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
“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
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.
Creative Capital workshop participants learn about strategic planning and fundraising
On January 26th, our Professional Development Program leaders traveled to San Francisco to teach a workshop on Strategic Planning & Funding Your Work at Southern Exposure. The workshop was part of a series generously underwritten by Tequila Herradura.
We always hope that our workshops propel our artists forward in their careers, so we were thrilled when participant Rhonda Holberton told us, “This was by far the most transformative day I’ve experienced. I will leave today with such a different perspective on my practice and goals. It’s like looking up and realizing there is a sky.” Our thanks to Tequila Herradura, Southern Exposure and our wonderful workshop leaders for making these kinds of experiences possible for artists nationwide! Continue reading
Ela Troyano teaches a Spanish-language workshop at BetaLocal in San Juan, Puerto Rico in 2012
We’re so pleased to announce that the Arts & Science Council of Charlotte & ArtSi will be co-hosting their first Spanish-languge Professional Development Workshop in Charlotte, NC, this May. The Arts & Science Council of Charlotte first hosted a Creative Capital workshop in 2007. Since then, participants in Charlotte have referred to the knowledge shared at our workshops as “well rounded, articulate, truly helpful information,” and we can’t wait to teach more of that useful advice to the Latino community in Charlotte, NC.
On March 1st, Creative Capital Artists Matt Moore and Sam Van Aken spoke at TEDxManhattan: Changing The Way We Eat. Watch their talks below!
Moore is a fourth generation family farmer, working artist and food activist. Moore farms outside of Phoenix, Arizona, and exhibits his video and installation artwork internationally. Through these practices, he addresses issues of ecological, cultural and economical sustainability and the potential loss of small independent farms. In the video above, he presents his Creative Capital Project The Digital Farm Collective, in which he collects and shares images of the most important daily process of agriculture—the growth of our produce.
Creative Capital’s President and Executive Director Ruby Lerner recently shared her leadership philosophy on the ArtsFwd blog as part of a month-long series of adaptive leadership. You can find the original article here.
How do you seek out perspectives different from your own and let them influence you?
Since Creative Capital was founded to experiment with a model borrowed from a totally different sector—the venture capital world—we began our organizational life by trying to understand, and adapt to, this very different approach to arts funding. This has affected all aspects of our development. I have been mentored by one of the sages of Silicon Valley, William Bowes, right from the beginning, and we now have three venture capitalists on our board, plus others who are conversant with the sector. Additionally, I have sought out business conferences that focus on innovation and entrepreneurship. And I try to read the business magazines that are focused on the [venture capital] sector.
Ruby Lerner (left) with Creative Capital Board Member Paige West and Christopher Cooper
Creative Capital’s President & Executive Director Ruby Lerner was recently interviewed by Barry Hessenius of Barry’s Blog about arts funding in the U.S. Barry’s Blog is a service of the Western States Arts Federation (WESTAF). You can find the original article here.
Barry: Creative Capital was launched in response to the NEA’s movement away from individual artist support as a result of the culture wars of the 1990’s. Why hasn’t the Endowment reinstated its artist support and what would you like to see them do now?
Ruby: I think you would have to ask the NEA that question. I suspect it is because it was the individual artists’ grants that got them into “trouble,” and certainly things now are even more polarized, so I don’t think we will see any movement toward reinstating awards to individuals. This is really tragic, as they not only provided substantial financial support annually to working artists, which has not been replaced by the private sector, but they took a leadership role in articulating the issues. There is no private funder that has the authority or standing to do that. In the absence of direct financial support, they can certainly make a commitment to the infrastructure of organizations that directly support artists. This would include service organizations at the national, state and local level, and that tier of presenting and exhibiting organizations that stay very close to artists, especially to their local artists. They exist in many mid-sized and larger communities. Continue reading