Underneath that is a sheet of paper silkscreen printed with a pattern inspired by maram grass, which grows on the dunes of Lake Michigan. I worry that I’ve made it feel too precious & people feel uncomfortable taking them but they are for taking!

Most of the works I’ve put in this show are best experienced through touch.

ID: a video pans across two sheets of rough, pale blue paper. The top sheet has embossed shapes that resemble stones or shards of glass. As the camera moves, the shapes reveal themselves in the light and disappear again.

Edit: *than*

We will not be able to quantify all of this labor into 1:1 perfectly transactional relationships
where currency is exchanged. So how else will we ensure that labor is distributed equitably and that we are honoring each other's contributions?

Conversely, what do you need from other artists?
Extend these questions beyond your circle of artistes and into other dimensions of your
communities.

This is a bigger problem then
"where else do we look for funding?"
Ask yourself what kind of labor you can and
are
willing to do for and with other artists to 1.) meet your basic neeeds & 2.)
continue making artwork

New nonsense targeting arts funding & demanding censorship keeps dropping every day so am just continuing this thread so all of these thoughts are in one place. Today’s dispair re:
The NEA (described in alt-text):

And to be clear, there have always been artists systemically locked out of these credentialing mechanisms, even as certain programs/opportunities attempted to be (or appear) more inclusive. So, as we see rollbacks, remember those who still have never had their first shot at support & recognition

And I genuinely hope this is a time that compels the U.S. art ecosystem become more porous in its social networks and resource allocation. I also hope we can reconsider who our most important / valuable audiences and “collectors” are. I hope to make things that can travel where they are needed.

I hope to see a proliferation of artist’s run spaces, collectives, co-ops, tool exchanges, second hand supply free-stores, alternative schools, basement and apartment gallery shows, zines and small publications, artist-built websites that get us off the socials for a second.

Already established artists have a responsibility to help reimagine ways emerging artists enter the field and gain recognition. And all of us, regardless of our career stage, have a responsibility to understand what resources we have access to and how we can share those with artists who need them.

And I want artists to be prepared to support other artists in finding ways to continue making work, to share material resources, space and time with each other. I want there to be a wide-scale recognition across the art world and academia of the disruption of the opportunity landscape.

And I say this to highlight that there may be an entire generation or multiple generations locked out of these particular kinds of credentialing norms for many years. The prestigious MFA programs, the competitive grants and residencies etc. may not be financially available in the same way.

The same way that academics have to have continuous, up to date publishing records, we have to have exhibition records. Being qualified for jobs in arts academia, for example, is more dependent on these track records that demonstrate a “consistent practice” than our teaching qualifications/desires

And I think people outside of the arts may not fully understand how artists, a relatively recently professionalized category of workers, are asked to endlessly credential ourselves through amassing exhibition records, winning grants, attending prestigious residencies, or selling to certain buyers.