Stephanie leads a workshop on how to use Kickstarter.
Stephanie Pereira is Kickstarter’s Director of Community Education. Trained as an artist, Stephanie spent the first ten years of her career in the nonprofit arts world, before joining Kickstarter in 2011 as the Director of the Art Program. In her current role, Stephanie develops tools and resources for the creative community at-large to be able to realize their creative ideas.
On Monday, April 27, Stephanie will join Creative Capital in our NYC office for a special live event: “Wine & Webinar: Kickstarter School.” Watch the Kickstarter School webinar on the big screen while enjoying wine, popcorn and an in-person Q&A with Stephanie after the webinar ends. Artists outside of the NYC area can register to watch Kickstarter School, a primer on how to bring Kickstarter Projects to life, from anywhere in the world.
We had a chance to ask Stephanie a few questions about her experience as an artist, curator and funder, as well as get her tips on building a strong creative community.
Hannah Fenlon: Tell me about your transition from art school to Kickstarter. How did your artistic training impact what you’re currently doing?
Stephanie Pereira: While I was in art school I realized two things. First, while I love the creative process and making art, I am not an artist. The other thing that I learned was that I loved organizing events and exhibitions with my friends. I was naturally good at it, and it gave me great satisfaction to bring more creative ideas to the world. By the time I graduated, my artistic practice had even drifted into event production, with installation work that was designed to interrogate the traditional gallery-going experience and transform space through engagement. It’s been well over a decade since I attended art school but the education I got there has stuck with me. The lens through which I look at the world is endlessly creative, project oriented, iterative and (I hope) generous. Because my school had a strong emphasis on critical theory, I am also not content to make work in my professional life that is lazy or represents the status quo. Continue reading →
Emily Johnson/Catalyst (2013 Performing Arts) is bringing the expansive installation SHOREto New York this month, with gatherings and events throughout the city (April 19-26) and performances at New York Live Arts (April 23-25). SHORE expands beyond the theater to celebrate the places where we meet and merge—land and water; performer and audience; art and community; past, present, and future.
Throughout her work, Johnson asks: How can performance uniquely connect us to our land, our lives and each other? A native of Alaska who is based in Minneapolis, Johnson has spent the past four months working with community partners to plan this locally-specific version of SHORE in New York City, or as the Native Americans called it, Lenapehoking (“land of the Lenape”). She describes the events planned for SHORE in Lenapehoking: “SHORE moves, over the course of a week, from the dunes in the Rockaways, to the East River estuary, onto and into New York Harbor, over Minetta Creek, to the banks and buoyancy of Newtown Creek. We’ll listen to stories, we’ll work together, we’ll share food and this performance, taking care of what we need to care for. We’ll walk and bike and canoe and celebrate.” Continue reading →
Lynn Basa is a full-time artist living in Chicago. Her practice is focused on painting and public art. Formerly an instructor in the Sculpture department at the School of the Art Institute of Chicago, she is currently attending graduate school at SAIC in its new Low-Residency MFA program. Lynn is also the author of of The Artist’s Guide to Public Art: How to Find and Win Commissions (2008).
On April 20, Lynn leads her first Creative Capital Professional Development Program webinar, Demystifying Public Art, which will cover all aspects of researching and applying for public art commissions for visual artists. We had the chance to talk with Lynn about her current work, misconceptions surrounding public art, and her thoughts on NYC’s recently drafted bill that would allow New Yorkers to have a greater say in the city’s public art selection.
Hannah Fenlon: Tell me what you’re working on.
Lynn Basa: I just wrapped up some large public art commissions for Salt Lake City and Portland, OR and have moved on to suspended sculptures and mosaic for an 11-story atrium in a skyscraper in Chicago. I also just won a commission for the University of Illinois Urbana-Champaign to do a terrazzo floor in a new science building. I’ve got a bunch of painting commissions lined up for the rest of the year, too. In grad school right now I’m working on some sculptural paintings that feel like a breakthrough for me. I’m quite distracted by them. Continue reading →
Susan Koblin Schear is an arts consultant and founder of ARTISIN, LLC, which offers comprehensive, process-oriented and holistically-based planning and business development, management and implementation services to the arts and cultural sector. After years in the corporate sector, Susan has the unique ability to “translate” business / entrepreneurial skills and practices for artists in order for them to understand and feel comfortable with business ownership and responsibilities.
Susan’s upcoming Creative Capital webinar, Values-Based Goal Setting, explores how your values and guiding principles impact your art practice, and provides a framework for establishing attainable goals that reflect these principles. We checked in with Susan to learn a little more about her corporate experience, her artistic influences, and more.
Hannah Fenlon: I don’t know about you, but we’re really looking forward to the spring season. What are some of your favorite warm weather arts and culture adventures in NYC (or elsewhere)?Continue reading →
Aphasia is a little known disorder that, according to the American Speech-Language-Hearing Association, 1 million people suffer from in the United States. The disorder does not affect a person’s intelligence, but rather, causes difficulties in speaking, listening, reading and writing—though the symptoms are largely unique to the individual. Kerry Tribe (2012 Visual Arts) has spent her career examining notions of memory and subjectivity through art works, and was naturally drawn to aphasic community as a way of continuing her practice. After receiving support from Creative Capital, Kerry spent time with and interviewed three individuals who struggled with aphasia and turned their story into a powerful video and installation. This series of works, called The Loste Note, will debut at 356 Mission in Los Angeles April 10. We spoke to Kerry about her upcoming exhibition.
Alex Teplitzky: Can you describe the manifestation of the project a little more in depth?
Kerry Tribe: TheLoste Note includes a number of works that have been percolating since I received a grant from Creative Capital in 2012 to make a body of work about a communication disorder called aphasia that makes it difficult for people to understand or produce language in its many forms.
The central work in the exhibition is a three-channel video installation called The Aphasia Poetry Club. It is roughly half an hour long and plays across a massive wall constructed to bifurcate the 10,000 square foot warehouse-turned-gallery. Much of the film was shot at 356 Mission, and the space makes a series of increasingly surreal and spatially confusing appearances over the course of the film.
Choreographer and workshop leader Andrew Simonet leads the group in a session on Funding Your Work.
“[The workshop] was some of the most beneficial hours I’ve spent on my art practice in a long time! I feel like this is the beginning of something expansive.” —Ahavani Mullen, Workshop Participant,
3Arts Strategic Planning & Funding Your Work, 2015
On March 28th, 34 Chicago artists got direct access to Creative Capital Professional Development Program workshop leaders Colleen Keegan, Beverly McIver and Andrew Simonet during a one-day workshop, generously underwritten by Tequila Herradura and hosted by 3Arts. The workshop focused on two primary areas—Strategic Planning and Funding Your Work—as well as addressing a number of micro-topics within each area, including: creating a business plan, valuing your time, revenue streams, time management, grants & fundraising, and communications.
Ken Gonzales-Day, “Hands Up,” 2015. Chromogenic print.
KenGonzales–Day (2012 Visual Arts) will premiere his Creative Capital-supported project with the solo exhibition, KenGonzales–Day: Run Up, on view at Luis De Jesus Los Angeles from April 4 through May 9, 2015. Run Up is the latest chapter in Gonzales–Day’s acclaimed Erased Lynching series, selections of which have been acquired by the Smithsonian Institution, the Norton Museum of Art and numerous private collections, and exhibited in museums and galleries in Los Angeles, New York, Toronto, London, Paris, Vienna, Mexico City and other major cities. I connected with him to learn more about this timely project.
Jenny Gill: Your past work has involved a lot of archival research, exploring histories of racial profiling and racially motivated crime. These issues have really come to the forefront in the past year with the shootings of Trayvon Martin in Florida, Michael Brown in Ferguson, and other police violence. Did this body of work shift in response to those current events?
Ken Gonzales-Day: The work is directly informed by recent events but my research on vigilantism and lynching began in 2000. The early research looked at the lynching of Mexicans and other people of color in California as a way of expanding our understanding of the history of lynching in the United States, and to more accurately reflect its impact in the American West. My book, Lynching in the West: 1850-1935 (Duke, 2006) included over 350 cases of lynching and vigilantism in California and was able to document the many communities of color that were touched by this history. This new series of works grew out of that research but it is also responding to both the similarities, and the differences, between lynching and the kinds of racialized violence that are occurring today. Continue reading →
“Thousands of incredible projects come to us during our application process. Even though we can’t fund all of them, On Our Radar gives us a chance to give exposure to even more adventurous artists.”
– Ruby Lerner
We are pleased to announce Creative Capital’s On Our Radar site for 2015, featuring nearly 400 artists’ projects from across the country!
In our ongoing efforts to find innovative ways to support artists, we created On Our Radar, a searchable database featuring noteworthy Moving Image and Visual Arts projects that advanced to the second or third round in last year’s highly competitive award selection process. Although the featured projects were not ultimately funded by Creative Capital, we feel they are projects to watch and we invite you to explore them.
During each grant round, we have the great privilege of learning about a wealth of exciting artists’ projects, but Creative Capital is only able to fund a small percentage of the applicants each year. We hope that by promoting projects “on our radar” to our community of artists, patrons, arts professionals and other friends, we can forge connections that lead to new support and collaborative opportunities.
We invite you to begin exploring On Our Radar to discover an impressive array of artists’ projects from across the country!
“This financial Creative Capital workshop has helped clarify topics that were still slightly mystified. Through Amy’s clear communication and descriptions of these scary money topics, I can now say in confidence that I can hold a long, financially sound future as a professional artist.”
– Natasha Lopez DeVictoria, Participant, 2015 Financial Literacy Workshop in Miami
Last fall, we hosted a new Creative Capital webinar titled “Artists Raising Kids,” led by choreographer and dad Andrew Simonet. The number of passionate responses we received clued us in to a real need for conversation on the subject of artists-as-parents. Artists in the Creative Capital community (and beyond) are eager to share what they know and to learn from one another. One artist who participated in the webinar told us: “[I learned] that I’m not alone! It’s great to find out there are other people out there with similar concerns, and coming together and talking and exchanging resources, building community, is great.”