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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
Ela Troyano is a multidisciplinary artist born in Cuba and based in New York City. She is also a Creative Capital Awardee and has been a principal figure in developing workshops for Creative Capital. Drawing on her experience as a workshop leader and her long career in the art world, she has developed a program
We spoke to Heather about her work. Alex Teplitzky: Usually I start by asking people to describe their project, but I feel like with your work, there is a personal narrative about how you arrived at this subject matter. Heather Dewey-Hagborg: Yes, all of the work that I do critically reflects back on the work