Nick Hallett and Shana Moulton (2013 Emerging Fields) presented their project Whispering Pines ∞ at the 2013 Creative Capital Artist Retreat. You can watch more artist presentations from the Retreat on our Vimeo channel.
2013 is a landmark year for Creative Capital—we’re celebrating the tenth anniversary of our Professional Development Program! In that decade, we’ve worked with more than 6,500 artists in 275 communities. In honor of each of those artists, we present the new monthly series PDP Stories, in which we’ll share our participants’ accounts of how we’ve impacted their careers and lives.
This month’s PDP story comes from Audrey Phillips, an artist from Maitland, FL, who attended a 2007 Core Workshop hosted by the Florida Department of State Division of Cultural Affairs.
The Creative Capital PDP program made me aware of the task ahead: if you want to be a successful professional artist you have to diversify and stretch your talent. Even before the big market crash of 2008, the PDP program was introducing artists to different ways to get your art seen and purchased. It was making artists aware that the days of being solely represented (and funded) by galleries is over and we have to diversify our venues—and we, as artists, have to take charge of that. It was a hard-hitting message and a valuable lesson. Continue reading
Postcommodity (2012 Visual Arts) presented on their project The Repellent Fence at the 2013 Creative Capital Artist Retreat. The Repellent Fence is a monumental, site-specific installation that examines the cultural, political, economic and ecological issues of indigenous migration within the context of the Tohono O’odham Nation located in southern Arizona and northern Sonora, Mexico. You can watch more artist presentations from the Retreat on our Vimeo channel.
In October, Creative Capital’s President & Founding Director Ruby Lerner was invited to speak at the ArtsFwd National Innovation Summit for Arts & Culture as a “provocateur.” In her talk, “Policy, Prisons and Pranks: Artists Collide with the World,” Ruby discussed artists working at the intersections of science, technology, community organizing, entrepreneurship and the media. She highlighted trends and lessons learned from these hybrid artists, noting how the field can and should adapt to support this critical work.
This video includes a clip from a TEDx talk by Fiorenzo Omenetto, a Professor of Biomedical Engineering at Tufts University who is researching biomedical silk.
2013 is a landmark year for Creative Capital—we’re celebrating the tenth anniversary of our Professional Development Program! In that decade, we’ve worked with more than 5,900 artists in 170 communities. In honor of each of those artists, we present the new monthly series PDP Stories, in which we’ll share our participants’ accounts of how we’ve impacted their careers and lives.
This month’s PDP story comes from Naomi Cohn, a poet from St. Paul, MN, who attended a 2010 Core Workshop hosted by the Minnesota State Arts Board.
I participated in the Core Weekend in Minnesota in May 2010. Since then that experience has helped me to conceptualize and gain support for a new project, Known by Heart, which explores the contemporary value of poetry and memory. I received a $10,000 Minnesota State Arts Board poetry grant and a one month residency at the Studios of Key West. I’ve gotten grants and residencies before. What feels different, informed by what I learned in PDP, is how this project integrates and advances both creative and business aspects of my work. The project gives me a chance to create new poems, to learn how to present them as spoken work by working with a theater/performance coach. The grant includes documentation that I will be able to use on my new website and also helps me develop a presentation and skills that I can potentially use as a teaching artist in school and community settings, which would represent a new income stream opportunity.
Every few weeks, we’ll be posting tips straight from the Professional Development Program’s Artist’s Tools Handbook, a 200+ page resource we give to Core Workshop attendees, written by PDP Core Leaders Jackie Battenfield and Aaron Landsman. The book covers everything from writing to budgeting, websites to fundraising, elevator pitches to work samples. Similarly, each post will be packed with practical ideas to make your life run more smoothly, leaving you even more time for your creative practice. Learn more about our PDP workshops and webinars here.
Getting Started: Almost all of your fundraising will be done through partnerships: with venues and presenters, advisory boards, and directly with funders and donors. Creative Capital advocates thorough and clear communications about money betwen funders, venues and artists. The better you articulate what you want, what you do and how much it costs, the better off the entire field will be. Thinking of your funders and donors as partners will help you find more opportunities and will make you easier to work with. You will be ready when a venue says, “We found a commission to apply for your project. We need 250 words and a few images. TODAY!” Conversely, if you find a funding source your partners haven’t reached out to yet, you’ll know how to help them through the necessary steps to bring more funding to your project. Partners will want to work with you again and again because you help them help you.
Jessica Almasy: Helloooo!
Neal: I was just thinking that we would get together because Jessica’s work is somewhat about America and I think that my work is about America, too. I don’t get asked about that very much. So, I wanted to talk about what it’s like to make work about America and have various experiences of people responding or not responding to it. I just wanted to have a wide-ranging and thought-provoking conversation about making work about America. [Laughs]
Jessica: Awesome. I’d like to start by giving a little context for where The Team is coming from. I’m part of the collaborative theater ensemble The Team, and we created a mission statement about ten years ago, which states that we make plays about America. So, if we’re succeeding, then that’s what we’re doing. Also, we had to create an acronym for legal purposes back in the day when we incorporated, so Team stands for Theater of the Emerging American Moment; so again, it’s right in the title. Our job is to think about what is happening right now. We gained our first traction in the UK at the Edinburgh Fringe Festival, so people really read our work as information from America being made by young Americans. We were like a specimen for them. I think there’s a really big difference when you’re out of context than when you’re ensconced in your own culture. Continue reading