Showing all Interviews

We speak to Mariam Ghani about her new documentary, her Creative Capital Project, What We Left Unfinished, which looks at the history of the Communist era between 1978 and 1991 through the stories of filmmakers working at the time. Ghani focuses on five unfinished films that both capture the turbulent events and emotions of the time, and also demonstrate the power and potential of these films beyond their propaganda value.

Jennifer Reeder’s Creative Capital project, Knives and Skin, premieres at Tribeca Film Festival. We spoke to Reeder about the film, and how Creative Capital helped her maintain creative control for her first feature film.

Read our interview with Graham Reynolds about his Spanish-English opera that delves into the enigmatic story of the Mexican General.

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

Who tells the story about a particular community is important, and sometimes it’s a matter of life and death. The team working at WeOwnTV, a media learning center in Freetown, Sierra Leone, learned this first hand when they found themselves in the middle of the Ebola crisis in 2014.

In his Creative Capital project, Red Lines, Evan Roth investigates the physicality of the web as a means to unite and reconnect with changing digital and natural landscapes. Read more about the project in our interview with the artist.

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