Caroline Woolard - Hixson-Lied Visiting Artist
School of Art, Art History & Design
Author
02/08/2021
Added
42
Plays
Description
Caroline Woolard - Sculpture and Design
Hixson-Lied Visiting Artist
2/3/2021
Caroline Woolard (b.1984) is an American artist who, in making her art,
becomes an economic critic, social justice facilitator, media maker, and
sculptor. Since the financial crisis of 2007-8, Woolard has catalyzed barter
communities, minted local currencies, founded an arts-policy think tank, and
created sculptural interventions in office spaces. Woolard has inspired a
generation of artists who wish to create self-organized, collaborative,
online platforms alongside sculptural objects and installations.
Her work has been commissioned by and exhibited in major national and
international museums including MoMA, the Whitney Museum, and Creative Time.
Woolard’s work has been featured twice on New York Close Up (2014, 2016), a
digital film series produced by Art21 and broadcast on PBS. She was the
2018–20 inaugural Walentas Fellow at Moore College of Art and Design and
the inaugural 2019–20 Artist in Residence for INDEX at the Rose Museum, and
a 2020-2021 Fellow at the Center for Cultural Innovation.
Caroline Woolard is Assistant Professor at the University of Hartford,
teaching in BFA and in the Nomad/9 Interdisciplinary MFA program. Woolard is
the co-author of three books: Making and Being (Pioneer Works, 2019), a book
for educators about interdisciplinary collaboration, co-authored with Susan
Jahoda; Art, Engagement, Economy (onomatopee, 2020) a book about managing
socially-engaged and public art projects; and TRADE SCHOOL: 2009-2019, a book
about peer learning that Woolard catalyzed in thirty cities internationally
over a decade.
Her work has been commissioned by and exhibited in major national and
international museums, including MoMA, the Whitney Museum, and Creative Time.
Recent scholarly writing on her work has been published in The Brooklyn Rail
(2018); Artforum (2016); Art in America (2016); The New York Times (2016);
and South Atlantic Quarterly (2015). Woolard co-founded barter networks
OurGoods.org and TradeSchool.coop (2008-2015), the Study Center for Group
Work (since 2016), BFAMFAPhD.com (since 2014), and the NYC Real Estate
Investment Cooperative (since 2016). Recent commissions include The Meeting,
with a rolling premiere at The New School, Brandeis University, The School of
the Art Institute of Chicago, and Moore College of Art and Design,
Philadelphia, PA (2019); WOUND, Cooper Union, New York, NY (2016); and
Capitoline Wolves, Cornell University, Ithaca, NY (2016), and Exchange Café,
MoMA, New York, NY (2014).
She is the recipient of a number of awards and fellowships including at Moore
College of Art and Design (2019), Pilchuck (2018), the Lower Manhattan
Cultural Council (2016), the Queens Museum (2014), Eyebeam (2013),
Rockefeller Cultural Innovation Fund (2010), Watermill (2011), and the
MacDowell Colony (2009).
Short Bio: Caroline Woolard (b.1984) is an American artist who, in making her
art, becomes an economic critic, social justice facilitator, media maker, and
sculptor. Since the financial crisis of 2007-8, Woolard has catalyzed barter
communities, minted local currencies, founded an arts-policy think tank, and
created sculptural interventions in office spaces. Woolard has inspired a
generation of artists who wish to create self-organized, collaborative,
online platforms alongside sculptural objects and installations.
Searchable Transcript
Toggle between list and paragraph view.
- [00:00:01.560]Santiago Cal: Okay welcome everyone.
- [00:00:04.680]Santiago Cal: Thank you all for joining us today it's an honor to introduce Caroline Woolard as our Hixson-Lied visiting artists.
- [00:00:12.200]Santiago Cal: First i'd like to thank the Hixson-Lied visiting artists fund Stacy Asher and the design program in the school of Art, Art History and Design for making this possible.
- [00:00:22.240]Santiago Cal: Caroline is a multi disciplinary artist and educator whose practicing includes being a social justice facilitator economic critic media maker author and sculptor.
- [00:00:33.320]Santiago Cal: For works have been commissioned and exhibited at the MOMA, Whitney museum creative time Queens museum brooklyn museum Miriam gallery and lemon gallery, among many other.
- [00:00:44.680]Santiago Cal: acclaimed national and international institutions too many to list really brief introduction her works have been featured twice on New York up close by our.
- [00:00:56.840]Santiago Cal: Digital film series her writings have been published in the book brooklyn rail art forum art and America New York Times, and the South Atlantic quarterly she has co authored three books and the most recent is art engagement economy, the working practice of Caroline.
- [00:01:16.520]Santiago Cal: Caroline Caroline is an assistant professor at Harvard University i'm sorry University of hartford where she teaches the face, students and in the know Ben nine interdisciplinary MFA program Thank you Caroline for being with us today it's a great honor and welcome.
- [00:01:35.120]Caroline Woolard: yeah thanks for having me in these moments I like to get a sense of who is in the room, so I know you're often.
- [00:01:46.600]Caroline Woolard: In zoom all day and you might be exhausted, but I don't like to lecture into a void, so if you could briefly share i'll type it up your name your pronoun and something about what brings you here could be what you make.
- [00:02:09.120]Caroline Woolard: where you are anything how you're doing just so I know that we're here together.
- [00:02:17.560]Caroline Woolard: Anything you want to share, about what you're bringing today your excitements your interests.
- [00:02:26.400]Caroline Woolard: So I have a sense of who is here together i'd love it if you could drop that in the chat.
- [00:02:40.280]Caroline Woolard: Oh good some nominal.
- [00:02:43.360]Santiago Cal: Where you go.
- [00:02:43.960]Caroline Woolard: Okay, how to get started as an artist yeah absolutely.
- [00:02:49.560]Caroline Woolard: Great.
- [00:02:53.120]Caroline Woolard: If you're just joining us if you could drop in the chat anything that brings you here, your pronouns and how you doing I don't have me get a sense of the energy that we're sharing.
- [00:03:07.040]Caroline Woolard: Great yes.
- [00:03:09.640]Caroline Woolard: I also do a lot with graphic design.
- [00:03:14.000]Caroline Woolard: Okay yeah.
- [00:03:18.320]Caroline Woolard: Great Okay, some people are doing Okay, yes, this is a time of a lot of loss and grief and rage, so we can haul that.
- [00:03:34.400]Caroline Woolard: um yeah.
- [00:03:40.480]Caroline Woolard: Okay, great.
- [00:03:42.480]Caroline Woolard: starting to get a sense of this here we have a bunch of graphic designers and I didn't focus on graphic design in this presentation, but I do work with graphic designers and think a lot about typography and design, so we can talk about that in a little bit.
- [00:04:02.000]Caroline Woolard: Okay, great.
- [00:04:04.960]Caroline Woolard: Great.
- [00:04:08.560]Caroline Woolard: All right, yeah.
- [00:04:11.840]Caroline Woolard: practice and ethics Oh, thank you.
- [00:04:15.840]Caroline Woolard: Yes, this is an exhausting time okay so there's a wide range of energies here, some people are exhausted, and some people are doing Okay, some people are phenomenal we can try and draw on your energy.
- [00:04:29.720]Caroline Woolard: Okay yeah so this will be around a 25 minute presentation and 15 minutes of it will be me lecturing then we'll take a little bit of a break, to check in and be present, with each other.
- [00:04:44.960]Caroline Woolard: Then you'll watch a video that was produced with support from the University of nebraska through this lecture series.
- [00:04:54.480]Caroline Woolard: And then we'll have a lot of time for questions I really like to do zoom lectures with dialogue and an emphasis on who's actually here in this space so i'll try to keep it.
- [00:05:08.040]Caroline Woolard: brief enough that you get a sense of what I do, and then we can dive into the particular interests that you all have based on what you learned.
- [00:05:18.480]Caroline Woolard: So i'm going to share my screen and Oh yes, mechanical engineering that's great Okay, so we have a range of people, and one thing to notice that I can't always see the chat while i'm presenting.
- [00:05:36.560]Caroline Woolard: So Santiago, if you could call out if there's a question, or if someone needs me to slow down or make something bigger, can you speak that, for whatever reason, with my computer setup I sometimes miss the chat when i'm presenting.
- [00:05:52.680]Caroline Woolard: Absolutely okay So here we go i'm going to share my screen.
- [00:05:59.520]Caroline Woolard: And again, for those of you that are like not a monologue this will be around 15 minutes, then we'll check in with each other, then we'll watch a video for 10 minutes and then we'll have around 25 or 30 minutes for Q amp a.
- [00:06:19.840]Caroline Woolard: Okay, so you should see.
- [00:06:22.600]Caroline Woolard: This screen.
- [00:06:24.720]Caroline Woolard: Yes.
- [00:06:26.560]Caroline Woolard: It says, Caroline Woolard beautiful okay.
- [00:06:32.880]Caroline Woolard: And i'll try and watch the chat, just in case i'm yeah I go, you can do my.
- [00:06:36.920]Caroline Woolard: support here.
- [00:06:40.080]Caroline Woolard: All right.
- [00:06:42.560]Caroline Woolard: So yeah first Thank you to everyone here who made the lecture possible, especially Santiago and Andrea Stacy christy and I here Matthew carlson is also going to be supporting after this when I talked to the students.
- [00:07:00.880]Caroline Woolard: In the talk, I want you to notice, where you are, how you are feeling in this moment, so if you see this blue square i'd like you to take a moment to be present with yourself.
- [00:07:13.760]Caroline Woolard: I work in a lot of collaborative groups and i've realized that if you don't have a sense of where you are, if you aren't able to track yourself and sense your own energy emotional state it's hard to collaborate, because you won't be self aware and you won't be able to.
- [00:07:34.880]Caroline Woolard: Think about what kinds of reactions, you might have to other people, so we like to check in with each other, before we start collaborating and we have to check in with ourselves first.
- [00:07:46.160]Caroline Woolard: So let's practice that take a moment and sense, where you are in this space what you're bringing energetically if you've had a long day.
- [00:07:57.240]Caroline Woolard: allow yourself to breathe for a moment, since your body.
- [00:08:12.480]Caroline Woolard: And, as I sense the ground beneath me I like to remind us where I am i'm speaking to you from the unseeded ancestral territory is at the podunk tongue says long gun and sicko and people's.
- [00:08:29.240]Caroline Woolard: land that was forcibly taken so take a moment to honor the indigenous peoples still connected to this land and acknowledge the history of ongoing colonization in our communities, if you want to study into action, I invite you to go to this website its land back i'll put it in here.org.
- [00:08:54.880]yeah.
- [00:09:02.600]Caroline Woolard: sense, where you are.
- [00:09:12.760]Caroline Woolard: And for accessibility in this talk again if you want me to make something bigger to slow down to define a term or speak up, let me know and you can speak it or type it in the chat in Santiago yeah help me if I miss it.
- [00:09:29.800]Caroline Woolard: So getting into it i'd love to hear from you all, why you think topics of Labor or work or economy are of central concern for so many artists.
- [00:09:43.040]Caroline Woolard: So tell me why do you think.
- [00:09:46.880]Caroline Woolard: Why are the topics of Labor and economy central to so many artists work.
- [00:09:55.040]Caroline Woolard: i'd love to hear your thoughts.
- [00:10:10.320]Caroline Woolard: If you know artists who work and think about money or think about employment or think about landlords or think about bosses.
- [00:10:20.920]Caroline Woolard: Why isn't a shared experience yes.
- [00:10:25.280]Caroline Woolard: it's hard to feel valued in terms of Labor when you work in typically undervalued careers you yeah.
- [00:10:33.840]Caroline Woolard: we're close to laborers are our Labor Labor laborious, in most cases, what else why might artists, think about the economy what's the connection.
- [00:10:52.560]Caroline Woolard: Why to artists make work about money.
- [00:11:02.520]Caroline Woolard: They don't have much you have this it talks about the human condition.
- [00:11:07.680]Caroline Woolard: Okay yeah.
- [00:11:10.560]Caroline Woolard: Well, here are some reasons that i've thought of in the time that i've been working on art and economy.
- [00:11:20.120]Caroline Woolard: hmm yeah.
- [00:11:22.440]Caroline Woolard: I think it's because so many of us spend thousands of hours transforming everyday materials into something that's never been seen before.
- [00:11:30.760]Caroline Woolard: Like you might know Wolfgang lives work with collecting pollen from hazelnuts I think it's because we want to believe that we're in control of our own work.
- [00:11:41.400]Caroline Woolard: And because we believe that we can't measure the measurable, you might know tasting hey as one year performance clocking in to the studio.
- [00:11:53.720]Caroline Woolard: And also because art seems so expensive that appears to be a luxury commodity, rather than a form of research, this is the gorilla girls projection on the Whitney.
- [00:12:05.600]Caroline Woolard: As artists, we often call ourselves workers, we make works of art, you might know the art workers coalition in 1969 saying art workers won't kiss ass and reprint reproduction of that with a new newspaper in 2009 from temporary services called art and work.
- [00:12:27.280]Caroline Woolard: art is both the fantasy of the solitary self of the individual and in its communicative potential and the way it speaks the utopian hope of transcending that individual self but.
- [00:12:42.080]Caroline Woolard: art is a deeply contradictory category of commodity being things that are bought and sold of reified social relations and have the opposite of social possibility of genuine hope of historical newness.
- [00:12:57.760]Caroline Woolard: Critical theory teaches us that the work we make always reflects the political economy that we live within.
- [00:13:04.840]Caroline Woolard: For example, the real average hourly earnings of workers that blue line that you see here has not increase since the 1970s.
- [00:13:14.640]Caroline Woolard: So what does that mean How does that reflected in art many artists are working on the political economy thinking about money and Labor.
- [00:13:23.560]Caroline Woolard: From Mel chin with the hundred dollar bill project that you see to the left to Christine wang's crypto currency painting in the Center to audubon there conga who has the work and the right upper corner to.
- [00:13:41.120]Caroline Woolard: Andrea frazier and Lewis hides books about money and gift giving many artists are working and making work about the economy.
- [00:13:51.120]Caroline Woolard: But these economic conditions are shaping us in our work, whether we think about it and talk about it or not, I like to think about how I am influenced by my intimate network community and media institutions and rules and historical forces.
- [00:14:08.280]Caroline Woolard: Andre frazier the artists said it's important to remember that our personal experiences and individual histories are only particular instances of the possible.
- [00:14:19.040]Caroline Woolard: Of who and what it is socially and historically possible to be, and do so, in other words, I am able to do certain things at this moment in history that I, as a white SIS woman queer person might not have been able to do 100 years ago and who knows all happen in the future.
- [00:14:41.520]Caroline Woolard: In my work and in this talk you'll notice themes of group work and economies, so why care about groups carry three reasons that I care about connecting people.
- [00:14:53.520]Caroline Woolard: One We live in a country that does not value the arts or art is not a core part of most public school education so as artists, we raise each other up.
- [00:15:04.040]Caroline Woolard: We can't survive or thrive alone and that's why hopefully you'll notice in the Q amp a.
- [00:15:10.080]Caroline Woolard: That, I want to understand us as a kind of community, I want to see artists in zoom rooms like this actually supporting each other and trying to make connections, so that we can shape art worlds, that we want.
- [00:15:24.600]Caroline Woolard: together and I tried to respond to as many emails and be in contact with as many emerging artists, as I can be because that's how I survived that's how I made it in the arts and I really think.
- [00:15:38.000]Caroline Woolard: We have to hold each other accountable and be in dialogue in order to make art that matters and be in Community in a country that doesn't support us in the way that we could be supported as you see, in other countries.
- [00:15:52.800]Caroline Woolard: So that's how historical forces shape the institutions around us, and this is why I want to build more Community and more networks to be supported as an artist.
- [00:16:05.120]Caroline Woolard: To I was taught by my white ancestors to extract, all I can avoid conflict and flee trauma.
- [00:16:13.680]Caroline Woolard: My parents fled abusive families, they taught me to distrust my neighbors and most people around us, I was told to flee from conflict.
- [00:16:23.680]Caroline Woolard: So this is something i'm working to heal and transform and to D colonize and myself.
- [00:16:30.120]Caroline Woolard: This is how historical forces shaped the way I show up and the way i'd like to transform will hopefully be informed by those historical horses and then shift into the future.
- [00:16:43.360]Caroline Woolard: So i'm continually learning and Community how to trust, how to rely on other people how to heal the trauma of alienation that's in me.
- [00:16:52.840]Caroline Woolard: And I found home with people doing transformative organizing for economic justice, which means we need to become the change that we want to see in the world, so we work both internally and inter personally, while we do organizing work.
- [00:17:07.680]Caroline Woolard: And I found home with artists nationally and in New York, this has become my community and my intimate network for me healing and organizing go together.
- [00:17:19.600]Caroline Woolard: I am a commitment to slowing down and staying with the realities both the pleasures and the pains of interdependence of caring for one another.
- [00:17:32.520]Caroline Woolard: So notice, where you are.
- [00:17:37.520]Caroline Woolard: sense what came up for you as you heard that.
- [00:17:49.120]Caroline Woolard: In my work, I am to make projects that reflect their own conditions of production, what does this mean.
- [00:17:55.760]Caroline Woolard: It means I want you to see how things are made so whether i'm making printed matter websites objects installations or collaborative invitations to join an endeavor.
- [00:18:09.200]Caroline Woolard: I think about a kind of aesthetic infrastructure ways of making contacts for the artwork I think you can't just make an object or a post or website, you need to think about how it will circulate and how to make a context for yourself how to build the art worlds that you want.
- [00:18:28.480]Caroline Woolard: I make aesthetic infrastructure, which asks our audiences to consider the role that artists might play in representing and remaking economies, and I do this and textual digital and physical spaces.
- [00:18:43.120]Caroline Woolard: Some of you might have heard of the cooperative economy or the solidarity economy.
- [00:18:48.960]Caroline Woolard: If you haven't it's a concept that unites very discrete practices of making do helping each other self determination working cooperatively.
- [00:19:01.680]Caroline Woolard: So everything from DIY spaces to mutual aid networks to Community land trust all these things share principles of.
- [00:19:12.880]Caroline Woolard: democratic governance Community control and have a long history of bypass ancestral wisdom to care for one another and to survive, amidst waves of social control that come from white supremacy and violence historically.
- [00:19:31.120]Caroline Woolard: And so, as an artist, I wondered can cultural creation be part of this work, what does it mean to share resources together and to make art and relationship to this work for economic justice kind of DIY space and a not for profit collective be involved kind of barter club be involved.
- [00:19:54.120]Caroline Woolard: And so from 2009 to 2019 I was involved in to barter networks which we could talk about in the Q amp a if you're interested.
- [00:20:02.360]Caroline Woolard: One is called trade school and it was a way for students to do skill sharing with one another without money, the other one was a barter network, where you got your projects done.
- [00:20:13.720]Caroline Woolard: Without money where people would support you, I also made a Community currency at moma where visitors would.
- [00:20:21.960]Caroline Woolard: put down as much contact information as they wanted and say what they hope to the museum would change so that the money became a kind of information sharing, space and you would pay.
- [00:20:35.640]Caroline Woolard: With this currency that you created for tea and get it get change so you'd get other people's currency and exchange.
- [00:20:43.680]Caroline Woolard: And from there, I thought about how to pool money to invest in buildings and land for local cultural and cooperative uses.
- [00:20:52.040]Caroline Woolard: As one of a few founders of the New York City real estate investment cooperative and now i'm not involved in that project, and there is a core group that stewarding in.
- [00:21:04.200]Caroline Woolard: So if you want to talk about affordable space, I could put you in touch with them and from there, I started thinking a lot about how to be.
- [00:21:15.960]Caroline Woolard: Well, for some reason, which is one second.
- [00:21:21.480]Caroline Woolard: that's interesting.
- [00:21:25.720]Caroline Woolard: Okay, you see the screen again.
- [00:21:28.520]Caroline Woolard: Strange so I realized that over the past decade, making barter networks thinking about local currency and working on affordable space, there are so many people in the groups.
- [00:21:40.560]Caroline Woolard: That i've been in often working through their own interpersonal stuff and that wasn't at the forefront of what we're doing so, we didn't talk about how to collaborate or how to work with each other and I moved into that thinking about how to be in groups.
- [00:22:08.280]Caroline Woolard: And I wanted to share framework that has helped me as i'm thinking about these huge interdisciplinary projects that i've been involved in it goes like this, if you think about the projects that you make, like the discrete objects let's say you make like some kind of sculpture.
- [00:22:28.800]Caroline Woolard: I like to ask myself what are the platforms that kind of like trunks of the tree if that's a shiny fruit that support those projects.
- [00:22:37.760]Caroline Woolard: What are the art worlds, that we want, what are the design platforms and networks that hold up let's say the magazine that we design.
- [00:22:46.280]Caroline Woolard: And how can they be aligned to with the project so that they have a shared value system shared principles and what are the practices, the ways of meeting together the ways of facilitating on zoom that can hold up those platforms and those projects.
- [00:23:06.000]Caroline Woolard: I am now really excited to explore the day to day practices that help groups gather together.
- [00:23:23.120]Caroline Woolard: And so i'm going to share with you in a moment of video of this new work that has to do with ways of being present with one another.
- [00:23:34.760]Caroline Woolard: and becoming more aware of what's happening for you individually and then what's happening in a group that you might be in.
- [00:23:42.880]Caroline Woolard: And with all of this, I make both sculptural objects and online platforms, so that people can be in touch with one another as artists about.
- [00:23:53.400]Caroline Woolard: The work that they do that has a shared concern of like collectivity or economic justice so we could go into all of this.
- [00:24:03.560]Caroline Woolard: But I don't want to bore you there's a very long presentation if there aren't lots of questions, but I prefer to be in a space of Q amp a with you so i'm going to stop.
- [00:24:16.480]Caroline Woolard: sharing my screen and that was a brief overview i'm gonna put in the chat.
- [00:24:27.440]Caroline Woolard: This recent.
- [00:24:29.680]Caroline Woolard: book that has a lot of the behind the scenes information about projects i've done.
- [00:24:36.640]Caroline Woolard: And before we watch this 10 minute video about the reason show I did do you all have any questions about what I just talked about barter networks or Community currencies, the solidarity economy any of these concepts.
- [00:25:01.440]Caroline Woolard: And if you're still thinking don't worry we'll watch the video, and you can think about what you want to ask me.
- [00:25:13.480]Caroline Woolard: yeah San Diego let's let people think so in about 10 minutes we're going to open up a Q amp a and, as you watch the video know that i'm very open to frank and candid conversations about.
- [00:25:30.120]Caroline Woolard: Success in the arts yeah how to get I got into this yeah but yeah let's watch this video and then see okay.
- [00:25:42.040]Sure screen.
- [00:26:03.720]Now just take a moment.
- [00:26:06.320]to notice the effects of the sounds and vibrations within your body.
- [00:26:16.240]Santiago Cal: come into a state of open attention, where you are simply listening.
- [00:26:23.080]to your own body.
- [00:26:29.360]You are not searching for anything in particular.
- [00:26:33.160]But you are just feeling.
- [00:26:35.920]For sensations.
- [00:26:38.480]or impulses toward movement that may be arising.
- [00:26:46.520]Whatever it is that you notice just feel it as deeply, as you can.
- [00:26:53.440]And allow that sensation.
- [00:26:56.280]To pass.
- [00:26:58.240]Or to develop into another sensation.
- [00:27:05.640]If you notice an impulse bread desire for movement.
- [00:27:12.720]follow it.
- [00:27:24.080]You notice her attention.
- [00:27:26.640]Being distracted.
- [00:27:28.960]Just come back to sensation.
- [00:27:55.520]take a moment to be in a state of open attention.
- [00:28:05.000]canon artwork NF somatic experience help individuals and groups learn how to work together more beautifully.
- [00:28:14.160]i'm Caroline willard i'm an artist and i'm going to talk you through the eight steps that i've noticed in my working process.
- [00:28:23.680]If you want to be in a group and make a group decision inevitably you're going to have a meeting this means you're going to meet after work you're going to meet before work you're going to meet on your lunch break, and this is why meetings are such a focus for me.
- [00:28:39.880]This show continues my interest in meetings it's my hope that, by bringing sensory experience to groups, we can shift the way we work, and hopefully transform our actions together.
- [00:29:03.240]The steps that i've noticed in the way that I work on projects step one notice daily experiences and ask why is this the case.
- [00:29:14.760]If group work is one of the most important things to accomplish long term goals.
- [00:29:21.440]But we know that there's always a difficult person and every group and that we ourselves are that difficult person for someone, how do we resolve conflict in groups, how do we become more aware of ourselves and the ways that we show up in groups.
- [00:29:38.520]step to begin a process of collective study to understand your experience.
- [00:29:45.200]To think about the ways that I show up in groups I started learning from Alto Star and generative so maddox and Anita chari the somatic educator that is part of this exhibition.
- [00:29:58.000]This is a form of collective study that centers the body and so medics the ways in which traumas and hopes and dreams are held in our bodies.
- [00:30:11.200]One way to think about it is you could talk about a problem for a really long time, but until you understand how you hold that problem as tension as clenching as openness in your body.
- [00:30:24.520]it's hard to shift the way you behave and the way you feel and the way you act, the idea and so maddox is that you can become more conscious of the way you hold these things so that you are able to shift your behaviors and think of a conscious choice when you're acting under pressure.
- [00:30:45.480]As an artist, I believe that what I can bring to social movement and to collective work is the non verbal.
- [00:30:53.240]I can bring as much talking as I like but in addition to that, we have the skill to bring surface smell taste, all of the sensory into an experience of being in a group that might not otherwise be emphasized, we are experts at the nonverbal, this is why we're visual artists.
- [00:31:15.440]Step three make a commitment to something that will shape your decisions and actions.
- [00:31:21.760]My commitment as an artist is to slow down and remain present for the difficulties and the pleasures of group work.
- [00:31:31.480]And this can happen at all scales from the collective that's helping to produce this video to the artists run space we're in right here to the Community garden that's part of the solidarity economy.
- [00:31:44.560]Both the artwork itself and the infrastructure that supports it can be contributing to a form of economic justice.
- [00:31:54.120]Step four focus the inquiry on an area that feels particularly exciting and troubling and possible.
- [00:32:03.080]The question that arose, for me, the inquiry is what is the role of activity of objects in somatic experience, in other words can objects open up spaces for reflection and for the wild unknown.
- [00:32:22.320]Step five determine what time frame the work will take, will it be a short term project or a multi year platform what practices are necessary to sustain this.
- [00:32:34.240]This is a short term project at Miriam gallery but it ties into a longer term commitment to the role of objects in groups step six.
- [00:32:46.800]begin to experiment with ways of gathering materials forms resources and ways to represent your inquiry as a project or a platform.
- [00:32:58.040]Once I knew my core question I started thinking about how to turn this inquiry into a material form.
- [00:33:05.280]learning about timekeeping devices about candles about water clocks about ceramics about geology about physics.
- [00:33:14.560]I was going in many different directions and I stumbled across this medieval watering can it's an object that allows you to hold and release water, a symbol of both singing and weeping of joy and sorrow.
- [00:33:31.000]i'm trying to balance material poetry references to Art and Design history with something that's playful fun approachable and that does not require extensive references in order to participate, I want it to live between art and life.
- [00:33:49.240]Step seven share the idea in public for feedback debate and learning.
- [00:33:55.720]And now, this idea is in public at Miriam gallery, and this will also lead to work at the free library of Philadelphia and i'm testing it out with students at swarthmore and with worker owners of the US federation of worker cooperatives.
- [00:34:13.000]Step eight reflect upon your process return to step one.
- [00:34:19.080]Every project ends with reflection what I learned from people who visited this show and who use the objects will feed the next project I do.
- [00:34:43.880]I hope in a small way, that the work that I make will allow groups to think about what they've accomplished together and have non verbal moments where they touch things and are present, with one another and see what's possible when objects are added to dialogue.
- [00:35:04.760]So for people who are really feeling a sense of isolation and despair and loss and this moment.
- [00:35:14.200]I encourage you to go to a Community space near you maybe it's a Community garden, maybe it's a collective space, maybe it's a park.
- [00:35:24.080]Maybe it's a credit union, maybe it's a Community land trust go to a space that Community members have built together.
- [00:35:32.120]and remind yourself that the work we do takes many years, sometimes generations to come to fruition it doesn't happen overnight, and we do have collective power that we can use to shape a future that we want.
- [00:35:51.160]And then again take a moment to be in a state of open attention.
- [00:35:58.280]Simply noticing.
- [00:36:00.640]what's sensations and impulses to move arise within you.
The screen size you are trying to search captions on is too small!
You can always jump over to MediaHub and check it out there.
Log in to post comments
Embed
Copy the following code into your page
HTML
<div style="padding-top: 56.25%; overflow: hidden; position:relative; -webkit-box-flex: 1; flex-grow: 1;"> <iframe style="bottom: 0; left: 0; position: absolute; right: 0; top: 0; border: 0; height: 100%; width: 100%;" src="https://mediahub.unl.edu/media/15579?format=iframe&autoplay=0" title="Video Player: Caroline Woolard - Hixson-Lied Visiting Artist" allowfullscreen ></iframe> </div>
Comments
0 Comments