Jesse Sugarmann (2012 Film/Video) presented on his project We Build Excitement at the 2013 Creative Capital Artist Retreat. You can watch more artist presentations from the Retreat on our Vimeo channel.
On Friday, September 27, Jesse will present in the Creative Capital session, Art @ The Edge, at the IdeaFestival in Louisville.
Clockwise from top left: Eric Dyer, Elaine Tin Nyo, Paul Rucker, Jesse Sugarmann
On Friday, September 27, Ruby Lerner presents at the IdeaFestival in Louisville with four amazing Creative Capital grantees: Eric Dyer (2012 Film/Video), Paul Rucker (2012 Visual Arts), Jesse Sugarmann (2012 Film/Video) and Elaine Tin Nyo (2013 Emerging Fields). This marks the fourth year that we have been invited to present “Art at the Edge” at this celebration of innovation and intellectual curiosity.
This year’s IdeaFestival artists are a truly interdisciplinary group of makers and thinkers, and we’re thrilled that 21c Museum will exhibit photographic and video work by the Creative Capital artists in conjunction with the Fest. Continue reading
Juan William Chávez (2012 Film/Video) presented on his Creative Capital-supported project, Pruitt-Igoe Bee Sanctuary, at the 2013 Artist Retreat. You can watch more artist presentations from the Retreat on our Vimeo channel.
Rick Prelinger (2012 Film/Video) presented on his Creative Capital-supported project, No More Road Trips?, at the 2013 Artist Retreat. You can watch more artist presentations from the Retreat on our Vimeo channel.
Still from Rick Prelinger’s “No More Road Trips?”
On Saturday, September 28, Rick Prelinger (2012 Film/Video) celebrates the New York premiere of his Creative Capital-supported project No More Road Trips? in the Convergence program at the New York Film Festival. Artfully assembled from thousands of home movies and amateur films, No More Road Trips? explores the highways and byways of a period in American history that may well be in our rearview mirror. Focusing on road culture and the question of whether we, as a nation, may have reached “peak travel,” No More Road Trips? is a perpetual work in progress—an interactive movie-going experience that can only be completed when you, the audience, lend your voice to provide the soundtrack and narration. Continue reading
Still from Roddy Bogawa’s “I Was Born But…”
This week, The Museum of Modern Art presents If Films Could Smell, a retrospective program of films by Roddy Bogawa (2000 Film/Video). The exhibition features 14 films ranging from experimental shorts to narrative features. Born and raised in Los Angeles, Bogawa studied art and sculpture and played in punk bands before turning to film. In his youth, Bogawa struggled with a desire to assimilate until the punk scene gave him a way to truly express himself, and the DIY punk aesthetic continues to influence his work. Continue reading
Marcus and Aaron, still from The Happy Sad
On August 16, Rodney Evans’ Creative Capital-supported project, The Happy Sad, opens in theaters in New York and Los Angeles. The film follows two young New York couples—Marcus (Leroy McClain) and Aaron (Charlie Barnett), Stan (Cameron Scoggins) and Annie (Sorel Carradine)—whose lives become intertwined as they create new relationship norms, explore sexual identity and redefine monogamy. Through the storylines of these central characters, The Happy Sad highlights the ethical dilemmas facing men and women who are trying to create ways to be in a loving relationship, while recognizing that monogamy might not be for them.
I connected with Evans to learn more about The Happy Sad and his process in bringing this story to the big screen:
Jenny Gill: The Happy Sad was originally written as a musical by Ken Urban. What about the story interested you, and how did you go about turning it into a film?
Rodney Evans: I found the characters really compelling and the issues of open relationships, trust and commitment that they were dealing with were definitely things that I saw playing out in my own life and in the lives of my close friends. The issues seemed so ubiquitous in my community but were never really dealt with in a complex way in film and television. Continue reading
Ken Jacobs (2012 Film/Video) will premiere two new films supported by Creative Capital in Carte Blanche: Ken Jacobs at The Museum of Modern Art in New York, May 2–5. The exhibition, commemorating the 80th birthday of this pioneer of American experimental cinema, includes films chosen by Jacobs from MoMA’s collection alongside selections of his own work. You can browse the Carte Blanche screening schedule and read film notes by Jacobs on the MoMA website.
After more than 50 years as a filmmaker, Jacobs remains as innovative and productive as ever. The two films premiering in Carte Blanche: Ken Jacobs, entitled Joys of Waiting for the Broadway Bus and A Primer in Sky Socialism, both represent Jacobs’ current exploration of digital 3-D filmmaking. Joys of Waiting for the Broadway Bus was shot by Jacobs over the course of several bus rides in his New York City neighborhood. Jacobs writes, “Since acquiring a small 3-D camera, I dawdle everywhere, but prolonged bus-waits allow for a continuity of images, and thus a movie.” Ken presents each 3-D still onscreen for 6 to 8 seconds, instead of the usual rapid turnover used to create the illusion of movement. The result is a dense optical event that will be presented in four 40-minute parts as the close to each day’s screenings at MoMA. Continue reading
Anita Chang, stills from Tongues of Heaven
Anita Chang (2008 Film/Video) will premiere her Creative Capital project, Tongues of Heaven, at the Los Angeles Asian Pacific Film Festival, with screenings May 4 (2:30pm, CGV Cinemas) and May 11 (12:30pm, Art Theatre of Long Beach). Set in Taiwan and Hawai’i, Tongues of Heaven focuses on the questions, desires and challenges of young indigenous peoples to learn the languages of their forebears—languages that are endangered or facing extinction. Using digital video as the primary medium of expression, four young indigenous women from divergent backgrounds collaborate and exchange ideas to consider the impact of language on identity and culture.
I connected with Anita to learn more about this new film and her experimental approach to documentary.
Jenny Gill: Your film focuses on disappearing languages in Taiwan and in Hawai’i. Does your interest in either of these areas come out of your own ancestry? How and when did you first become interested in disappearing languages?
Anita Chang: The issue of a language not being passed down to the next generation has always been a part of my life. My first language was Taiwanese or Minnanese, which is still the language my parents speak. I gradually lost my ability to speak it when I started learning English in the U.S. However, I can still understand it quite well. I recall many moments when my grandmother would complain that my brother and I did not speak Minnanese, or that my mother did not pass it down to us. In fact, as children it was my brother and I who fiercely protested against speaking it, explaining to my mother that no one else in our small town in Ohio was speaking it. Continue reading
Brad Butler and Karen Mirza, still from Direct Speech Acts, Act 00157
Brad Butler (2012 Film/Video) and collaborator Karen Mirza premiere the Creative Capital-supported project, Direct Speech Acts, in the exhibition The Museum of Non Participation: The New Deal at the Walker Art Center in Minneapolis, April 18 – July 14.
Direct Speech Acts is a film series made in collaboration with non-actors, dancers, theorists and activists performing urgent forms of fearless speech in attempts to create new languages for resistance. These videos are part of Butler and Mirza’s ongoing project The Museum of Non Participation, a fictional museum that serves as the conceptual platform for questioning and challenging current conditions of political involvement and opposition. Through film, sound, text and performed actions, the London-based artists ask: How does one participate in or withdraw from political realities individually and collectively? How can passive forms of resistance or “non participation” be represented and verbalized, and how can art facilitate or intervene in this process? Continue reading