Sharon Louden teaches at the Chautauqua Institution.
Sharon Louden needs no introduction. A successful artist, editor, author and advocate for artists, Sharon’s transparent and earnest approach to sustaining professional connections has made her four-part webinar, How to Approach and Engage with the Gatekeepers of the Art World, one of Creative Capital Professional Development Program’s most sought-out offerings. Back by popular demand, Sharon will be leading her series starting January 31st.
We were lucky enough to sit down with Sharon Louden and ask her five questions about how she manages to sustain her own practice, and what she’s learned along the way. If you want to learn more about how to communicate and build relationships with art world professionals, don’t forget to register for Sharon’s webinar.
Amy Smith and dancers from Headlong Dance Company performed at the 2015 Creative Capital Benefit.
It’s a well-worn cliche, but it’s true: “Knowledge is power,” and nowhere is this more apparent than in our financial lives. Because being deeply invested in money management often feels uncreative, many artists get comfortable with keeping their understanding of their financial health and future as vague as possible, a kind of “if I don’t see it, it doesn’t exist” approach.
On January 25th, performing artist turned finance guru Amy Smith will be empowering artists to raise their level of financial awareness and literacy — regardless of their prior experience. It’s an excellent opportunity for artists to gain critical understanding ahead of tax season, a great primer for our Tax Preparation for Artists workshop coming up in February, and a unique chance for artists to set themselves on the right financial track going into 2017. Below is a sneak peek of many of the great insights Amy will be sharing during the workshop. For more detailed information, be sure to join us at the Creative Capital office on Wednesday January 25th, for “Financial Literacy for Artists.”
Filmmaker Travis Wilkerson (2015 Moving Image) has made a career out of creating works dedicated to anti-oppression causes, so when he learned that his own great-grandfather played a role in murdering a black man in rural Alabama, he was devastated. As he set out to unravel the story of the murder, he only encountered further obstacles. Using archival footage, documentary and a live performance, Wilkerson explores the way the past continues to haunt us today. His Creative Capital project around the tale, entitledDid You Wonder Who Fired the Gun?, premieres at Jan 20 & 22 at Sundance Film Festival as part of their New Frontier series. We spoke to Wilkerson about the project.
Alex Teplitzky: Can you tell us more about the film and how it unfolds? How does it relate to the performance you’re preparing for?
Travis Wilkerson: The story basically circles around an incident involving my family in the 1940s. My great grandfather, S.E. Branch, was charged with first degree murder of a black man. The charges disappeared somehow. It’s really just a family legend at this point. I wanted to try and sort out what actually happened all those years ago. What documents still existed, perhaps any living witnesses or relatives (of the victim or the perpetrator). It just seemed like a story of this time in this world and I wanted to find a way to make it live here and now.
Of course, it’s all so incredibly fraught. My family is the family of the murderer. My relative was a racist. A thug really. I’m a white male college professor. All these things are really troubling and complex to navigate. So, how to do it?
Renderings of American Riad by Ghana ThinkTank; Renderings (by goCstudio) of Mini Mart City Park by SuttonBeresCuller; III by Liz Glynn; Blood Pudding by Sharon Bridgforth
As cities grow more crowded, built environments are increasingly a dear commodity for all of us. For artists, their careers are also at stake in the never ending quest for space. On January 25, at San Francisco Art Institute (SFAI), Creative Capital will lead a conversation between artists who are addressing community, gentrification, and displacement through their art practice. These artists—Sharon Bridgforth, Ben Beres (from SuttonBeresCuller), Liz Glynn and Maria del Carmen Montoya (from Ghana ThinkTank)—are using architecture, community organizing and real estate to creatively push how we think about the built environment. The panel discussion, moderated by Moy Eng, Executive Director of Community Arts Stabilization Trust (CAST), is the second in our series of discussions called Creative Conversations, and is co-presented with SFAI.
We will livestream the conversation (RSVP here) from 7-9pm PST on Wednesday, January 25, and take questions from Twitter. Use the hashtag #CreativeConvos, #GutRehab or our handle @creativecap to follow along. In the meantime, read on to learn more about the presenting artists.
Medea is the Greek mythological character who kills her own children. Hers is a storyline that has so resonated with us that nearly every generation has had its own adaptation or interpretation of her. In her adaptation of the myth, Yara Travieso (2016 Performing Arts), does not provide the audience with one version, but a multiplicity of interpretations simultaneously. Her Creative Capital project,La Medea, premieres this weekend as part of PS122’s 2017 COIL Festival. True to the concept of multiplicity, there are a number of ways to experience the work: either live at BRIC on January 20-22, where the audience will watch and also take part in the making of the film; livestreamed online; or, eventually as a film produced by Dance Films Association. Amid preparing for the performance, Yara joined us at our offices to talk more about the project.
Alex Teplitzky: Ok, start with a run down of the project. What is La Medea?
Yara Travieso: La Medea is essentially a made-for-camera, Latin-disco, pop musical that is simultaneously a show, and a livestream feature film. It’s based on Euripides’ Greek tragedy of Medea. I’ve readapted, rewritten the work to fit inside a musical composed by Sam Crawford and to exist as a live-television special tell-all, all surrounding this one myth-character Medea. It’s a portrait of her more than anything else, and it takes on many forms: it’s a musical, it’s a dance-theater work, it’s a feature film, it’s a live-television special, it’s a concert. It takes on many lives.
We all know that an artist’s work doesn’t end with her time at the studio. Artists are their own creators, and also their own cheerleaders. It is their passion for their art making that can get other people—be it viewers, curators, critics, or collectors—involved and interested in their practice.
Artist Dread Scott knows this better than most. The revolutionary potential of his own work—including installations, performances, and paintings—feeds off of the attention and participation of his community. On January 19th, he leads Creating a Marketing Strategy, our upcoming webinar that covers all aspects of marketing your work, including defining your goals, developing effective communication tactics, and building your support community. We asked Dread what artists need to know about MailChimp and how we can be rulers of our own universe. RSVP today!
Abstract painter and Professional Development Program alumna Laine Nixon recently applied for and won her first major arts grant: the John Ringling Towers Fund Individual Artist Award. When she talks about her recent win, Laine stresses the lessons she learned through Creative Capital’s “Grantwriting for Artists” webinar and was kind enough to share the top tips she walked away with that helped push her application over the top.
To experience Tracie Holder’s highly requested webinar for yourself, join Creative Capital on January 18th for “Grantwriting for Artists.“
A scene from “Saga,” from Wakka Wakka Productions and the Nordland Visual Theater. Credit Jim Baldassare
These people may be geniuses. –The New York Times
The Obie and Drama Desk-winning performance group Wakka Wakka produces puppet shows. The company tackles relevant social and political issues like climate change, financial crisis, consumerism and human rights. Creative Producer, Gabrielle Brechner, answered a few questions about the evolution of Wakka Wakka since its founding in 2001 and the development of MADE IN CHINA.
Baby pandas, dancing appliances and romping middle-aged lovers populate Wakka Wakka’s universe of tiny-to-huge puppets, belting out original songs. As with climate change in Baby Universe (2010) and the global financial crisis in Saga (2013), the company spins issues of our times into a vastly entertaining tale with surreal dimensions, lots of laughs and powerful take-aways.
MADE IN CHINA features 30 puppets, seven puppeteers, music inspired by both American and Chinese traditions, and animated video. MADE IN CHINA premieres Off-Broadway in January 2017 at 59E59.
We were saddened to learn of the passing of William K. Bowes, Jr. in late December. A giant in the venture capital field, Bill Bowes was a founding partner of U.S. Venture Partners, a prominent Silicon Valley firm. He was also a founding member of the Creative Capital board of directors. Additionally, he served as a trustee for a number of research and education oriented nonprofit institutions, including the Exploratorium: Museum of Science and the University of California, San Francisco Foundation.