Dread Scott – Untitled (from Lockdown), 2000-04
What would a prisoner’s dream home look like? Which news publications would an inmate subscribe to? To Shoot a Kite, an exhibition at the CUE Art Foundation on view through August 2, begins with questions like these and proceeds to open a world previously unknown to anyone who has never experienced the prison system. The show, organized by curator Yaelle Amir, examines several projects—including two by Creative Capital artists, Dread Scott (2001 Visual Arts) and Laurie Jo Reynolds (2013 Emerging Fields)—that expose the “abject state of the incarcerated.” As an increasingly significant portion of the American population lives behind bars, an exhibition like this takes on obvious importance. We spoke to Amir to get a better sense of her inspiration.
Alex Teplitzky: The essay you wrote for the show starts off with the character, Alex, from Sesame Street, whose father is incarcerated. Was it this character or something else that gave you the idea for an art show about prison inmates?
Yaelle Amir: I have been studying the issue of mass incarceration in the U.S. for a long while and had the idea of developing an exhibition about it a couple of years ago, after I became increasingly aware of the existence of many creative initiatives to raise awareness and provide services to prisoners, such as Jackie Sumell and Herman Wallace’s collaboration, Temporary Services, and Laurie Jo Reynolds’ various efforts through Tamms Year Ten to connect with incarcerated men and women. My knowledge of Alex from Sesame Street came later, through initial research for the exhibition. Discovering this character really brought this issue home for me, making it evermore clear that mass incarceration affects a broad segment of the American population.
Penny Lane and Marshall Curry
As part of our “Artist to Artist” interview series, Marshall Curry (2008 Film/Video) and Penny Lane (2012 Film/Video) connected over the phone to talk about their past and current documentary film projects. The following is an edited excerpt from their conversation. You can listen online to the full podcast, or subscribe through iTunes.
Penny: Hello! Where are you calling from, Marshall?
Marshall: My office in Park Slope.
Penny: Oh, you’re in Brooklyn. Neat!
Marshall: Where are you?
Penny: I’m in Waterville, NY, which is about five hours north and west of where you are right now. I moved to central New York this past summer for a teaching job. Continue reading
Creative Capital workshop leader Aaron Landsman taking questions about artist-community engagement at the workshop in Ann Arbor.
This week, more than 40 artists participate in two Professional Development Program (PDP) workshops in Ann Arbor and Detroit, MI, hosted by ArtServe Michigan. The first workshop, presented in partnership with the Stamps School of Art & Design at the University of Michigan, takes place on July 17 and is a one-day intensive focusing on Strategic Planning and Community Engagement. The second is a Core Skills Weekend Workshop for the 2014 Kresge Fellows, taking place from July 18-20 in Detroit. Continue reading
“The Daedalus Effect and other dilemmas,” New York Live Arts off-site at The Invisible Dog Art Center, 2013 (photo: Ian Douglas)
Degenerate Art Ensemble (2013 Performing Arts) recently invited Quintan Ana Wikswo (2013 Emerging Fields) to write for their blog every day for 14 days. In the fifth post of this series, Quintan sat down with fellow Creative Capital Artist Arturo Vidich (2013 Performing Arts) to discuss their “underworlds, undergrounds, and innerworlds to communicate with what’s been erased, banished, exiled, excluded, hidden, contained.” You can read the original essay on Degenerate Art Stream. Continue reading
FROM LEFT: “Ghost Food” by Miriam Simun; Elaine Tin Nyo; Faye Driscoll; and Meredith Monk
This summer the Museum of Arts and Design in New York is hosting an ambitious biennial featuring New York City’s makers, craftspeople and artisans. The exhibition, NYC Makers: The MAD Biennial, includes a vast range of artists and designers from the visual to the culinary arts, and often straddles boundaries of multiple disciplines. Included in the show are Creative Capital Awardees Elaine Tin Nyo (2013 Emerging Fields), Faye Driscoll (2013 Performing Arts), Meredith Monk (2000 Performing Arts), Miriam Simun (2013 Emerging Fields) and Natalie Jeremijenko (2013 Emerging Fields), and the exhibition’s head Curator is another Awardee, filmmaker Jake Yuzna (2012 Film/Video). Among other things, Yuzna spoke to us about how he was able to curate the show and simultaneously achieve the main goal of the exhibition: to give the community a voice.
Alex Teplitzky: What about DIY/Maker culture—and specifically New York maker culture—interests you? Why is it important to do this show now? What makes this city so appealing and special to generate and foster a network of makers?
Jake Yuzna: NYC Makers: The MAD Biennial approaches the term “maker” in a very broad way. Although “maker” is often associated with “maker faire” and DIY engineering/technology culture, MAD seeks to expand this to include any cultural producer who directly creates their own work. NYC Makers: The MAD Biennial is much closer to a survey of cultural production in NYC than just looking at alternative technology or engineering. With the Biennial, the goal was to present all of cultural production, from the more “blue chip” forms that are associated with fine arts alongside those disciplines that are often unrecognized, like craftspeople or tradespeople. To me it’s a fascinating grand experiment, this kind of approach. It really puts all of culture together on a level continuum in order to recognize it in all its many forms. It moves past questions like “is it art?” “is it design?”, etc, etc, and towards a sweeping and inclusive approach to culture.
Emily Johnson (2013 Performing Arts) presented her project Shore at the 2013 Creative Capital Artist Retreat last summer. Shore is a multi-day performance/installation of dance, volunteerism, feasting and storytelling. The project develops in each venue over an extended period of time, requiring conversation and collaboration amongst organizations. Shore begins with a feast, followed by a night of curated storytelling. You can watch more artist presentations from the Retreat on our Vimeo channel.
Photo courtesy of Taller Puertorriqueño
Taller means workshop in Spanish, so it was apropos that Creative Capital hold a Taller profesional de desarollo para artistas at Taller Puertorriqueño (or Taller for short) in April in Philadelphia. Known as “The Cultural Heart of Latino Philadelphia,” Taller is a community-based multidisciplinary arts organization whose work bridges European, African, Caribbean and Latino societies and cultures. They offer programs for youth and adults, operate art galleries featuring Latino/a artists, run the region’s only bilingual bookstore, sponsor musical and theater events and organize a range of engaging cultural art education programs. Currently on exhibition (through July 24) is The Iconography of Meaning which explores contemporary cultural imagery used to convey ideas and thoughts about cultural identity, politics and the immigrant experience. Continue reading
CLOCKWISE FROM TOP LEFT: Daniel Roumain and Dread Scott at the 2013 Creative Capital benefit and auction; still from Miwa Matreyek’s “This World Made Itself;” Creative Capital board member and gallerist Ronald Feldman with a stereoscopic viewer made by artist Eve Sussman; “Edge of Twilight 5,” 2010, by Connie Samaras; still from Kristina Wong’s “Going Green the Wong Way;” “Heizer Detroit City Complex,” 2014, by Edgar Arceneaux
Creative Capital was the subject of a feature article by Michael Ventre in the Summer 2014 issue of Los Angeles Confidential Magazine. See below for a short excerpt and click here to read the full article online.
… Creative Capital supports artists by using venture-capital principles. Each year it sorts through applications from creative types in a wide variety of art disciplines and hands out grants of up to $50,000 in direct funding. But it doesn’t cut ties as soon as the check clears. Instead, Creative Capital provides development services and support, working with artists over a period of months—even years—to ensure that they can attain their visions. Continue reading
This spring we moved to a new office in NYC, thanks to the continued generosity of The Andy Warhol Foundation for the Visual Arts. It is truly a dream come true, bringing all of our programs together under one roof, with room for events, presentations of artists’ work, co-working space for awardees, and a New York home for our Professional Development Program workshops.
We see this as a community space, and we want you to put your name all over it! Literally. Throughout July, we are asking you to name everything in the office, from the staplers to the conference rooms to our fax machine from 1999, with opportunities starting at just $15! Continue reading
For the second year, Tequila Herradura has announced that Creative Capital will be the charitable beneficiary of its Barrel Art Competition. Herradura has issued an open call for artists in seven cities—Atlanta, Austin, Chicago, Los Angeles, Miami, New York City, and San Francisco—to participate in the competition. Ten artists in each city will be invited to transform tequila barrels into unique artworks and compete for a $10,000 first prize, a $3,000 second prize and a $1,000 third prize. All other participating artists will receive a $300 honorarium.
As part of their commitment to individual artists, Herradura will donate $70,000 to Creative Capital to underwrite the presentation of our acclaimed professional development workshops for artists in each competition city. All 70 artists in the Barrel Art Competition will be invited to participate in a workshop free of charge. We are so grateful for Tequila Herradura’s continued support of Creative Capital and their commitment to professional development for artists!
Download the Call for Artists for more information and apply online.