Showing all Interviews
Tanya Aguiñiga grew up commuting back and forth through San Ysidro to go to school, and she began making art there after studying design. Her Creative Capital project, Art Made Between Opposite Sides, is a series of works of art and engagements with the commuters who spend time in both countries, and the communities along the entirety of the border.
We spoke to Ligia, Matt, and Lei, as well as Susan Narucki (a 2006 Creative Capital Awardee), who sings the lead character and produced the opera, and Cara Consilvio, director. Alex Teplitzky—Can one of you describe the project for me? Matt Donovan—Maybe I can talk a little about the history of the project to get
We spoke to Banker White about WeOwnTV and the lessons they learned ahead of the making of Survivors. We also spoke to Arthur Pratt, one of the principal directors of Survivors. Alex Teplitzky: Can you describe Survivors and how it relates to your Creative Capital project? Banker White: Survivors is a feature-length documentary about the
Paul Rucker is an artist full of historical facts about racism against black people in the United States of America. In the inaugural exhibition at the Institute for Contemporary Art at VCU in Richmond, he displays historical artifacts related to slavery and white supremacy, including pro-slavery books, Ku Klux Klan paraphernalia, and lynching postcards from the early 20th century. We spoke to Paul Rucker during the premiere of his work.
Dedicated money toward producing the project wasn’t the only thing that was crucial for him: “Creative Capital’s belief and support in what I was doing was (and still is) invaluable.” Lessons Learned While the project premiered in Virginia, it did not travel much after that. I asked Vitiello if there was anything he wished he
As she touched down in the state to begin working with local politicians, ranchers, and indigenous people there, she told us more about this upcoming performance, The Symphonic Body/Water. Alex Teplitzky: Can you tell me about The Symphonic Body and how it’s evolved over the years? Ann Carlson: In a nutshell, it’s a performance made
We spoke to Sharon Bridgforth about her project. Alex Teplitzky: dat Black Mermaid Man Lady/Home has been a series of intimate events and performances over the past few years. Can you tell me about those past gatherings? Sharon Bridgforth: Like most things that I do, it started inside of my own bone marrow and blood