Our friends at Eyebeam asked alums eteam (2009 Emerging Fields) to write a blog post detailing their experiences with e-book publishing. We wanted to repost their findings here to help others who may be going through their own research process.
In the beginning it seemed so easy, or at least so much easier than editing a video. Easier in terms of technological and space requirements. But as it is with pretty much everything we do, things don’t turn out the way they appear at first. And writing a book was no different. Instead of three weeks, it took three months for a pocket book of 58 pages to be written, composed and finally printed.
And this is where video and printing share very similar qualities. Getting the digital file from our editing tool into a “permanent” form was equally challenging for print as it was for video, with it’s codecs, frame sizes and output formats. So when we finally thought, “that’s it, just make a pdf and send it off to the printer,” we were faced with reconciling our vision for the book with the limitations of our default print-on-demand choice, LULU. We have no idea why we only thought of LULU initially, but we had used its service before and were satisfied with its result. Only this time we weren’t looking for bright white pages and optimum color reproductions, but for a simple pocket book in a paperback format, 5″ x 8″ with black text and b/w images, on off-white, natural or cream paper, perfect bound. Nothing fancy, just the basics. Continue reading
Today, Creative Capital announced our 2013 project grants in the categories of Emerging Fields, Literature and the Performing Arts, representing a total of 46 funded projects by 66 artists hailing from 17 states and Puerto Rico. The 2013 grantees were selected through an open-call, three-phase application process from a pool of more than 2,700 applicants. Creative Capital’s investment in each project includes up to $50,000 in direct financial support (disbursed at key points over the life of each project), plus more than $40,000 in advisory services, making our total 2013 investment more than $4,140,000.
Traditionally, Creative Capital’s Emerging Fields projects have centered on pushing the boundaries of technology. This year technology is embedded in most of the 17 funded projects, but is not the subject of the work. Instead, many are issue-focused, dealing with the environment, food, immigration, incarceration and urbanism, among others. Specifics include: a media artist who will build projectors from discarded e-waste; a public performance event planned and executed with a community in San Juan, Puerto Rico; a series of immersive dining experiences set in future worlds; and a multimedia exploration of state-sponsored human rights atrocities. Continue reading
We were devastated to learn that Beatriz da Costa passed away on December 27, 2012, from cancer. An intelligent and innovative artist who became a Creative Capital Emerging Fields grantee in 2009, Beatriz initially gave the entirely misleading impression of being physically slight, even fragile. But any notion of wan delicacy was quickly dispelled the moment she was engaged in conversation…about anything. She was articulate, determined, tough-minded and opinionated, in that she possessed a clearly considered opinion about whatever topic was under discussion.
Our colleague Amanda McDonald Crowley expressed our sentiments exactly when she wrote, “To the very end, Beatriz remained an incredibly strong and determined person, a generous friend, and a courageous and inspired artist.” We loved her energy, her ideas and her wicked, dry sense of humor. We only wish she was allowed more time here to do her work.
In mid December, Beatriz and her collaborators launched the Anti-Cancer Survival Kit, part of her Creative Capital-supported project, The Cost of Life. Simultaneously practical, playful and pedagogical in its approach, the kit is something that Beatriz would have liked to have access to when she was first diagnosed with cancer. It is a project her collaborators wish to finalize, in her honor, so that others may benefit from the research she has been doing over the last three years. We encourage you to join us in making a pledge to realize the project on their Rockethub site. Continue reading
Short video of Kelly Heaton’s Restless Bird Chatters, Still Bird, 2012
This is the last week to catch a fantastic exhibition of new work by one of our Emerging Fields grantees: Kelly Heaton‘s The Parallel Series at Ronald Feldman Fine Arts (closing October 27). An M.I.T.–trained artist who uses original software and found objects in her sculpture and installations, Kelly received the Creative Capital grant in 2002 for her project Bibiota, in which she dissected Tickle Me Elmo dolls, sewing them into a vibrating, bright-red, ankle-length coat.
With her latest work in The Parallel Series, Kelly has created an immersive experience of sight, sound and soul within a painterly context. Heaton’s new images literally come to life with pulsing, chirping, breathing and heartbeats. What’s truly remarkable about this work is that the noises that intermittently fill the gallery—responding to movement near each piece—are not recordings. The sounds are made by analog electronic circuits, painstakingly tweaked by the artist to reproduce sounds in nature and then attached to the surfaces of the paintings. Each piece also includes the artist’s drawings diagramming the circuitry. Continue reading
Mark Shepard’s “Quick Start Guide for the Sentient City Survival Kit”
This week, Mark Shepard (2009 Emerging Fields) presents the Serendipitor iPhone app in Spontaneous Interventions, the U.S. Pavilion exhibition at the 13th International Venice Architecture Biennale (August 29 – November 25, 2012). Designed for the “near-future,” when finding one’s way from point A to point B will no longer be a problem, Serendipitor is an alternative navigation app that helps you find something by looking for something else. Serendipitor is part of Shepard’s Creative Capital-supported project, Sentient City Survival Kit, a series of prototypes for electronic artifacts that subvert marketing and surveillance technologies encountered in everyday urban life.
Shepard contributed an essay, “Notes on Minor Urbanism,” on how the practice of “parkour” can guide our view of the city, to a special issue of Architect magazine dedicated to the Spontaneous Interventions exhibition. It is reproduced here with the author’s permission.
Notes on Minor Urbanism, by Mark Shepard
Consider the contemporary form of urban mobility known as Le Parkour. Practitioners of Parkour, known as Traceurs, appropriate the space of the city as platform for exercising gymnastic skill. Here, the city becomes an obstacle course through which one moves from point A to point B as quickly as possible. Understood not as a competitive sport but as a form of physical and mental training, Parkour helps one develop a spatial awareness of specific affordances of urban structures and the ability to overcome mental and physical obstacles with speed and efficiency. Continue reading
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
A rendering of the design concept for the permanent home of the Center for PostNatural History.
Richard Pell (2009 Emerging Fields) is celebrating the grand opening of the permanent exhibition facility for his Creative Capital-supported project, The Center for PostNatural History (CPNH), in Pittsburgh, PA. The Center is dedicated to the research and exhibition of lifeforms that have been intentionally altered by humans, from the dawn of domestication to contemporary genetic engineering.
Pell has been working on constructing the space at 4913 Penn Avenue into an exhibition facility since 2010. Creative Capital’s financial support helped with the build-out of the library and exhibition case-work in the entry hall. Continue reading
Huang connects wires and inserts a DMX control board into the sculpture body. In the bottom left, the artist is testing a prototype DMX control board, running a test program with computer cooling fans.
Shih Chieh Huang (2009 Emerging Fields) is hard at work in the studio creating and testing new DMX control boards for his interactive computer-driven sculptures. Huang appropriates modern household appliances and materials—including lights, computer parts and plastic bags—and programs them to move and interact with each other using original computer algorithms. Huang writes, “The homemade DMX control boards are finally done, tested and ready to be connected to the sculpture body. This control system will allow silent and quiet control of the final sculpture with more channels than previous homemade controllers.” Continue reading
Brian Knep‘s Creative Capital-supported project, the interactive floor projection Healing, is installed at SEVEN, co-presented by Ronald Feldman Fine Arts and Creative Capital.
Creative Capital hosted a family-style brunch at SEVEN on Friday, December 2 for artists, supporters and friends. Board member Stephen Reily welcomed the group. Continue reading
This week in Miami, Cesar Cornejo (2009 Emerging Fields) premieres his Creative Capital-supported project, Puno Museum of Contemporary Art, with a solo installation in the Art Positions showcase at Art Basel Miami Beach. He sent us some photos of the work in progress at his studio in Tampa, FL.