Steve Lambert and Stephen Duncombe of The Center For Artistic Activism help artists make political art work. For them artistic activism is more than just a descriptor for certain types of art. It’s more than a tactic. They see it as an “entire approach: a perspective, a practice, a philosophy.” They will be leading a new workshop in Creative Capital’s New York offices on May 23rd, where artists will learn how to use their creative practice to organize communities, speak truth to power, and make more engaging and impactful artworks. We talked to the pair about their work, their critical inspirations, and the artistic activism they see in the world.
Sharon Louden needs no introduction. A successful artist, editor, and advocate for artists, Sharon’s transparent and earnest approach to sustaining professional connections has made her four-part webinar, How to Approach and Engage with the Gatekeepers of the Art World, one of Creative Capital Professional Development Program’s most sought-out offerings. Back by popular demand, Sharon will be leading her series starting May 23rd.
Below you’ll find some tips adapted from Sharon’s course on “effective research” that we and past webinar participants have found useful. If you want to learn more about how to communicate and build relationships with other art world professionals, don’t forget to register for Sharon’s webinar.
Ever wonder how artists get written about in the press? Often artists with representation—a gallery, or an agent—will leave public relations work in someone else’s hands. But artists in every stage of their careers can learn a thing or two about good PR strategies and take their press outreach into their own hands. Next week, our Professional Development Program is producing a brand new workshop in our New York City offices on public relations specifically for artists. We’re bringing in Sascha Freudenheim and Alina Sumajin from PAVE Communications and Consulting to lead PR For Working Artists: Strategies for Success on May 2nd. We spoke to Sascha and Alina about the difference between marketing and PR and how to get your press release to stand out from the inbox slush pile.
Kirby Tepper is a man of many talents: actor and educator are just a few of the hats he wears beyond the confines of his day job as a licensed psychotherapist. The same interpersonal expertise that makes him valuable to the clients in his practice also serves to empower his artist peers. Though he particularly enjoys working with artists, Kirby has helped people from many backgrounds, including doctors, writers and lawyers, find a more confident, direct communications style. On May 2, Kirby will be giving a webinar on Effective Negotiation For Artists, where participants will learn how to ask for what they deserve with confidence. We asked him about his theatrical inspirations and the don’ts of artist communication.
The Professional Development program has launched a new blog that chronicles New Jersey artists’ growth and process through our Blended Learning Program. Blended Learning is a multi-format course in financial and business management that helps artists establish a secure base upon which to create and grow their work. Thanks to the generous support from the Geraldine R. Dodge Foundation, Creative Capital’s Professional Development Program was able to bring Blended Learning to the artists of two communities in New Jersey—in Trenton and Newark.
We’ve asked them to share their stories throughout their journey—testimonies of what they’ve learned, the questions they still have, the strategies they’re trying out, and the results they’re seeing in their art and in their life. Here’s one of our entries from artist Christy O’Connor, who took part in the Blended Learning workshop in Trenton on April 3, 2016.
Tracie Holder learns how to tell her stories by first telling them to funders. As an award-winning filmmaker, fundraising consultant and engagement campaign specialist currently working with Women Make Movies, Tracie has raised an impressive $2 million for her projects from a mix of government funders, private foundations and individuals. On April 28th she’ll be leading her webinar, Grantwriting For Artists, covering all aspects of compelling and successful grantwriting for artists working in all disciplines. We talked to Tracie about how she got her chops in grantwriting and how artists can incorporate their search for funding into their creative practice.
Lynn Basa knows a thing or two about making art in public. The painter, sculptor and former instructor at the the School of the Art Institute of Chicago centers her practice around public commissions—colorful mosaics that cover schools, parks, bus stops, or movie theaters. On April 14, she will lead Demystifying Public Art, a webinar focused on 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, how to reach out to your local government, and why artists should buy their buildings.
Susan Koblin Schear is on a mission to help artists don their business hat with no shame or fear. After years of working in the corporate sector, Susan has the unique ability for translating entrepreneurial skills and practices to artists. Today, Susan is an arts consultant and founder of ARTISIN, LLC, which offers holistic business development, management and implementation services to the arts and cultural sector. Her upcoming Creative Capital webinar, Values-Based Goal Setting, explores how values and guiding principles can shape any art practice. We checked in with Susan to learn a little more about her course.
Community engagement brings politically invested artworks to life. An artist who knows how to successfully reach out to the communities around them and get them invested and involved in a project will see their creative capacity for change multiply.
Stephanie Bleyer is an expert in community engagement campaigns and founder of the firm Six Foot Chipmunk, where she helps artists across disciplines create strategic plans, raise funds, and reach and mobilize new audiences. On Thursday March 24th, 2016, she will lead the webinar Producing & Funding Your Community Engagement Campaign, an essential for artists projects involving social justice, education, public art, or community building. It will highlight effective practices for community outreach & engagement based on several action-oriented case studies and teach artists of all disciplines how to produce and fund effective engagement campaigns for artworks that hope to impact and better the world.
In preparation for her webinar, we asked Stephanie a few questions about how she entered the field of socially aware and active art making and which artists are moving people toward social change.
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, March 21st at 7pm EST, Stephanie presents her “Kickstarter School” webinar, an invaluable primer on how to bring a Kickstarter project to life. She will take a look at some successful projects from across the site and explore what kind of rewards work best, how to spread the word about your project, and other helpful tips.
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.