Congratulations to Stacey Kirby on her ArtPrize 8 Win!


Excerpt from Stacey Kirby’s “The Declaration Project”

What would you do with $200,000?

That’s the question facing performance installation artist Stacey Kirby who recently won the $200,000 grand prize at ArtPrize Eight for her interactive performance piece, “The Bureau of Personal Belonging.”

Visitors to The Bureau engage with Kirby and other performers in the designated areas of the Bureau of Personal Belonging: the Department of Declarations, the Civil Validation Department and the Board of Elections and the Facility Permit Office. Each is occupied by a performer in the role of a government official and evokes an office setting tailored to represent the governmental process it critically examines – from issuing bathroom permits (in direct response to the infamous House Bill 2 passed in Stacey’s home state of North Carolina) to determining the validity of individual lives and experiences. The work culminates with participants’ handwritten responses being processed and mailed to public officials. President Barack Obama, North Carolina Governor Pat McCrory, various North Carolina Legislators and Michigan Governor Rick Snyder are among recipients of Kirby’s work.

You can visit The Bureau remotely through the video of her work below:

It’s easy to treat massive wins like this as though they happened overnight and miss the hard work and learned lessons that make them possible. To this end, Stacey Kirby was kind enough to share 4 lessons she learned that helped pave her path to the ArtPrize grand prize.

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Video: Mario Ybarra Jr. at the Creative Time Summit & the ReMODEL 2 Sculpture Symposium

Mario Ybarra, Jr. presents at the 2013 Creative Time Summit.

Creative Capital Artist Mario Ybarra, Jr. (2008 Visual Arts) had a banner year in 2013. He was a featured speaker at the 2013 Creative Time Summit, had a solo show at Honor Fraser Gallery in Los Angeles, and his Creative Capital project, Curry Corndog Stand, premiered at the San Jose Museum of Art as part of a major exhibition, Around the Table: food, creativity, community. He had an acclaimed installation as a part of ARCO International Contemporary Art Fair in Madrid and a residency with a solo exhibition at the Fabric Workshop and Museum in Philadelphia. He moved his art collective, Slanguage, to a bigger space to accommodate more artists. Ybarra received praise over the past year from New York Times Magazine blog, The Los Angeles Times,, Art in AmericaArtInfo and Flashart.

Congrats on all that you’ve accomplished, Mario! We can’t wait to hear what 2014 holds in store for you. Continue reading

Video: Ruby Lerner, “Policy, Prisons and Pranks: Artists Collide with the World”

In October, Creative Capital’s President & Founding Director Ruby Lerner was invited to speak at the ArtsFwd National Innovation Summit for Arts & Culture as a “provocateur.” In her talk, “Policy, Prisons and Pranks: Artists Collide with the World,” Ruby discussed artists working at the intersections of science, technology, community organizing, entrepreneurship and the media. She highlighted trends and lessons learned from these hybrid artists, noting how the field can and should adapt to support this critical work.

Creative Capital Artist Retreat featured on Hyperallergic

Photo by Thomas Micchelli for HyperallergicOn July 27, Hyperallergic’s Thomas Micchelli shared a wonderfully thoughtful and descriptive account of the artist presentations at Creative Capital’s 2013 Artist Retreat. An excerpt follows, and you can read the full article on

“One of Creative Capital’s methods of building a community is its annual retreat, where new grantees introduce their projects in seven-minute presentations, and prior awardees are given five minutes to offer progress reports. The general idea is to redefine artistic practice from an isolated and often solitary endeavor to a thriving, entrepreneurial engagement with real-world issues and the public at large.

The dozens upon dozens of projects funded by the organization are often, though not entirely, long on social action, research and interdisciplinary practice.

That is not to say they skimp on the emotions or imagination—the most intriguing often arise from an inspired, transformational leap—but many cross so far into activism that their status as art might legitimately be called into question. That is, if that kind of thing matters to you. Continue reading


TCG Conference 2013 logo
The 2013 TCG Conference was held in Dallas, TX, June 6-8.

If I had to summarize the 2013 TCG conference, I would describe it as the collective expression of a desire to move from “yes or no” thinking to “yes and no” thought/action. From formal lectures to side conversations waiting in line at the food trucks, participants demonstrated a profound desire to move beyond binary thinking and competitive isolationism in a more collaborative effort to improve the overall health of the American Theater.

Formatted after an academic model, participants self-selected one of four “majors” (Financial Adaptation, Diversity and Inclusion, Artistic Innovation and Audience Engagement). Because of MAP’s funding priorities, I chose the Artistic Innovation arc with a minor in Diversity and Inclusion.  Continue reading

Creative Capital and IdeaFestival: How We Fell in Love with Louisville

Ruby Lerner presenting at IdeaFestival 2010

On Friday, our Executive Director Ruby Lerner presents “Creative Capital: Art on the Edge” with grantees Liz Cohen, Hasan Elahi, Tahir Hemphill and Sam Van Aken at IdeaFestival in Louisville, KY (September 21, 10:30am, Kentucky Center for the Performing Arts). This is our third year presenting on Creative Capital at this convening of global thinkers and innovators, and we’re so excited to be returning with a truly remarkable group of artists. Liz Cohen (2005 Visual Arts) is a photographer and performance artist who is best known for her project Bodywork, in which she transformed an East German Trabant automobile into a Chevy El Camino. Hasan Elahi (2006 Emerging Fields) is an interdisciplinary artist who began the self-surveillance project Tracking Transience in response to being mistakenly listed on the FBI’s terrorist watch list. He presented on Tracking Transience last year at TED Global. Tahir Hemphill (2012 Visual Arts) is a multimedia artist who created The Hip-Hop Word Count, a visualization series of data abstracted from a searchable database of lyrics from over 40,000 Hip Hop songs. Sam Van Aken (2009 Emerging Fields) is an installation and new media artist whose work has most recently taken the form of grafted trees that will bear over 40 different varieties of fruit on a single tree. What a group!

I spoke with Ruby and Alice Gray Stites—Director of artwithoutwalls, Chief Curator and Director of Art Programming at Louisville’s 21c Museum and long-time friend of Creative Capital—about IdeaFestival and Creative Capital’s strong ties with Louisville.  Continue reading

Faces from the 2012 Artist Retreat

In July, Creative Capital convened nearly 250 grantees, consultants, board, staff and guests at Williams College for our Artist Retreat—three days of presentations, focus sessions, one-on-one consultations, and more. (Photo by Roman Iwasiwka)

Before the official start of the Artist Retreat, we had two days of intensive “Pre-Retreat” professional development sessions for the 2012 grantees. Above, Ruby Lerner (CC’s President & Executive Director) introduces PR consultant Carla Sacks, who spoke to the 2012 grantees about working with a publicist.

2012 grantees in discussion during the Pre-Retreat. Continue reading

Artists to Watch: Highlights From The Creative Capital Retreat

The Elephant Room: Dennis Diamond, Louie Magic and Daryl Hannah. Photo by Scott Suchman.

Paddy Johnson’s final installment on the 2012 Artist Retreat, originally published on Art Fag City

You wouldn’t think that spending a weekend watching 71 seven-minute presentations by Creative Capital grantees would be any fun at all. That’s a lot of art to look at in a short period of time, and a few bad presentations can make for a really long night.

There was almost nothing I didn’t enjoy, though, so I had a great time. The presentation format also gives critics like me an opportunity to see a large number of artworks I might not see on the gallery scene, so by the end of the conference I felt like I had learned a lot.

Trends, insofar as anyone can identify them in the art world, mostly mirrored the state of contemporary art making. Artists are increasingly interdisciplinary, and that’s reflected not only at the Creative Capital retreat but also in art schools, institutional programming, and other granting organizations across the country. Only four of the 23 visual art grantees identified themselves as practitioners within a traditional medium: Lisa Sigal and Joan Walthemath as painters, and LaToya Ruby Frazier and Connie Samaras as photographers.

By and large, the grantees’ proposals were ambitious and expensive. I’m not entirely sure that a rise in costly projects reflects a broader trend amongst New York-based artists—junk assemblage and Cheeto art still has a larger life than it should—but we’re almost certainly seeing more collaboration across the board. Continue reading

The Cult Appeal of the Creative Capital Retreat

Originally published by Filmmaker Magazine

“Creative Capital is a cult,” said Phillip Andrew Lewis at the end of his presentation at the art funder’s semi-annual retreat this past weekend at Williams College in Williamstown, MA. “But it’s a good cult.”

Lewis’s was both a good line and an appropriate capper to his presentation, which shocked right from the outset. The installation artist began his talk by saying he had been held captive as a child for two years within a radical drug treatment program sponsored by the U.S. government. “I consider my work a form of deprogramming,” he told the stunned audience.

For the record, Creative Capital is not a cult. Founded in 1999, it is a non-profit granting and artist development organization that gives project-specific awards to artists working in film and video, visual arts, literature, performance and emerging fields. Created at the start of the dotcom boom — and following the National Endowment for the Arts’ withdrawal from individual artist funding — Creative Capital, in the words of its indefatigable executive director, Ruby Lerner, “borrows relevant aspects of the venture capital model,” awarding not just money but also professional development services. This year Creative Capital gave 46 artists (out of a record 3,246 submissions) awards up to $50,000 each — funds augmented by another $40,000 worth of additional funds and services as the projects are created and released into the world. Said Lerner at the retreat, “Creative Capital supports the project, the person, the community and the public.” The retreat was also, this year, a fundraising marathon. Observing that some people incorrectly think that Creative Capital operates with a large endowment, Lerner challenged retreat attendees to raise $50,000 by the weekend’s end. That mark was surpassed in 24 hours.

Lewis did have his finger on something, though, because if there’s ever a moment when Creative Capital takes on aspects of not just a tech start-up but, well, a cult (albeit a good one) it’s at its retreat. Bringing grantees and consultants to a remote location (the relatively depopulated campus of Williams College in the summer), the weekend is a packed, deeply immersive experience where both artists and guest consultants are inducted into the Creative Capital mindset, which Lerner described to me, half-jokingly in a 2009 interview, as akin to “a relationship with a high-maintenance spouse.” (“It’s not for everyone, she quipped.”) Continue reading

Expanding the Creative Capital Network

Paddy Johnson’s second installment on the 2012 Artist Retreat, originally published on Art Fag City.

In an introduction post to Creative Capital’s eighth retreat, President and Executive Director Ruby Lerner describes the event as the “crown jewels of a system we have developed to support our artists’ projects.” Their goal “is to encourage long-term relationship-building among grantees, and between grantees and arts professionals.” As a past grantee myself (I won an Arts Writers grant in 2008), I can say without any hesitation that it’s working.

These conferences offer grantees an amazing opportunity to connect with other artists and a wide range of curators, distributors, and artistic directors through mixers, meetings with consultants, and artist presentations. They also ask grantees to return to the conference every couple of years, which keeps them in touch with a constantly expanding network of creative art folk.

The people I’ve met through Creative Capital over the last four years have undoubtedly helped me build the blog, though it’s probably worth noting that anyone who’s doing the “hard networking” thing probably won’t get very far. There seems to be the understanding here that meaningful relationships occur when you’re excited about what someone’s mind is doing, not when you’re being networked. This was evidenced this morning in an anecdote told to me by an artist at the retreat: “I spent a lot of time figuring out which [consultants] could best help my career my first year, and when I met with them nothing came of it. When I came back three years later I read the consultant biographies and chose the people who were doing the craziest shit, and all sorts of things happened.” Continue reading