shows a figure standing on a stage, their body wrapped in constricting white material. The second image is of a circular white light being projected over carefully spaced text on a dark wall. The third image is a detail of a naked brown-skinned person in knotted but fairly loose white rope reminiscent of bondage. The fourth image is shot from above to depict a circular object and various white materials randomly displayed on the floor. The fifth image is another view of the first image, more tightly cropped on the figure.
This wide rectangular image shows a crouching figure front and center, wearing a white long-sleeved outfit. A silvery mask covers their face and head. An opening on the far left of the scene lets slivers of bright light into the darkened concrete interior space.
The first of four images is a close-up of a tomato-red inflated fabric sculpture in a tent-like shape, within an indoor art gallery with conical overhead lamps. The second image is a daytime scene in a park. A man sits on a bench, astonished to see a person upside down in a garbage can—their black shorts clad legs and red sneakers sticking up into the sky. In the background, two white translucent inflated sculptures are handled by two people. The third image is a closely cropped image of four people seen standing on a tan floor, barefoot, and wearing shimmering shiny blue skirts. The fourth image is an outdoor street scene, similarly cropped to show a person's skinny legs from the bottom of their skirt down. They wear black knee socks, with large clunky sculptural gray-colored objects on their feet.
A woman in a magenta sleeveless bodysuit appears with her arms aloft, hands almost touching, her body almost forming a circle. She seems to float in midair in front of a psychedelic swirling background of red, blue, green, and yellow-lit wavy stripes. The second image is shot from the vantage of the seat in front of a table with seven glowing screens, headphones, and other equipment. Behind that several tables filled with objects can be seen in the distance two rectangular well-lit rooms with several people interacting in each. The third image is of a white van, its side doors open. No ordinary van—this one has been "tricked out" with lots of technical-looking equipment inside, mounted in the doors, and all along its roof.
A dozen people in mostly dark clothing are seated side by side in front of a towering old brick wall, with a large black sculptural form to their left. In the second image a youthful white man with short black hair, seen from the side wearing a white short-sleeved t-shirt, grasps a tool with both hands to make parallel wavy black markings on a white wall. The third image is a dark photo of an interior scene of a room in early stages of construction (or remodeling). A cluster of people wearing white hard hats stands to the left, observing a solitary figure in the middle of the room. They wear black pants, a white t-shirt, a matching white hard hat, and are leaning hard into a large white rectangle as they appear to be wrestling into position.
The photo depicts a mic'd swarthy man with short curly dark hair in the foreground—he is being choked from behind by an offscreen figure, both of his hands grasping the choker's forearms. Two observers face the scene, one looking and the other a bald man with head bowed. The image also shows 9 people in an indoor art gallery with framed pictures on the wall and a white pedestal, watching something in front of them—their facial expressions all appear quite concerned.
The first image is a side view of a long white dinner table with about ten people seated on either side. The people are busily holding, inspecting, and eating from various Mason jars of red, green, and clear foods and liquids. The second image is an orange-toned, intentionally blurry detail of four round objects—perhaps a close-up of fruits in a pickling liquid? The third image shows an instructor wearing a green apron with a red heart image. She holds a cabbage as she stands at a table filled with blenders and other objects, in front of a chalkboard filled with words and diagrams under the heading “OS Fermentation.”
Shot from above, the first scene is a wide view of a green-lawned park amid an urban skyscraper-filled scene. A crowd of people looks on over a row of tables where people are seated under 6 matching white umbrellas. The second image shows two ladies with updo hairstyles using manual typewriters as two people seen from behind observe—the entire scene is in front of a large red, dark blue, and light blue striped banner with white text: "WRITE A POSTCARD TO THE PRESIDENT" between two stars. The third image is an outdoor side view of many of the white tables fading off into the distance, each with a female typist taking instructions from audience members, the first few of whom are young children.
The first photo is of an array of framed photographs hung on a maroon wall showing different portraits of people, with three rectangular frames and two oval frames. The second image is a formal portrait of 60+ nuns wearing long black dresses and white head coverings. The third image is a chest-up portrait of an older African American man in full military uniform. His cap at a jaunty angle, looking slightly to the side, with the hint of a smile on his otherwise serene face.
A youthful African-American woman sits front and center in profile, facing right, her long hair piled atop her head. To her left, several audience members file into a white-walled room with an easel holding a large pad of paper and three white tables holding various objects. The second photo shows the same woman, dressed as a police officer, with a badge, and matching blue top and pants. She is seen moving and pointing forward, surrounded by three people seated on the floor, one lying down on their back, an empty stool, and two empty folding chairs. The third image is a daytime still life of a street corner—perhaps the East Village in Manhattan?—with several large black bags of garbage sitting next to a corner trash can, under a street lamp. Parked cars and a restaurant are in the background. No people are visible in the urban scene.
The first of three photos is a complex outdoor image—a band of people in sailor uniforms play saxophones and other instruments to the right of a wooden stage. One person stands on stage near a large silver-foil wrapped sculptural contraption that holds an oversized sculptural head on a balancing beam. The second image, indoors, is a close-up of two performers on stage amid abstract sculpture in front of a rectangular white-lit banner on which can be read part of a phrase, "YO(__?) BOOTS ON." The third image is of a well-lit indoor stage with a large sculpture suspended from above and a band of musicians, their lower bodies hidden from sight, all playing silver horns.
Image one shows a person leaping off the ground and out of frame, above purple spotlights. The person wears white sneakers, loose golden pants, and a blue puffy jacket—it is unusual because the person's head is hanging upside down between the knees. The second wider image shows four people on stage, each playing a musical pipe—two audience members look on and a large white canvas tote bag hangs from above. Image three is of a mottled blue couch floating midair, with a single white-wigged figure reclining on it, one hand gloved, one bare, with their head lolling on the armrest.

2015 Panel Members: Monstah Black, Alina Bliumis (Fundwinner 2010), Brendan Fernandes (Fundwinner 2012), Yoko Inoue (Fundwinner 2005) and Tali Hinkis.

2014 Winners

This season marks the 29th anniversary of the Franklin Furnace Fund. Franklin Furnace received 577 applications.

This year’s panel of artists decided to award eight $4,000 grants and four $2,000 grants. Franklin Furnace received support from Jerome Foundation, The SHS Foundation, and the New York City Department of Cultural Affairs in partnership with the City Council.

Three pictures of women are displayed, the one on the left is wearing dark blue with brown hair and a gate in the background, the one in the center is wearing green with sunglasses and a ruin in the background, and the one on the right is wearing black with dark hair in a white room with a picture on the wall.
On the right side of the image there is a screenshot of a Google image search with the words daniel bejar hanan in the search bar. The lefthand image from the Google search is enlarged and shows two people, one standing in bright, light-blue water in the foreground looking out into the landscape beyond, and the other in the middle ground sitting in the light blue water. They both face a sandbar and darker blue water beyond, with their backs to the camera.
Four objects are displayed next to each other. Left to right: a sticky note with a message on it; an opened envelope that has gone through the mails; a receipt from MoMA; and a piece of paper with a blue stamp and a lot of text on it.
A Black woman is shown in three images. In the one on the left she is wearing black with her arms out and she seems to be speaking, in the center she is singing and her face is shadowed, and on the right she is wearing a yellow-and-black striped top with her arms raised.
Three images are displayed, on the left there is a chart which says 'yes' on one side and 'no' on the other, with tally marks. In the center there is another chart with words used to describe Black people (African, Black, African-American, Colored etc.) There are X marks under African-American. On the right a Black woman is walking away after filling out the chart on the left.
Four women are shown in four pictures. Left to right: a white woman wearing green with headphones around her neck; then a white woman wearing black struggling to carry a black cross on her back, then a woman in a room lit red with a man next to her who is not colored red at all, and finally a naked woman standing in a city plaza with a toy machine gun pointed outwards.
Three photographs, the one on the left has a man sitting and a woman wearing pink standing next to a table with mannequins on it; in the center two naked women kiss through a translucent shower curtain; and on the right the same woman in pink from the left image sits at a table with a mangled black human-like figure.
There are three pictures side by side, the one on the left is a white page with black squiggly lines all over it with two mounds of golden glitter in the center. In the center a Black person stands wearing an American flag with a multicolored background. On the right a black person wearing light blue swings on an outdoor swing set.
Four images of women are shown, going left to right: In the first, the woman is standing and seems to be speaking to people with another woman in the background; in the second appears a woman wearing a basketball uniform with a basketball in the air, in the third a woman sits in an orange chair reading a book; and finally a woman wearing black in a white room is in the midst of squatting down or standing up. She is in motion.
Three images are side-by side, the leftmost one has a woman happily holding a swaddled baby in the air next to a woman holding a bloody swaddled baby with bloody bones sticking out. The center image shows a upside down headless baby doll with two detached heads on either side of it, and on the right a woman looks up with horror on her face standing in front of a painting.
Four photos are side-by-side. From left to right: a woman sitting and holding a microphone in a room lit blue; a woman standing in a room glowing in pink who seems to be speaking; a woman wearing blue standing before a screen with a person's face and a dog projected behind her. The fourth photo shows a woman with a white spotlight on her who is speaking into a microphone with an arm outstretched.
In a grey room, a white woman with dark hair and white wings looks into the camera. She is seen from the shoulders up.

2014 Panel Members: Rachel Frank (Fundwinner 2010), Miao Jiaxin (Fundwinner 2012), Joseph Keckler (Fundwinner 2012), Stacy Scibelli (Fundwinner 2010), and Pamela Sneed (Fundwinner 1997).

2013 Winners

This season marks the 28th anniversary of the Franklin Furnace Fund. Franklin Furnace received 515 applications.

This year’s panel of artists decided to award six $9,000 grants and thirteen $3,000 grants. Franklin Furnace received support from Jerome Foundation, The SHS Foundation, and the New York City Department of Cultural Affairs in partnership with the City Council.

Two color photos from left to right:1) A close up of a Black woman's face as she speaks, her hair is piled on top of her head and she rests her chin in her hand. 2) a strange close up image of a shiny orange substance with apples floating in it.
A photo of a Black person wearing a headdress made of a beaded scrim that covers their face and helmet of cotton balls. They hold their hands to their head and the photo is cropped at their elbows. The background is black.
Two photographs of similar scenes that include eight people wearing bright clothes posed in varying ways (a girl holding up her purple tutu skirt, a man in green with one arm raised strait up and the other out to one side). They all face the camera and are standing and sitting amidst brightly colored cubes, spheres, and geometric paintings, with a green chalk-board in the background
Three photographs from left to right: 1) A person in profile on the left speaks into a bull horn, while a person beside them in a red dress looks on 2) a close up portrait of a pale skinned person with long dark hair. 3) two people sitting side by side on a red couch, looking at the camera
Three views of the same landscape scene rendered three times from left to right. Four tall cypress trees divide the rectangular space of a canvas and a monitor. A monitor showing a video of that landscape is flanked by two paintings of the same.
Three color photos from left to right: 1) a shirtless person in the foreground of a dark stage, tended by two people behind them 2) a person on stage bathed in purple light, the focus of the image is on two sweeping pieces of purple fabric in the foreground 3) Two people on stage reaching for one another. One is shirtless wearing rubber-like skirts and the other wears a hot-pink strapless dress
Two color photographs from left to right: 1) a light brown smashed-sphere object painted with cartoonish duck, corn, panda and other figures that surround the words "Love Portal" in red letters. These are upside down. 2) a person walks down a busy New York City street wearing a suit and a white shirt, their entire face and head is covered in white cloth.
Two color photos from left to right: 1) two big black analog film projectors sitting on a sidewalk 2) A blurry still of a film that shows several figures in pink in an interior setting.
Two stills from a video game-like animation from left to right. 1) A figure wearing all white with long white hair is seen from the rear in the foreground. Other creatures lurk in the orange landscape. In purple, the words "TOMBMASHER EVE'S MINONS" can be read. Other text boxes are visible however the words are blurred. 2) a photo of a darkened theatre with people watching an animation featuring a jungle-like scene with text.

2013 Panel Members: Kara Lynch (Fundwinner 2011), Jennifer Miller (Fundwinner 1995), Mendi Obadike (Fundwinner 2002), Xaviera Simmons, and Chin Chih Yang (Fundwinner 2011).

2012 Winners

This season marks the 27th anniversary of the Franklin Furnace Fund. Franklin Furnace received 454 applications.

This year’s panel of artists decided to award sixteen $5,000 grants. Franklin Furnace received increased support from the Lambent Foundation Fund of Tides Foundation, matching longstanding funding from Jerome Foundation. Additionally, this program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

A photo of a dimly lit white-walled gallery space. Some two dimensional items are hung on the walls and a video plays at the back. The center of the image is brightened by a lamp sitting on a area rug with a couch and television. A person sits on the couch apparently watching television while clusters of people are arrayed behind this scene throughout the columned space.
G Douglas Barrett’s work considers music as part of a critical arts practice in which performance and conceptuality figure as integral components.
Hector Canonge is an interdisciplinary artist whose work incorporates the use of New-media technologies, physical environments, cinematic and performative narratives.
Robin Deacon is a British artist, writer, filmmaker and educator currently based in the USA.
Susan Ensley has been active in the New York art scene since the 1970s as creative force in performance, photography, film, and video.
Born in Kenya of Indian heritage, Brendan Fernandes immigrated to Canada in 1989.
Sherman Fleming seeks to create projects that identify cultural and social mechanisms that resonate with his processes of performance practice collaboration, combined with his experiences of community engagement.
Ariel Goldberg is a writer and artist. Goldberg has performed at San Francisco Museum of Modern Art, Small Press Traffic, The Berkeley Art Museum, and Headlands Center for the Arts.
From his early practice, starting as a street photographer tracking Shanghai prostitutes to the development of a pseudo-transvestite web celebrity, Miao Jiaxin has evolved an edgy and protean practice.
Joseph Keckler is a performance artist, writer, and singer.
Marni Kotak is a Brooklyn-based performance artist who makes multimedia works in which she presents her everyday life as art.
Ann-Marie LeQuesne stages events in public places that explore the social dynamics of groups.
Alison O'Daniel engages materials and color in a tactile practice that extends across drawing, films, sculpture and performance to explore perceptual, emotional and bodily comprehension.
Noemí Segarra works with movement and the body building shape in the present and in process, in art, in life. She is interested in cultivating the in-between as possibility.

2012 Panel Members: Michael Paul Britto (Fundwinner 2009), Dustin Grella (Fundwinner 2011), Jeanine Oleson (Fundwinner 2009), Clifford Owens (Fundwinner 2000), Jessica Ann Peavy (Fundwinner 2007)

2011 Winners

This season marks the 26th anniversary of the Franklin Furnace Fund. Franklin Furnace received 454 applications.

This year’s panel of artists decided to award sixteen $5,000 grants. Franklin Furnace received increased support from the Lambent Foundation Fund of Tides Foundation, matching longstanding funding from Jerome Foundation. Additionally, this program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

2011 Panel Members: Katherine Behar (Fundwinner 2008), Wayne Hodge (Fundwinner 2007), Iris Rose (Fundwinner 1987), Dread Scott (Fundwinner 2009), Saya Woolfalk (Fundwinner 2008)

2010 Winners

This season marks the 25th anniversary of the Franklin Furnace Fund. Franklin Furnace received 317 applications.

This year’s panel of artists decided to award twenty $3,000 grants. Franklin Furnace received increased support from the Lambent Foundation Fund of Tides Foundation, matching longstanding funding from Jerome Foundation. Additionally, this program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Two photos left to right: 1) A person cleaning a scratched and dirty floor with a toothbrush 2) Two people standing at the center of a circle within a gallery space. There are two empty chairs in the foreground.
Three images left to right: 1) a cartoon of an airline pilot with a giant pack of spearmint gum in his hand and a text below reading "Never refuse gum if an American offers it to you…" 2) A cartoon of three Mexican men with mustaches and sombreros and serapes 3) a photo of a city street with a billboard in the distance that features the two images described at left.
The same image repeated three times. A person with pale skin is photographed from the brow bone just below the nose at a 3/4 angle. The rest of their head and neck is cut off above and below and replaced by off-center images of flesh that seems to be other body parts.
Two images left to right: 1) a group of women wearing pale blue, aqua, purple and pink old fashioned and ankle-length dressed with white bows at the neck. some are holding weapons including a machine gun and a knife. 2) Three women appear in an odd configuration all wearing pastel colored, long dresses. One is beneath a table lying on the floor, her feet in the air supported by another woman bent over; the third lays on the table.
Two images left to right: 1) a schematic drawing of several rolling cabinet-like forms with miniature human forms in the foreground and a color key on the right.2) A photo of the south end of Union Square Park in New York City, with colored squares, red, white, yellow scattered around the scene.
Five images left to right: 1) the words "Marks on Time, Foxy Films" in white on black background. 2) a close up of the face of Michaelangelo's David 3) A European Renaissance drawing or etching of two nude figures in a landscape 4) A European Renaissance style drawing of a nude male figure exhibiting contraposto 5) a photo of a sculpture of a nude male form standing on their feet with arms outstretched to either side.
Three photographs from left to right: 1) a pale person from the neck up wearing glasses, an orange knit hat, and green scarf. 2) a person with black straight hair and glasses wearing all white sitting amidst all white fabric 3) a black and white photo of a bald person in glasses and striped socks making out with a pig puppet or stuffed animal.
Five photos left to right: 1) a black woman mid stride, running in red booties and a pink and aqua mini-dress. Her hair flies. 2) a black woman laughing photographed from above. She wears a white tank top. 3) a black woman wearing a white dress on stage with a mic in her hand. 4) a black woman on stage wearing a green top and black skirt with a mic in her hand. 5) A black and white photo of a woman in a jail cell with the words "BANNED IN LA" written in block white letters in the foreground.
A photo of a performance in which a pale person in a black long-sleeved leotard and tights lays down and caresses what appears to be a rectangle of broken glass. A hammer sits on the floor at their feet.
A photo of a broad stair to access a building. Groups of people sit on the steps and two people lie on the ground, seemingly unmoving, in the foreground
Four images from left to right: a taupe drawing of a Mexican Lucha Libre-style mask; a silhouetted photo of a boxer wearing orange gloves; a black-and-white photo of a boxer in white trunks and boots; a photo of football players mid-play, wearing white uniforms and helmets.
Three images left to right: a pink, purple, and white drawing of multiple purple curved lines connecting two balls of white against a pink ground; three figures sitting on the ground, one reclines with legs and arms crossed; a photo of a white sign with black text crudely taped with black tape to a wall reading "Come in. To talk to me CALL" followed by a partially illegible phone number.
Two photos left to right: 1) a slightly blurry, black-and-white photo of a woman from the chest up. She has long hair and wears a white T-shirt, raising her left arm in a gesture. There is sound equipment in the background. 2) a color photo of a black silhouette of a person with long hair in profile as they stand at a mic. The brick wall in the background is white, and lit by pale green, pink, and blue lights.
Two photos left to right: 1) a color photo of a person playing the drums bathed in red and white lights. 2) a blurry black-and-white head shot of a person's face as they look down. They wear sunglasses and cropped hair.
An image of a painting or drawing of a landscape featuring a pond or lake edged in greenery with several white swans bathing and swimming on its surface. A person gazes at the view at a three-quarter view in the foreground.
Three images from left to right: 1) two people face one another wearing rubber-like gray costumes. It seems they are laughing as their arms are seemingly connected by the costumes. The background is yellow. 2) two photos stacked vertically. In both, 2 people in are connected to one another by black, rubber-like costume elements that cover their heads and faces. 3) a woman stands facing a wall, she is seen from the chest up in profile as a hospital green neck brace, seemingly made of a rubbery substance, connects her to the wall.
Two photographs from left to right: 1) A dark photograph taken at night of a giant construction crane. Part of its horizontal element is lit in purple light. 2) A dark, atmospheric photo taken at night that shows the yellow light of an open doorway on the bottom center of the image. Above is a diagonal set of variegated purple, blue lights.
Three photos from left to right: 1) A white person with a beard and wearing an orange wool knit cap appears to be listening at a wooden wall or fence. 2) a person in black silhouette stands at the right side of an interior room, which seems to be an artist's studio with canvases stacked against around him. 3) a black-and-white photo of a close up of someone's hand holding a banana with the word Peel carved into it's skin. 4) An image split vertically in half, on the left a person stands with legs apart clapping their hand over their head; the right is black.
Three black-and-white photos left to right: Each features a few of the shoulders and head of a bald mannequin or person from behind, augmented by a fuzzy material or smoke that rises from the figure's head.

2010 Panel Members: Toni Dove, Alicia Grull, Elaine Tin Nyo (Fundwinner 2008), Mendi Lewis Obadike (Fundwinner 2002), Alva Rogers (Fundwinner 1994)

2009 Winners

 

This season marks the 24th anniversary of the Franklin Furnace Fund. Franklin Furnace received 424 applications.

This year’s panel of artists decided to award eleven $5,818 grants. Franklin Furnace received support from Stimulus funds from the New York State Council on the Arts, a state agency; and the generous support of the Lambent Foundation, and Jerome Foundation.

Two color photos left to right: 1) a group of Black women on stage, wearing long, cotton dresses and skirts in beige, brown and white. They all look to the left of the image, their right arms raised in protest or cheering. 2) a still of a video of a Black woman wearing a red shirt, lipstick, and nail polish. She seems to be standing and speaking from a curtained window.
Three color photographs of a performer from left to right: 1) taken from the chest up, this person doesn't wear a shirt, their skin is shiny. They wear a big, blond, curly wig and unusual mauve eye-mask. 2) This same person is captured from the waist up, with their left arm extended diagonally up, as in a body-building pose. 3) This same figure photographed from the shin up, wears a bodybuilding garment over their oiled, muscular body. Their left arm touches their head.
A photo of a performance where a fair-skinned person wearing turquoise brief underwear lies on a turquoise table surface. They have a blue covering over their face, and their long blonde hair rests on the table around their head like a halo. There is a light on them, and the audience surrounding the person is in darkness but several people are visible.
A black-and-white schematic drawing of an old fashioned gramophone sitting on a counter next to a round object and a bucket with a bottle in it. Notes emerge from the gramophone and there are curvy swirls surrounding the central image.
Two photos from left to right: 1) an image of several performers on stage. Three in the foreground have their right arms raised with legs apart. Two on the left background wear long kimono-like garments in bright colors. 2) Two people embracing, a nude back faces the camera on the left half of the image. The only visible part of the second person in the embrace are their hands which grasp the other's back while pouring a white substance from a creamer down their back. There is coffee paraphernalia in the background.
Two photographs left to right: A photo of a woman standing in a rural landscape with low, green shrubbery scattered in the background. She wears a light blue tunic and holds a large, horizontal bundle that is about 6 feet long. There is a dog to her left. 2) a photo of an outdoor performance where a group of players in white, flowing garments gesture in the background, while three figures in the foreground look up at them.
A photograph of nine people wearing every-day clothing they stand on a dirt floor with a white wall behind them. The person on the left stands on the ground, and each person to the right of them stands, incrementally, in a deeper hole in the floor. The person on the right edge of the photo is only visible from the shoulders up above the soil.
Two photographs of performances from left to right: 1) a large block-lettered sign that reads "AWAKE AWAKE" and glows white and green is suspended behind three blurred figures sitting in the foreground. 2) A crowd of people stands and sits in a room filled with fog.
Two photographs of a performance from left to right: 1) two figures wearing body-slimming body suits stand in relation to a large, framed partition. 2) Large, framed partitions, with translucent fabric, are being moved and touched by additional figures. They are silhouetted by a strong light.
A photograph of an art installation, at left three-dimensional arms have been added to five shooting targets afixed to a wall. The right side of the image comprises a large fish tank filled with water with a gold trumpet or trombone at the bottom and a person (or mannequin) floating above, face down.

2009 Panel Members: Nao Bustamante, Adam Pendelton, Edwin Ramoran, Valerie Tevere, Maria Yoon (FF FUND 2008-9)

2008 Winners

This season marks the 23th anniversary of the Franklin Furnace Fund. Franklin Furnace received 465 applications.

In 2008, Franklin Furnace combined the Franklin Furnace Fund for Performance Art and The Future of the Present programs into one entitled the Franklin Furnace Fund, supported by Jerome Foundation and the Starry Night Fund of Tides Foundation. Initiated in 1985 with the support of Jerome Foundation, Franklin Furnace annually awarded Franklin Furnace Fund for Performance Art grants to emerging artists selected by peer panel review to enable them to prepare major performance art works for presentation in New York; inaugurated in 1998 in collaboration with Pseudo Programs, Inc. as a series of performance art netcasts for worldwide audiences, The Future of the Present evolved into a sophisticated examination of issues raised by the Internet as an artistic medium and public venue. Franklin Furnace made the decision to combine these programs because during the last decade, artists have created works on every point of the spectrum between the body of the artist and the circulatory network of the Internet.

This year’s panel of artists decided to award eleven $6,363.63 grants. Franklin Furnace received support from Jerome Foundation and the Starry Night Fund of the Tides Foundation.

2008 Panel Members: Kanene Holder (Fundwinner 2007), Yoko Inoue (Fundwinner 2005), Annie Lanzillotto (Fundwinner 2011), Rashaad Newsome (Fundwinner 2006), Cecilia R Petit

Click this link for List of FF FUND Winners prior to 2008.

Click this link for Future of the Present recipients before its merge with FF FUND.

Initiated in 1985 with the support of Jerome Foundation, Franklin Furnace annually awarded Franklin Furnace Fund for Performance Art grants to emerging artists selected by peer panel reviewers. This enabled artists to prepare major performance art works for presentation in New York.

Inaugurated in 1998 in collaboration with Pseudo Programs, Inc. as a series of performance art netcasts for worldwide audiences, The Future of the Present evolved into a sophisticated examination of issues raised by the Internet as an artistic medium and public venue.

In 2008, Franklin Furnace combined the Franklin Furnace Fund for Performance Art and The Future of the Present programs into one entitled the Franklin Furnace Fund. This decision was created because during the last decade, artists had created works on every point of the spectrum between the body of the artist and the circulatory network of the Internet.

The Future of the Present program evolved from netcasts, co-produced beginning in 1998 with Pseudo Programs, Inc., into sophisticated public events in partnership with an array of venues in and around New York and the world.

The Future of the Present supported artists who fully exploited the properties of the Internet as an art medium. Projects in the program encompass every gradation of possibility between two poles– the body of the artist and the body of the net.

THE FUTURE OF THE PRESENT: 2007 Winners

 
The selected artists received grants of $3,600 each.

In 2007, these programs were made possible by the generous support of Jerome Foundation and by public funds from the New York State Council on the Arts, a state agency.

THE FUTURE OF THE PRESENT: 2006 Winners

 
The selected artists received grants of $4,000 each.
In 2006, these programs were made possible by the generous support of Jerome Foundation and by public funds from the New York State Council on the Arts, a state agency.

THE FUTURE OF THE PRESENT: 2005 Winners

THE FUTURE OF THE PRESENT: 2004 Winners

THE FUTURE OF THE PRESENT: 2003 Winners

THE FUTURE OF THE PRESENT: 2002 Winners

THE FUTURE OF THE PRESENT: 2001 Winners

THE FUTURE OF THE PRESENT: 2000 Winners

THE FUTURE OF THE PRESENT 2000 consists of ten live art presentations created during residencies between January to December, 2001. These works of art used the Internet as a venue in which performance and discussion may take place. This section of the Franklin Furnace site was designed by Stephanie Werthman.

THE FUTURE OF THE PRESENT: 1999 Winners

THE FUTURE OF THE PRESENT 1999 consists of ten live art presentations created during residencies which took place from January to December 2000 at Parsons School of Design, Digital Design Department. These online works of art use the Internet, streaming media, and multimedia as a vehicle in which performance may take place. Thanks to artist and faculty Zhang Ga.

THE FUTURE OF THE PRESENT: 1998 Winners

The FUTURE OF THE PRESENT 1998, Franklin Furnace’s first full season as a virtual presenting institution, took place every other week from September 1998 to July 1999 in collaboration with Pseudo Programs’ performance channel, ChannelP.com.

A cropped version of the Franklin Furnace logo features just the two layered Fs. Each F is done in 3D block letters with the black shadows of the Fs contrasting sharply with the white negative space of the Fs. The white of the negative space of the letter F blends optically into the background.

1998 Spring Winners

PSEUDO PROGRAMS, Inc.

Franklin Furnace at Pseudo Programs, Inc. marks the first season of Franklin Furnace’s collaboration with Pseudo Online Network. Franklin Furnace was a 22-year-old artists’ organization based in New York City devoted to temporal art forms (such as artists’ books, installation and performance art) which became identified with artists’ fight for freedom of expression during the culture wars of the late 80s and early 90s.

Franklin Furnace’s decision to close its TriBeCa exhibition to “downtown” audiences spread across the world.

Pseudo Programs, Inc. is the world’s largest producer of Internet television, broadcasting over thirty shows featuring emerging artists, news and entertainment. Performances are netcast live from Pseudo’s studios, and then archived on Pseudo’s servers for at least six months. 

Franklin Furnace Archive, Inc. is pleased to announce the artists selected for THE FUTURE OF THE PRESENT: FF PSEUDO PROGRAMS

Since 1997, Franklin Furnace’s virtual presenting programs have been made possible by the faith and foresight of Jerome Foundation, The Greenwall Foundation, The Heathcote Art Foundation, The J. P. Morgan Chase Foundation, The Daniel Langlois Foundation for Art, Science and Technology, The National Endowment for the Arts, a federal agency, The New York State Council on the Arts’ Technology Initiative, The New York City Department of Cultural Affairs, Cultural Challenge Initiative, Challenge Initiative, and The Andy Warhol Foundation for the Visual Arts, Inc.