About our Award and Residency Programs


The Denniston Hill Residency

Denniston Hill's residency is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Denniston Hill's residency is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Since 2012, our main residency program has been organized around a curatorial concept which provides the overarching framework for our activities. Residents are selected through a nomination process based on artistic merit and how their practice intersects with the curatorial theme. We invite artists, architects, writers, and poets at any stage of their career to have time and space for engaged reflection, research, and production. 

The curatorial theme of 2018-22 is Exodus. Read more here.

We are not accepting resident applications at this time. Please sign up for our mailing list to hear about any open calls or opportunities.


Distinguished Performance Artist Award (DPAA)

Denniston Hill’s annual Distinguished Performance Artist Award (DPAA) is given for excellence in the field of performance art to multidisciplinary artists blurring the boundaries of the genre and exploring social issues.

In addition to receiving a cash award, DPAA recipients spend one month at Denniston Hill and lead an intensive workshop that culminates in a public performance at our annual Open House.

Alumni include Xaviera Simmons (2018), Clifford Owens (2017), and Okwui Okpokwasili (2016).



Library Internship Residency

Our 1,000+ volume library of films, books, artist books, literature, fiction, experimental writing and poetry, social studies as well as books on history, religion and other topics is a well-loved and central part of our residency program. Denniston Hill’s library intern organizes and categorizes materials on the library shelves as well as initiating a digital catalog of our private library to ensure our residents can easily locate books, films and journals, during a one week residency in late spring.

We are not accepting applications for our library residency internship at this time. Please sign up for our mailing list to hear about any open calls or opportunities.


Carlos Martiel, "Mule," performance with tree branch and iron bolt, 8 hours duration, Denniston Hill, 2016.

Carlos Martiel, "Mule," performance with tree branch and iron bolt, 8 hours duration, Denniston Hill, 2016.


Index of Past Residency Programs & Alumni


2018-22: Exodus

Artists, poets, architects, filmmakers, and other creative visionaries have always been on the leading edge of the ontological Exodus, for they are the inventors of new language, new sensations, and new categories of thought. Just as early cinema audiences ran terrified before the projection of the Lumière film of a train coming down the track, today’s creative visionaries will find the words, images, and forms to bring into focus the radical new moment of confusion and transformation in which we find ourselves.

For four years, Denniston Hill dedicates all of its program to the Exodus and the exit from the fantasy of security into the reality of the mirage. In particular, DH seeks to investigate the legacy of slavery and the politics of race and gender in relation to the current wave of cognitive confusion. At stake is a full appreciation of the agency of the enslaved as an aesthetic and philosophical resource for the journey ahead. 

Exodus calls on artists, writers, architects, intellectuals, and activists to take advantage of this moment to interweave work, action, and intellect to re-imagine an engaged withdrawal through disobedience, intemperance, the right of resistance, and miracle. (Read more about Exodus and related programming, here.)




DPAA Program Participants

  • Tina Ruan

  • Eric Rasmussen







dpaa program: RESPITE



2105-2017: Holes

In the late 1940s, Shozo Shimamoto 嶋本 昭三 (1928-2013)  began a series of works entitled Holes (穴 Ana). The earliest of these was made in the artist’s Nishinomiya City studio out of several sheets of newspaper, topped with a sheet of brown cartridge paper, and pasted together with flour and water. Shimamoto then painted the surface white with hints of pale blue and pierced the surface irregularly to reveal not only the different layers of the painting surface, but the wooden backboard of the painting’s infrastructure. In a letter to the Tate, Shimamoto claimed that he started to paint on glued newspaper during this period because he could not afford to purchase canvas. The works were first exhibited at Shimamoto’s solo show at Sogo Department Store, Shinsaibashi branch, in Osaka in 1954. In a 1957 article for the Gutaimagazine, he advocated the use of ‘utensils’ in the making of art, arguing that paintbrushes had been invented to ‘castrate’ paint. (‘The Execution of Paintbrushes’, in Gutai, no.7, 1957, quoted in Action et émotion, p.119.)

Denniston Hill’s 2015, 2016, and 2017 programming is conceived as a response to Shimamoto’s work. Through its rigorous investigation of materials and processes, the work raises not only important formal questions around the surface and space of painterly expression, but also poses important contemporary questions around the violence that underwrites neo-liberal expressions of individual subjectivity, the mythology of artistic and intellectual freedom, the economy of the creative process, the historic inheritance of global fascism, and the mutability of gender and sexuality. The residents and projects during this period were chosen by our board of directors and advisors because they share an affinity for the inquiries, forms, and ideas expressed in Holes. (Read more about Holes and related programming, here.)













2012-2014 I Like America and America Likes Me

In 1974, Joseph Beuys flew to New York, was picked up by an ambulance, swathed in felt on a stretcher, and transported to the René Block gallery. Over the next three days, Beuys spent eight hours a day in the gallery in the company of a wild coyote with little more than a felt blanket and a pile of straw. At times Beuys lay on the straw, at times he watched the coyote as the coyote watched him and cautiously circled around. At other times, the coyote shredded the blanket to pieces. At still other times, Beuys engaged in symbolic gestures, such as striking a large triangle or tossing his leather gloves to the animal. At the end of the three days, Beuys hugged the coyote that had grown quite tolerant of him, and was taken to the airport. Again, he rode in a veiled ambulance, leaving America without having set foot on its ground. As Beuys later explained: "I wanted to isolate myself, insulate myself, see nothing of America other than the coyote."

Our 2012, 2013, and 2014 programming was conceived as a response to Beuys' work: "I Like America and America Likes Me." The far-reaching resonances of Beuys' work, far too wily to be concerned with a simple dichotomy between art and politics and yet addressing the relationships between globalization, nature, and the ever-shifting parameters of humanity, continue to be felt across artistic and scholarly disciplines. The residents and projects at Denniston Hill during this period were chosen by our board of directors and advisors because they traverse similar questions, ideas, and forms as Beuys did in 1974. (Read more about I Like America and America Likes Me and related programming, here.)




  • Rachel Carrigan

  • Quincy Flowers

  • Hal Foster

  • Anthony Keith Giannini

  • Lauren van Haaften-Schick

  • Alexandria Harris

  • Steffani Jemison

  • Jennie C. Jones

  • Sérgio Muñoz Sarmiento

  • Carlos Reyes

  • Sharifa Rhodes-Pitts

  • Dolores Zinny & Juan Maidagan




  • Alec Hanley Bemis

  • Jherek Bischoff

  • Ben Cassorla

  • Dawn Chan

  • Todd Chandler

  • William Cordova

  • Thomas Devaney

  • Deborah Gorlin

  • Adam Hall

  • Matt Hughes

  • Mike Lavelle

  • Dani Leventhal

  • Sara Marcus

  • Nate Martinez

  • Emma McNally

  • Emily Nemens

  • Andy Ness

  • People Get Ready

  • Matt Phillips

  • Brett Price

  • Steven Reker

  • Amy Sadao




  • Ei Arakawa, visual artist

  • Stuart Bailey, designer/publisher

  • Tanyth Berkeley, visual artist

  • John Bolla, woodworker

  • Keil Borrman, visual artist

  • Kerstin Brätsch, visual artist

  • Lisa Brogna, visual artist

  • Brooklyn Mammal, designers

  • A.K. Burns, visual artist

  • Leidy Churchman, visual artist

  • William Cordova, visual artist

  • Tracy Cocks, social worker

  • Dean Daderko, curator

  • Sarah Demeuse, curator

  • Elizabeth Felicella, photographer

  • fierce pussy, artist collective

  • Coco Fusco, visual artist

  • Nikolas Gambaroff, visual artist

  • Tara Geer, visual artist

  • Amy Granat, visual artist

  • Jesse Aron Green, visual artist

  • Ed Halter, curator/writer

  • Robyn Hillman Harrigan, critic

  • Larissa Harris, curator

  • Katie Hubbard, visual artist

  • Anthony Huberman, curator

  • Megan Hustad, writer

  • Hitomi Iwasaki, curator

  • Ahram Jeong, visual artist

  • Hunter Johnson, mathematician

  • Angie Kiefer, visual artist

  • Prem Krishnamurty, designer/curator

  • Ajay Kurian, visual artist

  • Dani Leventhal, visual artist

  • David Levine, visual artist

  • Klara Liden, visual artist

  • Tamara Maletic, designer

  • Francesco Manacorda, critic/curator

  • Nick Mauss, visual artist

  • Dan Michaelson, designer

  • MPA (Megan Palaima), performance artist

  • Augusto Moreno, energy consultant

  • Brett Price, visual artist

  • Renaud Proch, curator

  • David Reinfurt, designer/publisher

  • Adele Röder, visual artist

  • Carissa Rodriguez, visual artist

  • Amy Sadao,curator

  • Nora Schultz, visual artist

  • Wolfgang Staehle, visual artist

  • A.L. Steiner, visual artist

  • Elisabeth Subrin, visual artist/filmmaker

  • Lanka Tattersall, critic

  • Jessica Winter, writer

  • Aimee Xenou, visual artist




  • Sadie Benning, visual artist/filmmaker

  • Sanford Biggers, visual artist

  • Kimberly Bliss, writer

  • Mai Braun, visual artist

  • Anya Gallaccio, visual artist

  • Miki Garcia, curator

  • Prem Krishnamurthy, designer/curator

  • Zoe Leonard,visual artist/photographer

  • Lily Mazzarella, poet/herbalist

  • EE Miller, interdisciplinary artist

  • Andy Ness, visual artist

  • Lauren O'Neill-Butler, writer

  • Juliana Snapper, sonic artist




  • Nancy Brooks Brody, visual artist

  • Jennifer Montgomery, filmmaker

  • Christopher Murtha, visual artist

  • Suzanne Snider, writer

  • Meredith TenHoor, architectural historian