“Thompkins Square Crawl” by Pope.L, who spoke with Adrienne Edwards from Performa at Walker Art Center’s “New Circuits” conference
Earlier this week I had the pleasure of meeting with colleagues for New Circuits: Curating Contemporary Performance at Walker Art Center, a convening supported by a curatorial fellowship grant from the Andy Warhol Foundation for the Visual Arts. We came together to discuss new models of performance curating, particular how they are supported within the museum setting. In addition to learning about the incredible work being created across the country by these forward thinking artists and curators, I learned a lot about what artists can do to better advocate for themselves. Here is my Top Ten list, the best things I heard from curators who want to help you help yourselves!
- Before accepting a commission, performance or residency, instead of giving the director or curator your proposal, Kristy Edmunds, Executive and Artistic Director of the Center for the Art of Performance at UCLA (CAP UCLA), suggested that artists provide a wish list instead. That way the curator or director can tell you how they can support your creative process and how they can’t.
Earlier this month, I was in Minneapolis / St. Paul for Hand-in-Glove 2015, a national convening for the field of alternative art spaces, artist-led projects and artists’ organizations. My session, entitled “Art Works?,” questioned when and how artists should be compensated for their work. Each of the panelists—session host Alison Gerber (artist/sociologist), Wing Young Huie (artist), Lise Soskolne (W.A.G.E.) and myself—began the session with a positioning statement about this question. My statement follows, and a video of the full session is available above. Artists and art workers, let us know what you think about this question by leaving comments below.
As part of my work for Creative Capital and the Doris Duke Charitable Foundation, I oversee both award programs, each of which provides funding and services for artists in a variety of disciplines. I am also considering this question from my perspective after 25 years of working in the cultural arena, including the curatorial departments of various museums, the ten years that I worked as a freelance theater, TV and film designer and producer and the four and a half years I owned my own gallery. Continue reading
Amie Siegel - Heavy Metal
A multi-element moving image work exploring the intertwined histories of nuclear reactors, uranium minds and Native American land.
Anna Sew Hoy - Psychic Body Grotto
A sculptural installation of bronze "grottos" enlarged from spontaneous gestures in clay.
Gala Porras-Kim - The Mute Object and Ancient Stories of Today
Examines the link between an undesciphered script found on Mesoamerican artifacts and the development of a standardized dictionary for the Zapotec language in Oaxaca, Mexico.
Lorraine O'Grady - MBN - 30 Years Later
The artist's performance persona, Mlle Bourgoise Noire, transforms into a new avatar who protests a money-driven art world to restore the cultural purpose it has lost.
Danielle Dean - Trainers, Part 2
A multi-channel video work, performed and reworked by community members in the Alief neighborhood in Houston, that uses language from Nike commercials and political speeches to investigate how advertising shapes subjects.
Heather Cassils - The Resilience of the 20%: Monument Project
A series of bronze monuments, cast from the artist's attacks on 2000-pound clay blocks and placed at sites where acts of violence towards gender nonconforming people have occurred.
Carolina Caycedo - Be Dammed
An interdisciplinary project investigating the effects that large dams have on natural and social landscapes in several American bio-regions.
A.K. Burns - Negative Space
A multi-channel video installation that presents a surreal narrative of bodies in transition and their relationship to nature, technology, territories and resources.
Travis Wilkerson - Blood Relations
A documentary murder mystery examining the complexities of a racially-charged crime in the filmmaker's own family history.
Dan Schneidkraut - Vore King
A detailed character study of R.P. Whalen, world famous horror host, trash movie guru, carnival sideshow barker, and America's premier purveyor of vorarephilia fetish pornography.
Jon Rubin - The Sitcom
An experimental, transnational sitcom set and shot both in Tehran and Los Angeles, repositioning the conflict and cultural misrepresentation that characterize U.S./Iranian political relations into the absurdist sphere of a domestic comedy.
Jennifer Reeder - As With Knives and Skin
A deadpan glimpse into the lives of both teenagers and adults during the aftermath of a young girl's disappearance in a rural, racially diverse town in Ohio
Carlo Ontal - Kitoko Ya Kolela
A performance piece, series of photo and painting exhibitions, and film drawing on a photojournalist's experience in the Congo.
Jillian Mayer & Lucas Leyva - #PostModem
A multi-platform narrative culminating in a satirical sci-fi pop musical about a girl who frees futuristic Miami from corporate powers with the help of viral videos.
Lily & Honglei - Shadow Play: Tales of Urbanization of China
A multimedia installation that utilizes animation and emerging technologies to visualize the metamorphosis created by urbanization in China.
Velez, Ivan - The Ballad of Wham Kabam!
A series of five interconnected comic books that use the tropes and style of the classic superhero genre to tell the story of America's multicultural history.
Wu Tsang - Duilian
A film project exploring the legacy of historical Chinese poet and revolutionary Qui Jin (1857-1907) through a "queer lens," considering Western and non-Western LGBTQ identity constructions.
Katrin Sigurdardottir - Supra Terram
A large-scale installation in which a cave-like structure intersects a building on two levels and redefines the architecture of the building with its volume.
Carrie Schneider - The Readers
An installation of 50 film-based portraits of influential women authors, activists, critics, artists and poets immersed in the act of reading.
Beatriz Santiago Muñoz - Verano de Mujeres
A feminist ethno-fiction based on the visionary world-view and sensorial experiences of a group of women in R'o Piedras, Puerto Rico.
Jeanine Oleson - A human(e) orchestra
An ever-changing "orchestra" that uses a range of noises, from conventional music to speech acts, to produce compositions around agreed-upon issues or audiences in need of "music."
Brittany Nelson - Alternative Process
A series of large-scale digital prints examining the materials of alternative process photography through the artist's experimentations with raw photo-chemical materials.
Narcissister - Organ Player
A feature-length experimental art film based on, and elaborating on, the artists' acclaimed performance of the same name.
Jon Kessler - The Time Was Now
An immersive sculpture and video installation dealing with the inevitable march of time.
Titus Kaphar - Jerome Project
An interdisciplinary investigation into the criminal justice system through the lens of the common and traditionally African-American name, Jerome.
Eric Gottesman - The Oromaye Project
A series that takes assassinated Ethiopian novelist Baalu Girma's Oromaye as the point of departure for a transnational participatory public photography project.
Mariam Ghani - What we left unfinished
A collaboration with Afghan filmmakers to examine unfinished state-sponsored films during the years of Afghan Communism (1978-1991) as records of fleeting iterations of the Afghan state, and imagine new narratives from the fragments.
Maria Gaspar - Out of Field
A series of outdoor visual and sonic installations on the West Side of Chicago that bring experiences and narratives from Cook County Jail out into the neighborhood that surrounds the detention facility.
Abigail DeVille - The Bronx: History of Now
A series of 100 site-specific sculptural installations constructed from found objects, fragments of histories and community narratives to tell the story of the present moment in the Bronx.
Mike Crane - UHF42
A 90-minute television program filmed entirely within the confines of an independent television station in the West Bank.
Lee Anne Schmitt - So That I May Come Back
A non-traditional documentary based on the case of Mary Bell, who was 11 years old when she was convicted of killing two small boys in England.
Ry Russo-Young - The Family Movie
A narrative feature film based on the true story of the artist's known sperm donor suing her lesbian mothers for visitation and paternity rights when she was nine years old.
Shawn Peters - The Art of Dying Young
A series of short films that "re-memorialize" young men who were previously memorialized with death murals in Brooklyn; the films, which incorporate augmented reality technology, are intended to be accessed and viewed on smart phones at the site of the memorial ritual.
Lorelei Pepi - Vigil
An interactive installation that uses facial tracking technology to encourage viewers to engage with and stand vigil for animated representations of "the Other."
Pat O'Neill - Drift, Wait, Obey
A multi-screen video installation that presents imagery drawn from life and radically restructured using digital technologies.
Nathan Lotfy - Fire
A feature film following fruit vendor Mohamed Bouazizi in the days leading up to his symbolic act of self-immolation, which sparked the Tunisian revolution and the subsequent Arab Spring.
Jeff Malmberg & Chris Shellen - Teatro
A documentary about villagers in a small Italian farming town who preserve their heritage and confront their community issues by turning their lives into a play.
Shola Lynch - Harriet: Live Free or Die Trying
A narrative film about an unlikely but true action heroine Harriet Tubman
Andy Kropa - Hacking Alzheimers
A wearable system that aims to improve the quality of life for people affected by Alzheimer's disease and dementia by using perpetually-recording cameras as an aid to memory.
Klip Collective - Vacant America
A series of videos projections on vacant structures that draw on submitted stories and imagery to uncover physical residues and memories of each forgotten space.
Maryam Keshavarz - The Last Harem
A feature film set in 19th-century Persia that follows a rebellious cross-dressing musician and her romance with the boy-king Nasir.
Lauren Kelley - Holiday Way
A stop-motion animated video series based on fictional narratives set on or around major holidays.
Christopher Harris - Speaking In Tongues
An experimental, hand-processed 16mm film inspired by Ishmael Reed's novel "Mumbo Jumbo."
Cherien Dabis - No End in Sight
An immersive cinematic experience that follows the story of a young Muslim woman taking part in the Egyptian revolution.
Martha Colburn - Western Wilds
A stop-motion film based on popular stories about the American West written by German author Karl May in the 1890s.
Michael Almereyda - The Happy Man's Shirt
A series of linked short films adapted from Medieval Italian folktales, remained in contemporary settings.
Today, we announced the 2015 Creative Capital Artists in Moving Image and Visual Arts. We could not be more excited about the 46 new funded projects—an incredibly diverse group hailing from 13 states plus Puerto Rico and Canada. We’ve arrived at this day thanks in huge part to the work of our valued colleagues who help us select each group of Creative Capital Artists. While we worked with more than 100 consultants during the ten-month process, two consultants advised us during the entire award round, reviewing submissions at every stage. I asked Mike Plante (Programmer at the Sundance Film Festival and our Program Consultant for Moving Image) and Dean Daderko (Curator at the Contemporary Arts Museum, Houston, and our Program Consultant for Visual Arts) a few questions about what it was like to work with Creative Capital on the process.
Lisa Dent: What motivated you to work with Creative Capital as a Program Consultant for this award round?
Mike Plante: Everyone wants to help artists and filmmakers make a project but it’s difficult to know how to actually do it. Creative Capital has made the blueprint. It’s rare to give filmmakers and artists money with few strings attached, but that is exactly what CC does. To be part of a process that finds amazing artists across the country, discuss their ideas and the path they are on – and to then give them not only financial help but real-world advice about balancing work and life. It’s really a dream project.
Dean Daderko: My motivation is pretty simple: I know of no other funding body that is as forward-thinking, as deeply generous, or as profoundly invested in being responsive to artists’ practices as Creative Capital. They fund the projects other organizations wouldn’t even consider! The end game here isn’t a substantial check—their commitment begins well before artists reach this stage, and continues throughout the life of the project, and beyond! Creative Capital understands fundamentally that by working with artists as partners—and by providing not just money, but thought, time and rich reserves of resources and connections—that they can positively and productively shape the future. Their unconventional and deeply responsible approach gives artists an incredible amount of agency, and they’re invited to bring their creative approaches to innovating and developing a game plan that’s uniquely responsive to the goals and concerns of their projects. The success they’ve had with this artist-centric strategy speaks for itself: so many artists will tell you what a dream it is to work with Creative Capital. Of course it doesn’t hurt that the staff are some of the friendliest, most helpful, and well-connected people around either! Ruby Lerner is my hero! Continue reading
We are so proud of the fact that Creative Capital is one of the only national nonprofit organizations that awards grants to individual artists through an open application process. This means that anyone can apply, as long as you meet our basic eligibility criteria. In February, Creative Capital received more than 3,700 Letters of Inquiry for grants in Visual Arts & Moving Image—our biggest applicant pool to date! The applicants hailed from 49 U.S. states and Puerto Rico (Mississippi artists, we want you!), along with U.S. citizens living in 26 other countries. In January 2015, we’ll announce the 46 funded projects in our next class of awardees. Yes, it really does take almost a year to select the next class of Creative Capital Artists!
Applicants, funders and others in our network often ask us how we go about winnowing thousands of applications down to only 46 funded projects. The short answer: very thoughtfully, and with a lot of help.
Creative Capital actively solicits new applicants through an open call for Letters of Inquiry, using web-based outreach, in-person and online info sessions, and partner organizations to help us spread the word. This year we worked with seven Program Consultants who advised us in our grantmaking process, in addition to 22 colleagues in different parts of the country who suggested artists and artist organizations in their geographic region to notify about the award deadline. Continue reading
2005 Visual Arts Awardee Pablo Helguera recording “Parallel Lives” at the Solomon R. Guggenheim Museum
Please note: this blog entry was written in 2014 and reflects 2014 dates. Please see http://creative-capital.org/apply for the 2015 calendar.
What does applying to Creative Capital really mean? What do you have to do to make it happen?
Creative Capital is one of the only national nonprofit organizations that offers awards to individual artists through an open application process. This means that anyone can apply, as long as you meet our basic eligibility criteria. In the past, Creative Capital has received 2,700 to 3,200 Letters of Inquiry (LOIs) in each award round. We work all year with arts professionals throughout the country to review your proposals before announcing the 46 funded projects.
On February 3rd, our application website will open to accept your LOI, with a submission deadline of February 28. The LOI is just a written proposal with no work samples. Once you fill out your contact information, education, professional accomplishments, and the name and email of one reference, you can begin to fill out your project proposal.
Faces from the Nation Inside video Storybank
A few months ago I had the opportunity to talk to Nick Szuberla, a 2006 Emerging Fields grantee, about the development of his Creative Capital project, Thousand Kites, a multimedia, community-based project centered on the criminal justice system in the U.S. Only part of that story made it into my original blog post, so I followed up with him so that we could share the whole, fantastic story.
Lisa Dent: When you first applied for the Creative Capital grant in 2005, what was your most important goal?
Nick Szuberla: When I moved from my hometown of Toledo, OH and into the Appalachian coalfields in 1998, I was interested in learning more about the impact that prisons, as a form of economic development, were having on the Appalachian community. I made contact with local prisoners after I began a weekly radio program, “Holler to the Hood,” that became popular with them. I was playing hip-hop in a sea of bluegrass. The prisoners I spoke with cued me in to the human rights abuses taking place at two supermax prisons near my home. Among the numerous tragedies I learned about, two ended in the death of an inmate. Continue reading
Shih Chieh Huang, Seductive Evolution of Animated Illumination, 2013
The art world has gotten used to managing their calendars around the Venice Biennale every two years. In 2009, a collateral event was added to the offerings. In an effort to connect the history of Venetian glass production to the slew of contemporary art enthusiasts coming to town, Glasstress was formed. Seeking to illuminate the “…limitless possibilities inherent in glass,” organizers invited leading contemporary artists to collaborate with Murano glass blowers to create new work. Artists in 2009 and 2011 included Mona Hatoum, Chen Zhen, Fred Wilson, Dan Graham, Tony Oursler, Kiki Smith, Vik Muniz and Monica Bonvicini.
The 2013 iteration of Glasstress includes new work by Shih Chieh Huang (2009 Emerging Fields). Huang combined his process of making sculptures with household materials, animated by using original computer algorithims, with the traditional Venetian chandelier. The result connects Huang’s interest in technology and commercial culture with the great history of design from the islands of Murano. Continue reading
Nick Szuberla’s Campaign for Prison Phone Justice
Nick Szuberla, after working on his Creative Capital project Thousand Kites for several months, found himself sitting in front of what he described as “an amazing database.” He and his collaborators, Amelia Kirby and Donna Porterfield, had been in contact with hundreds of community members in the Appalachian region, interviewing them about their experiences with two local super-maximum security prisons. The artists intended to compile the material into scripts to read aloud and broadcast over the radio in the communities most affected by the nearby prison complexes. While people had a lot to say about their experiences, to Szuberla’s surprise, the most prevalent concern from family members was the high cost of phone calls to their loved ones behind bars. Szuberla discovered that under many states current communications systems, phone calls to incarcerated individuals cost up to $3.80 a minute. Some families found themselves paying $20-30,000 a year on phone calls alone.
Szuberla found that many state governments are receiving kickbacks from local phone companies for these calls—up to 60% of the cost. Although there are currently eight states that have banned prison phone kickbacks, Szuberla and grassroots partners felt that more could be done. So they started the Campaign for Prison Phone Justice, an advocacy group committed to changing the price of these phone calls and giving families the opportunity to be connected again.
Over the years Creative Capital has noticed that an increasing number of grantees have decided to start their own organizations. We’re realizing that the financial and advisory services we provide our grantees help them not only complete their artistic projects but also find ways to address other needs in our society. These new institutions have focused on issues of social justice, food, product development and critical thinking skills. Continue reading