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2023 CARD Fellows

Paloma Vianey

Paloma Vianey is an interdisciplinary artist from Ciudad Juárez, Mexico, who currently lives and works in Washington, DC. She earned a BA in art history from The University of Texas at El Paso and an MFA from Cornell University. She has received grants from the Elizabeth Greenshields Foundation (2020, 2021, 2023) and the National Fund of the Arts in Mexico (2020). Vianey received a scholarship from the Instituto de los Mexicanos en el Exterior (2018), was awarded the Municipal Youth Award in Ciudad Juárez, Mexico (2019), and the John Hartell Graduate Award at Cornell University (2021). In 2018, Vianey realized a large-scale public art installation (22 x 70 ft) on the Americas-Cordova International Bridge along the US-Mexico border. From 2021 to 2022 she was an Artist-in-Residence at the Antonio Gala Foundation in Cordoba, Spain. Vianey has exhibited her work at the Herbert F. Johnson Museum, the Antonio Gala Foundation, Amos Eno Gallery, Jack Hanley Gallery, the Mexican Consulate at El Paso Texas, El Paso Museum of Art, The Stanlee and Gerald Rubin Center for the Visual Arts, and the Archeology and History Museum of El Chamizal. She currently teaches painting and drawing at George Mason University and was recently selected to participate in the 2024 Border Biennial hosted by the El Paso Museum of Art.

Tina Villadolid

Tina Villadolid is a second-generation Filipina American New Yorker. She graduated from Amherst College in 1983 with a BA in fine arts, then moved to New England where she became a mom, was a small-scale pig farmer, and fronted a rock band. Moving to Santa Barbara, California, the band had a hard landing. Villadolid transitioned into being the local art museum’s outreach teacher, bringing the museum into the neighborhood guerrilla style. Twenty-three years later, she was teaching the children of former students. This generational work with the marginalized population of a wealthy community threw into question her own life’s relationships to predominantly white spaces and institutions. Villadolid returned to school wanting to unlearn ideologies of systemic power hierarchies, knowing that real change must begin with her own practice. She is a 2023 graduate of the MFA in Social Practice program at the Corcoran School of the Arts and Design, George Washington University. 

Anne C. Smith

Anne C. Smith is a visual artist in Washington, DC, as well as a Silkscreen Associate and instructor at Pyramid Atlantic Art Center and a member of the Artist Advisory Committee at IA&A at Hillyer. She learned silkscreen printing from her mentor, Master Printmaker Lou Stovall, for whom she worked as a studio assistant and later interviewed for the catalog to his exhibition at the Kreeger Museum in 2022. She holds an MFA in printmaking from George Mason University and in 2016 served as master printmaker on a large-scale silkscreen book with the school’s Navigation Press. She has previously taught drawing at institutions such as the National Gallery of Art in DC and Northern Virginia Community College and George Mason University in Virginia. She has participated in artist residencies with Artist Mother Studio at Washington Project for the Arts; Kala Art Institute, California; and the Torpedo Factory Art Center, Virginia. Her work is in the collections of the US State Department, Capitol One, and INOVA Hospital, and she is represented by Adah Rose Gallery in Kensington, Maryland. 

Three CARD Fellows receive:

  • 12-week fellowship
  • $5,000 stipend
  • Regular gatherings and meetings with one another and consultations and studio visits with professionals from within our organizations as well as visiting/external professionals
  • Opportunities to exhibit/present work/activations at one of our spaces
  • A commissioned piece of writing about the artist’s work
  • Promotional support (press releases for residency, social media promotion, etc)
  • Documentation including professional headshots
  • Professional development opportunities, including: 
    • Review/advise of Fellow’s didactic materials (CV, Bio, Artist Statement)
    • Instruction on how to professionally archive one’s artwork
    • Hands-on skill development and skill-sharing based on the Fellow’s specific needs and practice


  • Applications open: June 5-July 10, 2023
  • Selected fellows notified: mid-August, 2023
  • Fellowship dates: September 18-December 15, 2023


Fellowships are 12 weeks. The expected time commitment is ~8-10 hours per week. Fellows are expected to actively participate in the following:

  • Twice monthly meetings
    • Once monthly in-person gatherings/check-ins with all Fellows and staff from each partner organization;
    • Once monthly meetings, studio visits, and/or field trips
      • Visits to other organizations/institutions
      • Meetings with professionals such as curators, fabricators, or other experts relevant to Fellow’s practice for skill development (sometimes these will be as a group, other times each Fellow will meet with those relevant to their fellowship goals/practice)
  • Willingness to share work with Fellowship partners and with the public
    • Studio visits, in-progress talks, group check-ins, or other forms of sharing work with the fellowship cohort and partners—need to be comfortable sharing work in progress
    • Presentation of work: this is not prescriptive, it could be via a publication; site intervention; curatorial selection, etc
    • Public talk: would include all three fellows
    • Sharing profiles or work on CARD Fellowship (and/or partner orgs’) social media, blogs, or websites

This fellowship term is a pilot, which means that meetings and schedules may change based on feedback and availability of people, space, and materials. The stipend is guaranteed. We believe that Fellows who are flexible, collaborative, and open to giving and receiving feedback will be particularly successful at CARD. You can expect that CARD will be judicious with the Fellows’ time and will give as much notice and information as possible around potential shifts to ensure a meaningful experience will be had by all.


  • Live and work within the Washington, DC, area, including suburbs 
  • Are at any stage of their careers and have not had a significant solo exhibition or residency within five years of the application deadline date.
  • Trustees, staff, volunteers, and their immediate families of the organizing institutions will not be eligible to participate. 
  • Artists who are 18 years of age or older.

District of Columbia Public Library

The District of Columbia Public Library is a vibrant center of activity for residents and visitors in the nation’s capital. The library provides environments that invite reading, learning and community discussion and equips people to learn all their lives, to embrace diversity and to build a thriving city. We are proud to be a recognized force in the community for engaging the mind, expanding opportunities and elevating the quality of life.

The Nicholson Project

The Nicholson Project is an artist residency program and neighborhood garden in Washington, DC’s Ward 7 Fairlawn neighborhood. Their mission is to support, provide opportunities, engage, and amplify artists and creatives from our community and the local artist community—particularly artists of color and those from Ward 7 and 8—while engaging our neighbors through community-based programming. Their vision is to serve as a cultural hub and community anchor celebrating Ward 7’s authentic identity, while infusing new vibrancy into Southeast DC. They hope to inspire others to use similar non-traditional arts and community-centered projects as a pathway toward stronger, more vibrant communities.

The Phillips Collection

The Phillips Collection, America’s first museum of modern art, was founded in 1921. The museum houses one of the world’s most celebrated Impressionist and American modern art collections and continues to grow its collection with important contemporary voices. Its distinctive building combines extensive new galleries with the former home of its founder, Duncan Phillips. The Phillips’s impact spreads nationally and internationally through its diverse and experimental special exhibitions and events, including its award-winning education programs for educators, students, and adults; renowned Phillips Music series; and dynamic art and wellness and Phillips after 5 events. The museum contributes to global dialogues with events like Conversations with Artists and Artists of Conscience. The Phillips Collection values its community partnership with THEARC—the museum’s satellite campus in Southeast DC. The Phillips Collection is a private, non-government museum, supported primarily by donations

  • The Phillips Collection, District of Columbia Public Library, and The Nicholson Project reserve the right, and each artist agrees that the Phillips shall be entitled to, to use any images of the artworks provided by the artists or their representatives, and to photograph, videotape, and/or otherwise reproduce the artworks for documentation, publicity, publication, educational, and all other purposes, in print and digital forms, connected with the exhibition.
  • The Philips Collection, District of Columbia Public Library, and The Nicholson Project assume the right to reproduce images of the works on its digital channels, including but not limited to its website and social media accounts for documentary, educational, and promotional functions.
  • The general public may take photos for personal, non-commercial use only.

By submitting any artwork, artists will be deemed to have certified that they are the creator and owner of the artwork being submitted and that nothing they submit will infringe on the rights of others.

Artists will also be deemed to have granted The Phillips Collection, District of Columbia Public Library, and The Nicholson Project a royalty-free, worldwide, perpetual license to display their image, in whole or in part, without further review or participation, in any medium now existing or subsequently developed, in promotional or trade uses on The Phillips Collection websites and social media platforms, and format it to fit the website specifications, without any compensation.

The Phillips Collection, District of Columbia Public Library, and The Nicholson Project's issuance of these guidelines does not constitute an agreement that a work will be selected for exhibition and/or that an artist is in any way otherwise associated with it.

The Phillips Collection, District of Columbia Public Library, and The Nicholson Project expressly reserve the right at any time to:

  • Waive and/or correct any defect and/or informality in these guidelines
  • Reject any submissions
  • Reissue these guidelines
  • Prior to the submission deadline, modify these guidelines.

The Phillips Collection, District of Columbia Public Library, and The Nicholson Project will treat all information provided by an artist when entering according to the Privacy Policy posted at

The Phillips Collection, District of Columbia Public Library, and the Nicholson Project reserve the right, in its sole discretion, to (1) cancel, terminate, suspend, and/or modify these guidelines, or any part, at any time, without notice, and (2) to cancel, terminate, modify or suspend the exhibitions in whole or in part, at any time, without notice and award prizes using eligible entries received as of the termination/suspension date, if any infection, computer virus, bugs, tampering, unauthorized intervention, fraud, technical failures, or any other cause beyond The Phillips’ control, affects the integrity or proper conduct thereof.  The Phillips Collection reserves the right, in its sole discretion, to disqualify any individual who tampers with the entry process (if applicable) or the operation of the exhibitions or to be acting in violation of these guidelines or any other promotion or in a disruptive manner. The Phillips Collection is not responsible for (1) entries that are lost, late, incomplete, illegible, incorrect, delayed, garbled, undelivered, or misdirected; (2) theft, destruction or alteration of, or unauthorized access to, entries; (3) failures or malfunctions of phones, phone lines, or telephone or data transmission systems; (4) interrupted or unavailable network, server, or other connections; (5) any error, omission, interruption, defect or delay in any transmission or communication; (6) traffic congestion on the Internet or any technical problem, including but not limited to any injury or damage to any person’s computer or computer system related to or resulting from participation; (7) typographical, printing, or other errors or omissions in these guidelines, in any advertisements, or other materials; or (8) other problems or errors of any kind whether computer, network, mechanical, human, electronic, typographical, printing, or otherwise relating to the exhibitions, including, without limitation, errors or problems which may occur in connection with the administration of the exhibitions, in the processing of entries, in the selection or announcement of winners. The Phillips Collection’s failure to enforce any term of these guidelines shall not constitute a waiver of that provision.