Jenny Gill

About Jenny Gill

Jenny Gill is Director of Communications at Creative Capital and editor of The Lab. Prior to joining Creative Capital in 2010, she produced educational programs and digital content for the American Craft Council. She has worked at numerous commercial and nonprofit galleries, including as Gallery Director at the University of the South (Sewanee, TN), Gallery Manager at Joan B. Mirviss Ltd. (New York) and Assistant Curator at Vanderbilt University’s Fine Arts Gallery (Nashville, TN). She also worked as a letterpress designer/printer at the historic Hatch Show Print, studied at the International Workshop for Ceramic Art in Tokoname, Japan, and was an artist assistant for Nashville sculptor Alan LeQuire. Jenny holds a BA in art and art history from Vanderbilt University, where she was awarded the Hamblet Award for studio art, and an MA from Bard Graduate Center for Decorative Arts, Design and Culture.

Seven Creative Capital Artists Receive 2014 Guggenheim Fellowships

2014 Guggenheim Fellows LaToya Ruby Frazier, Deke Weaver, Naeem Mohaiemen, Stacey Steers

2014 Guggenheim Fellows LaToya Ruby Frazier, Deke Weaver, Naeem Mohaiemen, Stacey Steers

We were thrilled to see seven Creative Capital Artists among the 2014 class of Guggenheim Fellows! Congratulations to the following:

Patty Chang, awarded in Fine Arts
Nancy Davidson, awarded in Fine Arts
Chris Doyle, awarded in Film-Video
LaToya Ruby Frazier, awarded in Photography
Naeem Mohaieman, awarded in Film-Video
Stacey Steers, awarded in Film-Video
Deke Weaver, awarded in Drama & Performance Art

Read more about these artists and the full roster of 2014 Guggenheim Fellows here.

Bernadette Mayer Receives the 2014 Shelley Memorial Award from the Poetry Society of America

Bernadette Mayer

Bernadette Mayer

Bernadette Mayer (2009 Literature) is the winner of the National Poetry Society’s 2014 Shelley Memorial Award. The judges, Ben Doller and Joan Larkin, wrote the following tribute: “For a generation of poets, Bernadette Mayer has stood as a brilliant example of how to live a life in poetry and how to create a poetry out of life. From her early performance-based work in which she explored the lines between memory, documentary, and presence, to her current work which excavates the DNA of the struggling city in which she lives (Troy, NY), Mayer’s writing has always been fiercely, independently ahead of its time. Feminist and expansive—in multiple directions—Mayer’s voice is one that cuts the wind, leads the charge, and always tells the smooth, hard truth. In a massive body of work that juxtaposes the quotidian with the spectacular, the public with the personal, Mayer has emerged as the chief poet of time in our time. Throughout her still-evolving career, Mayer consistently transcends category, genre, and label, carving open space for new forms of writing, thinking, and being. From her early work as the co-founder and editor of the influential 0 to 9 with Vito Acconci, to her deeply collaborative and creative poetry friendships, to her radical investigations into egalitarian pedagogy, Bernadette Mayer is a poet who has given more than she has taken—she has given proliferation back to poetry, and poetry back to art.”

Mayer received the Creative Capital award in 2009 for her project Helen of Troy, The Faces That Launched A Thousand Ships, a series of poems and photographs featuring women named Helen. Her book, The Helens of Troy, New York, was published by New Directions Press in 2013.

Jesse Sugarmann’s “We Build Excitement” Commemorates the Rise and Fall of the American Auto Industry

Jesse Sugarmann, Production still, "We Build Excitement (Pontiac, MI)," digital video, 2013

Jesse Sugarmann, Production still, “We Build Excitement (Pontiac, MI),” digital video, 2013

Jesse Sugarmann (2012 Film/Video) premieres his Creative Capital-supported project, We Build Excitement, with a solo exhibition at Southern Exposure, opening April 4, 2014. The exhibition presents a series of performances and videos examining the evolution of the American auto industry as a parallel to shifting American identity.

Two years ago, Sugarmann began opening unsanctioned Pontiac dealerships in decommissioned car dealership locations across the U.S. He activates these shuttered businesses as sites of celebration, honoring both the American auto-worker and our fraught, intimate relationships to cars themselves. Assembling temporary modernist monuments with Pontiac cars, Sugarmann gives form to the precarious nature of the auto industry. In video works, he documents laid-off assembly line workers and car accident victims recreating the movements of their former jobs and crashes, respectively. Their deadpan choreography forms a moving homage to the mundane and the traumatic moments in both the birth and death of the automobile.

I connected with Jesse to learn more about this ongoing body of work.

Jenny Gill: Talk to me about Pontiac. When did you start making work about the auto industry, and what is it about Pontiac specifically that you’re interested in?

Jesse Sugarmann: Cars have been of primary interest to me for as long as I can remember. I grew up in rural Connecticut, far away from pretty much everything. I felt really isolated there, almost trapped. So, as a kid, distance was always this enemy, something between me and what I wanted to get to. And cars, to me, were this obvious antidote to distance. I became fascinated with cars from an early age. And it stuck with me, this idea of cars as freeing objects, purveyors of mobility and autonomy. Continue reading

luciana achugar’s “OTRO TEATRO”: In Search of a New Kind of Theater

Photo by Matt Lambros.

Photo by Matt Lambros.

luciana achugar (2013 Performing Arts) presents the New York premiere of her Creative Capital-supported project, OTRO TEATRO, at New York Live Arts, April 2-5, 2014. Placed metaphorically in the ruins of a collapsed theater, OTRO TEATRO is achugar’s current search for another kind of theater; a ritual of becoming; an occasion for communion. OTRO TEATRO, a solo work created and performed by achugar, is a dark rite of passage from destruction to rebuilding. It is a dance that is meant to be felt as it is seen, giving voice to the arcane spirit and desire of our uncivilized bodies.   Continue reading

Affordable Care Act Tips for Artists: Don’t Miss the March 31 Deadline!


VIDEO: “Every Artist Insured: Navigating the Affordable Care Act with Renata Marinaro.” Produced by the CUE Art Foundation, with support from the Joan Mitchell Foundation.

As the March 31 deadline for enrollment in health insurance plans under the Affordable Care Act approaches, we wanted to share a few resources for artists who are trying to choose the right plan for them. You can watch the CUE Art Foundation video above, in which Renata Marinaro of the Actors Fund walks you through the process of selecting a plan, or read on for tips from our friends at the Freelancer’s Union.

Check out the plans on HealthCare.gov
This is where you can shop for health plans that are available through the Health Insurance Marketplace, also known as the health exchange. The website asks for your household income and number of dependents so you can compare plans and find the one that meets your budget and wellness needs. Since you might qualify for lower costs, we encourage you to start your insurance search on the exchange. You can use this online calculator to find out if you’re eligible for tax credits or subsidies. Continue reading

Otabenga Jones & Associates Launch “The People’s Plate” in Houston

Otabenga Jones & Associates, "The People's Plate" mural, which utilizes imagery by graphic artist and Black Panther Minister of Culture Emory Douglas

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

Cristina Ibarra’s “Las Marthas” Documents a Colonial Debutante Ball in Laredo, TX

A debutante emerges in Las Marthas (photo by Craig Marsden)

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

Creative Capital Awards 2014: Tips for Applying in Moving Image & Visual Arts


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.

Bill Morrison’s “Decasia” Added to National Film Registry


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 & Matthew Moore Collaborate on “Cumulus” at Grand Central Art Center

Braden King and Matthew Moore, CUMULUS

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