A well curated artist blog can supplement your website, increase your audience’s understanding of your artistic practice and raise your online profile. But sometimes, just the idea of starting a blog can seem intimidating. How often has the question, “But what do I blog about” crossed your mind?
On Friday, September 16 at 7pm EST artist Sue Schaffer will be offering in-depth guidance on how to optimize your web presence through her Website, Blog and Email Essentials webinar, an overview of best practices for your website, blog, and email marketing and communications.
In our “Artist to Artist” series, we invite two Creative Capital artists whose art practices rhyme in some illuminating ways. Recently, we got the eteam (2009 Emerging Fields) duo and Matthew Coolidge from Center for Land Use Interpretation (2009 Emerging Fields) in our offices to talk about the anthropocene, what they’re working on lately, and of course, the implications of a pile of rocks. You can read the full transcript below or listen to the podcast above.Continue reading →
Catherine Gund: So, I’m Catherine Gund. I just made a movie called Born To Fly: Elizabeth Streb vs. Gravity, which premieres at Film Forum in New York on September 10. I’m here with the one and only Elizabeth Streb, and the two of us are going to have a conversation about what it was like to make the movie, why we did it, what we think it achieved—or didn’t achieve—and what people might get out of it. But I think we should just start with what maybe you thought, at the very beginning, about the idea of making a movie, having a movie made. What did you imagine it might be? Because I know, no matter what your answer is, it was not what it ended up being.
Elizabeth Streb: Well, for one, I was extremely excited and inspired because I know that you were around STREB and SLAM [Streb’s school and creative center], both with your children and yourself for years and years and years, so it wasn’t someone coming in that I didn’t know from the outside. I felt that you would have the worm’s eye view, the eagle’s eye view, the human eye view straight on, from the bottom up, from the top down. And I completely trusted that however you saw the story of STREB leading up to the London Olympics [where Streb staged public performances on London landmarks], I completely trusted. And I don’t think I, in my mind, fabricated what it would be like, at all. Continue reading →
Joshua Kohl: We thought we could talk about a whole bunch of things because we have a lot in common, and a lot of differences in our work.
Amy O’Neal: And we’ve known each other in the Seattle community for at least ten years, or more?
Joshua: Probably more.
Amy: And have been each other’s work in various ways.
Haruko Nishimura: Yeah. And we do both music and dance and different media. Maybe we could talk about process or collaboration? Amy, I know you have five projects right now, but, generally, how do you start the process from you, and how do you spread or hand over or share to another collaborator in your team or in your project?
Amy: So, this next project I’m doing is called Opposing Forces and I’m working with a cast of B-boy break dancers from Seattle. And I’m working with DJ WD40 to make original music. It’s going to premiere at On the Boards in October. Continue reading →
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.
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.
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 →
DD Dorvillier and Jennifer Monson in “RMW(a) & RMW,” 2010. Photo by Val Oliveiro.
As part of our “Artist to Artist” interview series, choreographers and long-time artistic collaborators DD Dorvillier (2013 Performing Arts) and Jennifer Monson (2000 Performing Arts) sat down to discuss Jennifer’s recent performance project, Live Dancing Archive, which she presented at The Kitchen in February 2013. The following is an excerpt from their conversation.
DD Dorvillier: To start, I thought I would take on something you wrote to me: “I am interested in the possibility of the body as an archive on multiple scales at once both temporal and spatial, human and adjacent to human—the particularities of experience as something that is impermanent and leaves multiple kinds of traces, and the relationships of transmission and reception in the sound scores, in the dancing and the audience.” This idea of the possibility of the body as an archive on multiple scales—do you think of this as a metaphor, or is it an actual practice, or is it something in between? In other words, what does the body as an archive LOOK like or FEEL like? Continue reading →