Triple Canopy is interested in forging connections between books, manuscripts, lectures, performances, and exhibitions, among other forms, and the magazine’s digital publishing practice. We collaborate with contributors to develop projects in the fields of visual art and literature, broadly defined—work that takes into account current discussions and debates but is not bound by them, work that is carefully crafted but not fixated on form.
Proposals for projects from artists and writers are received via three distinct channels: editors actively commissioning new projects; our annual call for proposals; and our year-round submission process. Editors begin by working with each contributor on a conceptual level, discussing the ideas underlying the project and aesthetic strategies, as well as potential collaborations with other artists, writers, or technologists. Our commitment to in-depth, long-term collaboration ensures contributors can be involved in every aspect of their project’s realization, from research and editing to design and publication.
To submit a proposal outside of our annual call, please fill out our online form to complete your initial application.
Triple Canopy invites submissions for our eighth annual call for proposals. Apply via the online form by October 18, 2017, at 11:59 p.m. EDT. Commission recipients will be announced in early December. Proposals are reviewed in two rounds by the magazine’s editorial staff, and successful applicants receive an honorarium as well as editorial support over the course of the subsequent six to twelve months, culminating in the publication of their work by Triple Canopy.
Click “Read more” below to learn about the 2017 call for proposals.
Triple Canopy’s 2017 call for proposals
The magazine invites proposals for new work to be developed by artists and writers in collaboration with Triple Canopy’s editors for inclusion in an upcoming issue devoted to resentment, which will launch in spring 2018 and continue publication for a year.
Resentment is one of the predominant affects of our time. Much has been made of the expression and experience of resentment on the internet; more still of its fundamental role in the surge in right-wing populism—often construed as a creature of the digital realms—in the US and Europe, especially in terms of the role of class, media, race, and geography. But might this account be simplistic and partial, inasmuch as it casts resentment as the sole province of straight, white, and typically American men—as well as inherently excessive, selfish, and irresponsible as a feeling to possess and express? While not calling for a total recuperation of resentment, Triple Canopy is interested in exploring what resentment might unexpectedly engender and disclose.
The issue is animated by a number of questions, including: Who has a right to be resentful? What are the possibilities and limitations of resentment as a basis for describing a community, cultivating a public? How does resentment shape our speech and channel our attention? How is resentment stoked and policed, and how does it circulate among intimates and on larger scales? Can—or should—resentment be useful? How can the resentment that proliferates both online and offline be harnessed rather than suppressed in favor of more palatable emotions, especially by those marginalized peoples whose communities are under siege? What might an aesthetics of resentment reveal about the formal possibilities of the affect?
Triple Canopy is looking for artists and writers with coherent proposals for projects that can be realized in one year or less. We are, as ever, in search of work that makes innovative, persuasive use of its own form and medium. While past publication or experience is not a prerequisite, successful applicants will demonstrate fluency in the field in which they wish to publish. We appreciate work that takes into account current discussions and debates but is not bound by them, work that is carefully crafted but not fixated on form. We invite artists and writers to submit proposals for projects that may or may not find their primary realization on the web; the following list, by no means exhaustive, enumerates some of the forms such projects might take:
- Print broadsheet, poster, or pamphlet
- Book or ebook
- Digital project
- Software deployed outside of Triple Canopy’s website
- Public lecture or seminar
- Exhibition or installation
Commission recipients receive:
- Eight to twelve months of artistic, editorial, and technical support
- $2,000 honorarium
- The opportunity to use Triple Canopy’s venue at 264 Canal Street for a performance or public event
- Coordination and production of any print publication or event
- Archiving of materials and long-term maintenance of any online version of the project by Triple Canopy in partnership with New York University’s Fales Library and Special Collections
How does Triple Canopy define “emerging”?
We define an “emerging” artist as someone who is in the process of developing a distinct practice and set of concerns and producing a significant body of work, but whose recognition within the field is limited, regardless of age. All artists and writers are encouraged to produce challenging, experimental work that advances both their individual practices and the contemporary concerns of their fields.
How do I know if my project is right for Triple Canopy?
The best way to gauge whether or not your submission is appropriate is to read the magazine. That said, Triple Canopy projects often combine artistic and literary work, or confuse the distinctions between them.
How else does Triple Canopy commission projects?
Aside from our annual call for proposals, Triple Canopy receives submissions via two other channels on a rolling basis: 1, Proposals are received and evaluated year-round by editors using the same criteria detailed above; and 2, Editors regularly solicit contributions from artists whose work they admire and believe could benefit from our collaborative process. To submit a proposal outside of our annual call, please fill out our online form to complete your initial application.
Who are past Triple Canopy commission recipients?
Amy Herzog is a scholar and critic who writes about sound, film, philosophy, pornography, and dioramas. For her Triple Canopy commission, “My Colony,” Herzog will examine new developments in our understanding of the human microbiome, in particular the diverse organisms that populate our digestive systems. Through a public presentation and digital essay, she’ll explore the ways in which contemporary practices of intestinal flora management serve to contain and commodify anxiety, performing as prophylaxes against the dissolution of the self. Recent studies have pointed to the staggering number of bacteria that live on and within us, vastly outnumbering our human cells and influencing our health and behavior. Human beings, this research suggests, are leaky, decentralized systems, at one with (and perhaps governed by) the organisms that comprise them. A carefully curated and monitored microbiome suggests not only the assurance of a disease-free future, but the presence of an ethically sound managerial subject. In this most intimate and invisible of labor, well-being and vanity become indistinguishable.
Andrew Leland hosts and produces The Organist, an arts and culture podcast from KCRW and the Believer magazine, and is a lecturer in English at Smith College. With “Vile Jelly,” Leland will document and examine his experience of vision loss through a hybrid of auditory forms: essay, interview, sound-designed fiction, and documentary. As the rod cells in Leland’s retina degenerate, the world turns to fiction before his eyes: his mangled visual field dismembers bodies, decimates printed language, and ablates his young son into a cubist fug. Gradual blindness creates a sort of double vision, where the double is vision’s absence—seeing things and instantly imagining how they will be when he no longer sees them. “Vile Jelly” will weave the imaginative narrative of his impending sightlessness with the lived reality of his partially blind experience, documenting the degeneration of the visible world while Leland observes (and even celebrates) its passing.
Jon Wang is an artist and filmmaker based in New York. Combining queer erotica, Chinese folklore, and feng shui architecture, “From Its Mouth Came a River of High End Residential Appliances” explores fantasies of bodily transformation and self-mythologization. Through video and performance, Jon Wang will document his transformation into a dragon deity, which revolves around a planned journey through a series of dragon gates: gaping passages in Hong Kong high-rises that are designed to allow dragons to make their way from the mountains to the sea to drink and bathe.
Anjuli Raza Kolb and Jaffer Kolb are siblings working at the intersection of visual and scholarly practice. Anjuli is a professor of English and comparative literature at Williams College and Jaffer is a designer and lecturer at Princeton University’s School of Architecture. For their Triple Canopy commission, the Kolbs will explore the social and architectural history of the Central Park Ramble. Frederick Law Olmsted and Calvert Vaux, along with master gardener Ignaz Anton Pilát, designed the thirty-eight-acre Ramble to bring the “mysterious illusion of lush, tropical vegetation” into an otherwise highly rational park. The perfect combination of wildness and density, invisibility and navigability, the Ramble has served as one of the city’s most significant wilds, a space for orgiastic reverie, for community and solidarity, and for refuge and love during the darkest days of the AIDS crisis. The Kolbs’s research will draw upon the library’s Pilát papers and the Gay Activists Alliance records.
Kameelah Janan Rasheed is an artist-archivist whose work has been exhibited at the Studio Museum in Harlem, the Queens Museum, the Bronx Museum, the Schomburg Center for Research in Black Culture, and the Weeksville Heritage Center, among other venues. Rasheed’s project focuses on printed matter, sermons, and religious iconography produced in the late nineteenth and early twentieth centuries within black religious movements in the United States. She will explore how self-anointed black prophets created and sustained post-slavery communities, inspiring a sense of belonging on the part of followers. Her research will involve sermons, song lyrics, proselytizing materials, photographs, FBI investigation files, and ephemera related to the Church of God and Saints of Christ, the Moorish Science Temple of America, and the International Peace Mission, all housed at the New York Public Library’s Schomberg Center. Rasheed will write a sermon for the eve of the twenty-second century that draws on these documents, as well as an essay that includes annotated archival materials and video interviews with contemporary adherents of these movements.
Kieran Daly is a writer and musician from Florida. His recent publications include MCAR (DTL) (Fig. 1) (X. Vol. No. Month. YEAR, 2014), Results (Futow, 2014), and Suspended (of) the formal capacity to sample and thereby preserve such samples according to the conditions from which they appeared (LUMA Foundation, 2014). For his Triple Canopy commission, Daly will present a lecture-performance on Pyrrhonian skepticism and musical systems. (“Music and Pyrrhonism Without Us”)
Primavera De Filippi is a postdoctoral researcher at Pantheon-Assas University of Paris II, and currently a research fellow at the Berkman Center for Internet & Society at Harvard Law School. Samer Hassan is an activist and assistant professor of computer science at the Complutense University of Madrid. For their Triple Canopy commission, De Filippi and Hassan will create a crowdfunding system for artistic production, implemented as a Distributed Autonomous Organization (DAO) within the platform and programming language Ethereum.
Sowon Kwon is an artist working in sculptural and video installations, digital animation, drawing, and printmaking. For her Triple Canopy commission, Kwon will create a digital portfolio, “S as in Samsam,” which takes as its point of departure the coincidence of linguistic slippage between the diminutive of the English/Hebrew proper name “Samuel” and the Korean slang term of respect and affection for “Teacher” (샘). Kwon’s work will explore the professional and personal dimensions of friendship. (“S as in Samsam”)
Timothy Leonido is a writer and musician from Philadelphia. For his Triple Canopy commission, Leonido will create an essay and digital text that focuses on the history of the DARPA TIMIT Corpus, a collection of “phonetically balanced” sentences used to develop automatic speech recognition. (“How to Own a Pool and Like It”)
Frank Pasquale, a professor of law at the University of Maryland, writes on the political economy of law and information. His book, The Black Box Society: The Hidden Algorithms Behind Money and Information, will be published by Harvard University Press in fall 2014. For his Triple Canopy commission, Pasquale will author an article, “Automating the Automators,” on the promise and limits of automation in medicine, law, education, and finance.
Jared Stanley is the author of two collections of poetry and a 2012-2014 Research Fellow at the Center for Art + Environment at the Nevada Museum of Art. For his Triple Canopy commission, Stanley will create “Oaths of the Blossoms,” a looseleaf chapbook composed of embossed notary seals, detailing the rights and obligations of ten white wildflowers and affording these species a shadowy “voice” in the debates we undertake on their behalf. (“Oaths of the Blossoms”)
Gillian Walsh is a New York-based choreographer whose work interrogates notions of definitive performance and choreographic mastery. For her Triple Canopy commission, Walsh will use material remnants of her dance-making process—video, photographs, transcribed text, and scores of foot patterns generated by Hasbro’s Twister Dance Rave toy—to create an “online performance” that calls into question commonplace distinctions between process, product, and object of performance.
Rosa Aiello is a writer and video artist. For her Triple Canopy commission, Aiello will create a digital project, exploring the limits of humanness as raised by 3-D animation. (“Cloths and Ladders”)
Shane Anderson is a Berlin-based poet, translator, and editor. For his Triple Canopy commission, Anderson will translate poet Ulf Stolterfoht’s Ammegespräche, or “The Amme Talks,” a linguistic interchange with artist Peter Dittmer’s chatbot installation, Die Amme. (“The Amme Talks”)
Bloopers comprises New York–based artists and musicians Michael Bell-Smith, Sara Magenheimer, and Ben Vida. (“Bloopers #0”)
David Greenspan is a renowned actor and playwright. For his Triple Canopy commission, Greenspan will present a solo performance of three works by Gertrude Stein. (“Composition … Master-Pieces … Identity”)
Irene Lusztig is a filmmaker and Assistant Professor of Film and Digital Media at UC Santa Cruz. For her Triple Canopy commission, Lusztig will mine an extensive archive of 20th-century maternal training and childbirth films to create a mediated essay on the medicalization and institutionalization of childbirth and motherhood in America. (“The Motherhood Archives”)
Dan Phiffer is a computer programmer and artist interested in hackable, inexpensive computer networks. For his Triple Canopy commission, Phiffer will deploy a peer-to-peer network autonomous of the Internet and designed to facilitate open political discussion. (“Occupy.here”)
Matt Sheridan Smith is a Los Angeles-based artist. For his Triple Canopy commission, Sheridan Smith will create an interactive fiction work and text-only computer game navigated using basic commands such as “examine,” “take,” “look,” or “go.” (“You Can’t See Any Such Thing”)
Ada Smailbegović is a poet and critic. For her Triple Canopy commission, Smailbegović will compose “Of the Dense and Rare,” an investigation into the poetics of matter based on experimental procedures drawn from Francis Bacon’s 1623 treatise The History of Dense and Rare. (“Of the Dense and Rare”)
Anna Della Subin is a writer and Bidoun contributing editor. For her Triple Canopy commission, Subin will author an essay on the failed 1935 Cairo production of Tawfiq al-Hakim’s The People of the Cave and the possibility of sleeping through revolution. (“Not Dead but Sleeping”)
Annie Julia Wyman A cultural history of the treadmill, from disciplinary device in British prisons to idol of American fitness.
Danielle Dutton On sculpture and narrative: grids, jellyfish, fathers, failure.
Rebecca Bird A series of animated vignettes about soldiering, the ballad “Danny Boy,” Bikini Atoll, heaven, ancestors, and more. (“Danny Boy”)
Tom Francis and Yasmine Seale An anatomy of the Buraq, the winged steed upon which Mohammed is thought to have ascended to heaven, from a product of a medieval bestiary to the emblem of a Libyan airline.
Genevieve Yue with Liz Sales A deep reading of Theater of the Universe, an eighteenth-century camera obscura within a book, that uncovers hidden relationships between archaic optical devices, the bounds of human knowledge, and our own build-it-yourself universes.
David Auerbach On the laissez faire etiquette and counter-irony of “A-culture.” Documenting those anarchic, anonymous online subcultures that most resist documentation. (“Anonymity as Culture: Treatise”; “Anonymity as Culture: Case Studies”)
Franklin Bruno Inverting the hierarchies of class difference: multimedia analysis of My Fair Lady and its localized parodies. (“Wouldn’t It Be Milchadik?”)
Gabriella Coleman An ethnographic inquiry into the ethics and aesthetics of the hacktivist (anti-)organization Anonymous. (“Our Weirdness Is Free”)
Isabelle Moffat On the history of diagrammatic images of brain function, from the Renaissance to the fMRI. (“This Is Your Brain on Paper”)
Emmanuel Broadus & Ryan Ffrench Aba Okipasyon (Down with the Occupation): the ideological program of the UN in Haiti, as shown through footage shot by the artists. (“Aba Okipasyon”)
Suzanne Snider A profile of rehabilitative tools and therapeutic objects, from the Hug Machine to the multisensory sound and light environments of Snoezelen.
Laura Vitale What does it sound like when an ocean forms? A sonic exploration and performative lecture exploring the properties and valences of gypsum.
Graham T. Beck A Chromatic History: a survey of FS-595, the official color palette of the United States.
Anna Lundh An investigation into a “vision of a vision”: Karl-Birger Blomdahl’s unfinished computer opera, inspired by Hannes Alfvén’s 1966 novel The Tale of the Big Computer. (“The Tale of the Big Computer”)
James Merle Thomas & Meghan O’Hara On its fortieth anniversary, revisiting NASA’s Tektite project, the sci-fi-inspired underwater habitat that provided America with a fleeting vision of technologically oriented utopia. (“Tektite Revisited”)
Matt Wolf “What happened to Jason?” An inquiry into the life of Jason Holliday, the gay black prostitute featured in Shirley Clarke’s 1967 film Portrait of Jason. (“Another Portrait of Jason”)
Alyssa Pheobus & Murad Khan Mumtaz A study of the iconography of Pakistani and American passports and the precarious relationship between personal identification, citizenry, and the state. (“Origin, Departure”)
Eve Sussman & Rufus Corporation A dual-stream thriller randomized in real time; an experimental film noir. (“whiteonwhite”)
Mary Walling Blackburn & A. B. Huber From Joseph O’Donnell’s photographs of the wreckage of Nagasaki to Brueghel’s Landscape with the Fall of Icarus, exploring the relationships between violence, representation, and evolving technologies of vision. (“The Flash Made Flesh”)
Claire Barliant Revisiting Mankato, which in 1862 was the site of the largest mass execution to occur in US history, and questioning the value of manufactured memory. (“The Hanging at Mankato”)
Ilana Halperin A performative lecture on “volcanic field work,” that mines the intersection of archaeology, geology, and visual art. (“Hand Held Lava”)