The David Guillod Scholarship for the Arts Announces 2026 Application Period
David Guillod
LOS ANGELES, April 15, 2025 (GLOBE NEWSWIRE) -- The David Guillod Scholarship for the Arts, established by renowned entertainment executive David Michael Guillod, is now accepting applications for its 2026 award. This annual scholarship provides $1,000 to one deserving undergraduate student who is pursuing a career in the arts. The scholarship is open to students in programs related to film, theater, music, visual arts, and creative writing, and aims to support their education as they work toward building a future in the creative industry.
David Guillod, a veteran of the entertainment industry with over 25 years of experience in talent management, film production, and media, founded the scholarship to give back to the next generation of artists. Guillod's career has included influential roles at top-tier talent agencies such as United Talent Agency (UTA) and Handprint Entertainment, where he played an integral part in managing the careers of Hollywood icons like Jennifer Lopez, Will Smith, and Rachel McAdams. Guillod's impressive legacy as a senior partner and co-head of UTA's Motion Picture Talent Department, combined with his success as a producer of hit films like Atomic Blonde and Extraction, has paved the way for this exciting new opportunity for aspiring artists.
The David Guillod Scholarship for the Arts aims to uplift creative students who are determined to leave their mark on the arts world. 'Creativity has the power to shape culture, and it's vital that we invest in the voices of young artists who will define the future of entertainment,' said David Guillod. 'I'm proud to support this scholarship as a way of fostering the next wave of creative professionals and helping them pursue their passions.'
Eligibility and Application ProcessUndergraduate students who are currently enrolled in a program related to the arts are invited to apply. The scholarship is open to students pursuing degrees in fields such as film, theater, music, visual arts, or creative writing. Applicants are required to submit an essay of no more than 1,000 words answering the prompt: 'What motivates your artistic journey, and how do you envision your work contributing to the arts in the future? Share how your education, experiences, and unique perspective will help shape the creative landscape of tomorrow.'
All applications must be submitted by January 15, 2026. Late submissions will not be accepted. The winner of the scholarship will be announced on February 15, 2026, and applicants are encouraged to stay updated via email for the announcement.
The $1,000 award is intended to assist the recipient with tuition, educational materials, or any other expenses related to their studies. The scholarship aims to alleviate some of the financial burdens that come with pursuing an education in the arts while encouraging students to follow their creative passions and reach their professional goals.
About David Michael GuillodDavid Guillod is a distinguished entertainment executive with a career spanning over two decades in talent management, film production, and media. He has played a pivotal role in the careers of A-list talent and the success of major motion pictures. Known for his innovative approach to the entertainment industry, Guillod has overseen projects such as Hotel Rwanda, Crash, Hustle & Flow, Atomic Blonde, and Extraction. His dedication to the arts and his entrepreneurial vision led him to found Intellectual Artists Management, later merging it with Primary Wave Entertainment, where he became Co-CEO.
David Guillod's commitment to fostering talent and his influence on the entertainment industry has inspired the creation of this scholarship, which will provide essential support for the next generation of artistic professionals.
For More InformationInterested students are encouraged to visit https://davidguillodscholarship.com/ for full scholarship details, application instructions, and deadlines
Contact Info:
Spokesperson: David Guillod
Organization: David Guillod Scholarship
Website: https://davidguillodscholarship.com
Email: apply@davidguillodscholarship.com
A photo accompanying this announcement is available at https://www.globenewswire.com/NewsRoom/AttachmentNg/2e5310bf-25c4-45ea-9ae9-505624c14cc6Sign in to access your portfolio
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Beijing, China, Aug. 15, 2025 (GLOBE NEWSWIRE) — Literary and artistic works themed on the Chinese People's War of Resistance against Japanese Aggression (1931-45), be they classic works created during the war or works looking back on history, all carry historical memories and the national spirit. Through artistic forms, they cross the long river of time, allowing us to deeply feel the fearlessness and perseverance of the Chinese people during the War of Resistance against Japanese Aggression, while inspiring people's patriotic feelings. The Global Times launched this special series of Indelible Memories about literary and artistic works themed on the war to draw wisdom and strength from the spirit of the people. On a scorching summer day, stepping into the resting hall at Beijing's Imperial Ancestral Temple, visitors were greeted not only by a refreshing coolness but also by a profound sense of history. This gravity stemmed not just from the imposing centuries-old architecture, but even more from the collection of artworks on display – each capturing pivotal moments from the Chinese People's War of Resistance against Japanese Aggression. In particular, a group of sculptures on the white central exhibition platform commanded special attention. Each figure in this group of sculptures intensifies the visual impact of fear and despair through contorted bodies, hollow gazes, and torn garments. Some look up to the sky, some scream in silence, some struggle for survival, while others have already fallen, their lives lost. This is the work of Wu Weishan, former director of the National Art Museum of China. Titled Tao Nan, or Fleeing from Calamity, it is the theme sculpture for the expansion of the Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders. On July 28, at the opening ceremony of this art exhibition, which highlights the perseverance and resistance of the Chinese people during the War of Resistance against Japanese Aggression, Wu told the Global Times that the purpose of creating these sculptures is to remember history, not hatred. 'Art can serve to commemorate history and call for peace, fully expressing the Chinese people's values and love for peace,' he said. These sculptures are bearers of history, embodying the longing for peace. Such expressions run through generations of Chinese artistic creation – every line, every chisel mark, every brushstroke aims to ensure that people never forget. Turning sorrow into power The sculptures displayed in the main hall of the Imperial Ancestral Temple are, on average, only a few dozen centimeters in height, while their enlarged versions stand solemnly at the Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders in Nanjing, East China's Jiangsu Province. Taken as a whole, this group of sculptures resembles a powerful musical movement: rising, falling, flowing, ascending, soaring. Spatially, the energy these sculptures project envelops viewers in an atmosphere of deep compassion and sorrow. Even before entering the memorial, visitors are already touched, so that once inside, each sight of a bone fragment or a blood-stained garment evokes boundless grief and reflection. In these sculptures created from 2005 to 2007, Wu avoided direct depiction of the Japanese army's atrocities, choosing instead to focus on the victims, capturing the devastation and suffering of Nanjing's residents during the massacre – their families shattered, their lives destroyed. He explained that these works are meant to 'bring the victims back to life,' allowing their last cries before death to express the shared voice of humanity. By giving form to the souls of all those who suffered, the sculptures become important vessels of the human spirit. Only in this way can artworks urge all humankind to reflect, so that the lessons of the past will never be forgotten. Outside the memorial, the sculptures were set within a pool symbolizing the path to escape terror, depicting 10 groups of 21 figures fleeing their homes in the wake of the bloody massacre. Nearly life-sized, these sculptures enhance the sense of realism. Among them are an elderly son supporting his octogenarian mother as they flee, a violated young woman standing by a well, and a monk closing the eyes of the wrongfully slain as he escapes. The sculptures are cast in a silvery-gray tone, distinct from the familiar bronze and copper hues, symbolizing the survivors' escape from overwhelming terror. The piece that moved the sculptor most was one of an infant clinging to his deceased mother, seeking milk from her lifeless body. This work is based on the harrowing experience of Nanjing Massacre survivor Chang Zhiqiang's family. Three of his younger brothers were bayoneted to death, his mother fatally stabbed in the lungs. Amidst tears, he placed his youngest brother beside their mother, and the infant crawled to her chest to nurse. That final drop of milk marked both an end and a fragile hope. By the next day, mother and child had frozen together in the bitter cold, never to be parted. The process of creating these sculptures was far from tranquil for Wu. Immersed in historical research and interviews with survivors like Chang Zhiqiang and Xia Shuqin, he was deeply affected by the anguish and outcries captured in old photographs and personal stories. Many sleepless nights followed, and even as he walked through the old districts of Nanjing, he would sometimes imagine hearing the echoes of explosions and cries of slaughter. Wu employed a variety of sculpting techniques – chiseling, striking, pounding, and molding by hand. He recalled working outdoors in the sweltering 38 C heat, laboring through the night for hours. His deep sorrow and anguish over this chapter of history were transformed into the speed and power of his artistic creation. Looking further back, this passionate engagement with the history of the war – a fervor that transforms into powerful artistic energy – has also flowed from the hands of the elder generations of artists, many of whom witnessed these events firsthand. Their collective memory and creative expression have ensured that the tragedy and heroism of that era continue to live on, warning and inspiring future generations through the language of art. Never forget Xiao Feng, the 10th president of the China Academy of Art, passed away in Hangzhou on July 8 at the age of 93. He created a work depicting Canadian surgeon Norman Bethune treating Eighth Route Army soldiers during the War against Japanese Aggression, which was included in textbooks across the country. Xiao Ge, his youngest daughter, told the Global Times that her father had been proud all his life of being a literary and art soldier in the New Fourth Army. Depicted in the painting jointly created by Xiao and his wife Song Ren is a makeshift operating table that was set up in a dilapidated temple not far from the front lines. Outside, the sounds of war rage on, while inside, Bethune stands calm and focused, his brow slightly furrowed and lips pressed tightly together as he meticulously performs surgery on a wounded soldier. In the background, a vigilant guard stands watch at the temple door, ever alert to protect the scene within. Critics note that through artistic treatment, the image's sense of narrative, drama, and conflict is enhanced in the painting, effectively highlighting Bethune's contributions to resisting aggression and pursuing peace. Xiao's works are mostly tied to his experiences and memories from the war. In his creations, there have been images of guerrilla fighters maneuvering through the Luoxiao Mountains, New Fourth Army soldiers bidding farewell to Jiangnan, officers and soldiers watering their horses by the Yangtze River, and warriors hidden among reeds. His works go beyond mere narratives of suffering, focusing instead on capturing moments of warmth amidst the chaos of war. 'They (Xiao and Song) pursued truth, goodness and beauty, worked for their beliefs and the people all their lives, and finally donated all their works to the people,' the painter's daughter said. On the eastern side of the exhibition hall displaying Wu's sculptures, the painting Victory and Harmony by post-1990 artist Hong Fangzhou hangs on the red wall of the East Wing Hall of the Imperial Ancestral Temple, quietly awaiting an audience. 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Source: Global Times:Company: Global TimesContact Person: Anna Li Email: [email protected] Website: Beijing Disclaimer: This press release may contain forward-looking statements. Forward-looking statements describe future expectations, plans, results, or strategies (including product offerings, regulatory plans and business plans) and may change without notice. You are cautioned that such statements are subject to a multitude of risks and uncertainties that could cause future circumstances, events, or results to differ materially from those projected in the forward-looking statements, including the risks that actual results may differ materially from those projected in the forward-looking statements.
