Otabenga Jones & Associates, “The People’s Plate” mural, which utilizes imagery by graphic artist and Black Panther Minister of Culture Emory Douglas
On February 28, Otabenga Jones & Associates (2008 Visual Arts) premieres The People’s Plate, a collaborative art project and public health program addressing the ongoing crisis of obesity and its related risks. The Collective will unveil a public mural at the Lawndale Art Center in Houston and launch a series of adjacent programs, kicking off a year-long commitment to health education.
Inspired by the Black Panther Free Breakfast for School Children Program, which saw the Panthers cooking and serving breakfast to poor inner city children, The People’s Plate aims to provide at-risk community members with a set of tools that encourage self-sufficiency and empowerment in maintaining their own health through food choices while building community. Programs at Lawndale and other Houston venues will include cooking classes, a foraging workshop, an urban gardening workshop, an instructional cooking video and a line of mass-produced lunchboxes that will be made available to the public. Continue reading
A debutante emerges in “Las Marthas” (photo by Craig Marsden)
Cristina Ibarra (2005 Film/Video) premieres her Creative Capital-supported documentary, Las Marthas, in San Antonio’s CineFestival with a screening at Guadalupe Theater on Tuesday, February 25 at 9:00pm. The film is the winner of the festival’s Special Jury Award. Las Marthas had its broadcast premiere on PBS’s Independent Lens on February 17 and is available to stream online through PBS Video until March 19. Other upcoming festival screenings include San Diego Latino Film Festival, Chicago Latino Film Festival and Ambulante California. Continue reading
Tracie Morris (left) and Queen GodIs (right)
As part of our “Artist to Artist” interview series, Queen GodIs (2013 Performing Arts) and Tracie Morris (2000 Performing Arts) met up at the Brooklyn Museum 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.
Queen GodIs: This is Queen GodIs, Creative Capital grantee, 2013, with the honor of being with Tracie Morris, a Creative Capital grantee from…
Tracie Morris: The first class of Creative Capital—2000.
Queen: I’m excited. I think there are a lot of parallels that I’m interested in discovering between our work, and some new things. I’m excited to see what she’s up to in this time and figuring out what we’re doing now. I’m going to start with what I call a “check-in.” I think that before you start an interview and start with asking people questions about their business, you want to see what’s on their brain for the day. This check-in is actually inspired by a quote of yours that I heard in an interview that you did with Charles Bernstein. You said: “Our subconscious says things that our consciousness has to catch up to.” I thought that was an awesome statement—a profound statement—and one that rings true in so many ways. So for this check-in, it’s just a quick thought, word-association based on this year in America. So I’m going to throw out some words, and you just give me one or two words—short, simple, off-the-top, first things that come to mind.
Creative Capital is currently accepting applications for awards in Moving Image (formerly Film/Video) and Visual Arts (deadline: February 28). The Creative Capital Award combines up to $50,000 in financial support for an artist’s project with advisory services valued at up to $40,000. In this video, Ruby Lerner (President & Founding Director) and Lisa Dent (Director, Resources & Awards Program) give some insight into our awards program and tips for the application process. For more information and to begin your application, visit creative-capital.org/apply.
VIDEO: Trailer for Bill Morrison’s Decasia
We were thrilled to hear that Bill Morrison’s Creative Capital project Decasia was added to the U.S. Library of Congress’ National Film Registry in December 2013. An 80-minute film created from restored nitrate footage re-photographed onto 35mm, Decasia uses decaying reels from the early days of film to investigate the human desire to transcend the limitations of earthbound existence. The spectacular score for Decasia was composed by Bang On A Can co-founder Michael Gordon.
Morrison received the Creative Capital award for Decasia in 2001 and completed the film in 2002. Decasia has the distinction of being the most contemporary film yet accepted into the Registry, which is restricted to works that are at least 10 years old.
You can read more about Decasia and the other 2013 National Film Registry selections in The Washington Post.
Braden King and Matthew Moore, CUMULUS
This fall, Braden King (2005 Film/Video) and Matthew Moore (2008 Visual Arts) were in residence at Grand Central Art Center (GCAC) in Santa Ana, CA, creating the multimedia installation Cumulus (on view through January 5, 2014). A massive, four-ton, 60-foot long sculpture and video installation that employs custom programming and projection mapping, Cumulus is a meditative reflection on the 100th anniversary of the Los Angeles Aqueduct.
GCAC’s Director and Chief Curator, John Spiak, describes the installation: “Through the use of building materials, specifically used scaffolding planks, the artists have created a massive pipeline that emerges from one side of the gallery before quickly disappearing into the other. Projected upon it are moving images of atmosphere and landscape, traversing its surface as fluidly as water flows through the aqueduct itself.” Continue reading
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.
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.
Jen Bervin (2013 Literature) presented her project The Silk Poems at the 2013 Creative Capital Artist Retreat. You can watch more artist presentations from the Retreat on our Vimeo channel.
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.
Neal Medlyn and Jessica Almasy
Listen online to the podcast of this conversation, or subscribe through iTunes.
Neal Medlyn: Hey everybody. It’s me, Neal Medlyn. I’m here with Jessica Almasy from The TEAM at the Grey Dog and we’re going to talk to you about America for Creative Capital.
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