Cory Arcangel & Julia Christensen
As part of our “Artist to Artist” interview series, Cory Arcangel (2006 Emerging Fields) and Julia Christensen (2013 Emerging Fields) connected over the phone to discuss DIY projectors, technological obsolescence, source code, and other issues related to their media-based practices. The following is an edited excerpt from their conversation. You can listen online to the full podcast, or subscribe through iTunes.
Julia: Hello! Great to talk to you, Cory! So you’re in Norway right now?
Cory: Yes, I’m in Stavanger, Norway… Are you in Oberlin?
Julia: Yes, I’m in Oberlin, Ohio. It’s winter term here, which is this wonderful break Oberlin gives, so I’m in the studio 9-5 right now, which is really good.
Cory: And what are you working on?
Julia: Well, primarily I’m working this project that is being supported by Creative Capital.
Cory: Aaaahh. At that point they should throw in a Creative Capital audio watermark. CREATIVE CAPITAL. And an airhorn. (Laughs) Cool.
Julia: Sound effects every time we say Creative Capital! (Laughs)
Creative Capital’s President and Founding Director Ruby Lerner spoke with Cara Ober, Editor in Chief at Bmoreart, last month. Find the original post published on January 29, 2014, here.
While most Baltimore artists are now familiar with The Rubys, the new artist grants designed to “support the region’s gems” with up to ten thousand dollars per project, few are aware of the origins of the grant’s name, or that they have a namesake. Although GBCA could have chosen any number of precious gems with which to christen these grants, the Rubys were decisively named for a champion in contemporary arts funding: Ruby Lerner, the President and Founding Director of Creative Capital.
Connie Yang, Kathryn Andrews and Ruby Lerner
On February 5, LA Confidential Magazine hosted a party in honor of Creative Capital at Dirty Laundry. We were thrilled to have so many awardees, friends and supporters there to celebrate our Southern California community. Many thanks to LA Confidential for hosting, to Pernod-Ricard for supplying incredible drinks, to Ammo Cafe for delicious bites, and to Houston Hospitality / Dirty Laundry for the amazing space! All images, Reza Allah-Bakhshi for LA Confidential.
Janie Geiser (left) and Miwa Matreyek (right)
As part of our “Artist to Artist” interview series, Miwa Matreyek (2013 Performing Arts) and Janie Geiser (2000 Performing Arts) sat down to discuss commonalities in their work. The following is an excerpt from their conversation. You can listen online to the full podcast, or subscribe through iTunes.
Miwa: We’re here talking about our work for Creative Capital. I just showed Janie my Creative Capital project, This World Made Itself, and I’ve seen a lot of Janie’s puppetry work as well as her films, and Janie’s seen my work. We’ve been in each others’ worlds for a few years. Janie was one of my mentors from CalArts who really inspired me to do performance, so it’s really thrilling to have this conversation.
Janie: Yeah, I’m very happy to be here talking with you in your apartment, where I can feel the presence. I see the collages that I’ve seen on your website. It’s really amazing. So, it might be a good starting place, thinking about your work as collage and how you combine images and how you went from still collages into performance and film.
Miwa: I actually consider the performances as a collage. Continue reading
The Retreat is the centerpiece of Creative Capital’s artist services. The 2013 Retreat in Williamstown, MA, was our largest convening to date, bringing together 350 artists, arts professionals and arts advocates. This four-day event included presentations by 86 artists on their works-in-progress, consultations and networking events, and focus sessions on key issues in the field. Peter Sillen (2005 Film/Video awardee) and C41 Media interviewed Creative Capital staff, artists, consultants and supporters at the Retreat to learn more about the transformative experience of the Retreat.
Join us in investing in artists who shape the future by making an end-of-year contribution today!
“Breeze” by Audrey Phillips
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
St. Paul-based Poet Naomi Cohn
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.
Concept rendering of SuttonBeresCuller’s “Mini Mart City Park”
John Sutton: So, a little bit of background to start: I’m a 2008 Visual Arts grantee—one third of the group SuttonBeresCuller—and I’ve returned to the Creative Capital Artist Retreat for the last couple of years as an artist advisor and consultant. At this year’s Retreat, [Creative Capital staff] Lisa Dent and Jenny Gill introduced us and said that we had to chat because our projects have a lot of parallels and they thought that we could learn from each other.
Juan William Chávez: Great to talk to you! I guess we can start by just describing our projects.
Sutton: Okay. SuttonBeresCuller does a lot of different kinds of work, but our Creative Capital project, Mini Mart City Park, is an ongoing project intent on the creative reuse, revitalization and remediation of former small-site gas stations. Right now, we’re focused on a site in Seattle’s Georgetown neighborhood. Like many of these former gas station sites, it’s heavily contaminated, and ultimately we want to clean it up and turn it in to a pocket park, community center and public sculpture, and gift it to the city, for the site to become part of the parks department. Everybody’s really interested but nobody wants to take on the environmental issues. Continue reading
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 participants’ accounts of how we’ve impacted their careers and lives.
This month’s PDP story comes from Tom Virgin, a Miami-based visual artist who has participated in several workshops including our 2007 Miami Core Workshop, 2009 Miami Advanced Core Workshop and 2010 & 2011 Miami Internet For Artists Workshops.
Spring 2011: The Creative Capital Professional Development Program brought me from an earnest beginner to an earning artist. Although the concept of creating a practice with multiple legs of support did not come from Creative Capital, a detailed analysis of my practice that pointed out the strands that I was missing, overlooking or undervaluing did. At this point, teaching remains an important strand to my overall career, but changes in funding by local, state and federal institutions are pointing me towards more studio practice. I am in the process of updating three years of new work to my website in a open source WordPress structure. Continue reading
At our 2013 Artist Orientation Weekend, Creative Capital Literature Consultant Ethan Nosowsky led a focus session entitled “Working with Publishers and Developing a Publishing Strategy.” It offers general advice for artists in all disciplines who will be working with a publisher and outlines key moments in the publication timeline.
LISTEN: Working with Publishers and Developing a Publishing Strategy
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About Ethan Nosowsky
Ethan Nosowsky is Editorial Director at Graywolf Press and Literature Consultant for Creative Capital. He began his career at Farrar, Straus and Giroux, served as Graywolf’s editor-at-large from 2007–2011, and was most recently Editorial Director at McSweeney’s. He has edited books by Jeffery Renard Allen, Emily Barton, Elias Canetti, Geoff Dyer, Stephen Elliott, John Haskell, J. Robert Lennon and Isaac Bashevis Singer, among many others. He has taught in the Creative Writing program at Columbia University and has written for Bookforum, the San Francisco Chronicle and Threepenny Review.
Want to learn more from Ethan? Attend his webinar “Applying for Grants & Residencies: Strategies for Writers” on Monday, June 17 at 7:00pm EST.