Terri C. Smith of Franklin Street Works in Conversation for 10xCommunity

It is a personal pleasure to feature the incredible work of the versatile and dedicated Terri C. Smith, whose leadership at Franklin Street Works yielded meaningful, community-based exhibitions such as “Otherwise Obscured: Erasure in Body and Text and “Acting on Dreams: The State of Immigrant Rights, Conditions and Advocacy in the United States.” A thoughtful curator, and alumna of the prestigious Bard Center for Curatorial Studies, Smith dedicates herself toward contextualizing conversations around art and social conditions within spaces ripe for critical inquiry.

We sat down to learn more about her time specifically at Franklin Street Works, and how the organization is dedicating its next chapter to archiving its powerful body of programs, events and exhibitions, contextualizing them for a new audience.

(Below image, Cut Up: Contemporary Collage and Cut-Up Histories through a Feminist Lens curated by Katie Vida, installation view. Foreground: Faith Ringgold. Background (L-R): Meredyth Sparks, Martine Syms, and Lourdes Correa-Carlo. Photo by Object Studies
Lead image, Roots & Roads, curated by Anita N. Bateman, installation view. Foreground: commissioned site-specific installation by Nontsikelelo Mutiti. Background (L-R): works by Jay Simple and Bryan Keith Thomas. Photo by Object Studies.)

 

ANTE. Thanks, Terri, for sitting down with us! So Franklin Street Works was known as a contemporary art space but during your time working there, it achieved recognition for engaging with social justice as well. Can you elaborate on the founding of the space, its evolution and how social justice aligned with FWS’ mission?

Terri C. Smith. Being the founding creative director of an arts organization is a unique perspective because you are steeped in its institutional history and have a deep on-the-ground understanding of its growth and impact. When I was invited to co-found Franklin Street Works by Stamford lawyer and philanthropist Kathryn Emmett she had the idea of an art space with a cafe. It was up to me to craft the specifics in terms of mission, vision, and programming. I had been in Connecticut working in the arts for a few years and had a sense of that scene. When I began conceptualizing what FSW might look like, I was thinking a lot about NYC alternative art spaces from the 60s and 70s like Artists Space, The Kitchen, and Food and their commitment to emerging artists and grassroots principles. I also had 15 years of experience working in two accredited museums and valued good scholarship and museum best practices. So my thinking was to create a program that included rigorous exhibitions and also integrated values of community inclusion – a discursive, social, and activist community hub with contemporary art at its center.

When we first opened in Stamford, Connecticut, showing conceptual art necessitated a lot of interpretation and direct conversations with visitors. In the beginning, merely showing conceptual art felt like a form of activism! All of our exhibitions were original, thematic group shows curated in house by guest curators or myself. This thematic approach aimed to build an audience beyond arts-interested individuals by drawing connections between contemporary art practices and events in our day-to-day lives.  In other words, if an exhibition included work about the environment, the idea is that it would attract folks who might not be familiar with contemporary art, but, because of their interest in nature, science or conservation they would have a point of entry. It was an individualized approach that aimed at connecting, often challenging, contemporary art to a broader public.

As far as how the social justice trajectory connected to our mission, these key factors spring to mind: our coincidental opening of the space when Occupy Wall Street was encamped in Zuccotti Park; an archive of artist activist collectives we developed for a 2013 exhibition; our exploration of Franklin Street Works’ values with a 2014 strategic plan; and a show on immigration Yaelle Amir curated for us in 2015 (see above, “Acting on Dreams.”) I’ve only recently realized it, but Occupy Wall Street was a profound influence on the formation and direction of FSW. I knew some artists who were involved in the Park – many of them affiliated with Bard MFA. It was intriguing to me how artists brought an unmonumental sculpture/MFA materiality to activism and how an alternative, pop-up social system that shared qualities with social practice projects was being constructed from scratch there. I now understand FSW was influenced by OWS’s materiality and its creation of an inclusive, activist space that interrogated the status quo and posited corrective, world-building scenarios.

Social justice as an exhibition theme was directly addressed for the first time with our 2013 exhibition Working Alternatives: Breaking Bread, Art Broadcasting and Collective Action, co-curated by Mackenzie Schneider, Jess Wilcox and myself. We were thinking about how artists used food, broadcasting, and collective action during the early history of alternative spaces in NYC, and how artists were still using these tactics. Jess explored artists who use food, Mackenzie looked at artists using media like television and newspapers, and our gallery manager, Sandrine Milet, and I explored collective action, sending out an open call for materials from self-described artist/activist collectives. The starting date for our artist/activist collectives was the end date of an existing archive organized by NYC artist/activist collective Political Art Documentation & Distribution (PAD/D), which included socially conscious arts organizations working from 1979–1990. We put a call out to more than 90 collectives and received materials from approximately 30.  While the show was on view, Brooke Singer, a Professor of New Media at SUNY Purchase (who was in one of the collectives we exhibited) invited us to take the archive out of its boxes and present it as an exhibition at the College’s Passage gallery later that year. Sandrine and I curated Collective Action Archive with Purchase students Stephen Barakat and Gina Mischianti, writing additional interpretive texts about the collectives and exhibition essays from various points of view. Eventually the materials were accessioned into the SUNY Purchase Library zine archive, making them available to students and scholars.

Nadia Wolff-commissioned performance, A Litany, at the opening reception of Roots & Roads, curated by Anita N. Bateman. Photo by Terri C Smith.

This year-long immersion into collective action art practices was followed by Franklin Street Works’ 2014 strategic plan, which re-emphasized our commitment to socially conscious art and community engagement. In the strategic plan, we described our core values, “Art is part of a larger social enterprise and thereby serves as a catalyst for social action. Both the individual artist and our communities are vital partners with us. The artist creates new models and impacts our communities. Our communities generate creative conversations within our space and elsewhere about our production.”

The next year, when Yaelle Amir curated Acting on Dreams: The State of Immigrant Rights, Conditions, and Advocacy in the United States, FSW’s work in social justice really began to crystallize. I personally had an “ah ha” moment about how actionable elements could become part of an art exhibition when Yaelle asked us to create a resource list of regional immigrant organizations for the catalog. I was energized by how Acting On Dreams was firing on all cylinders. The artworks and commissioned installations were well executed and materially interesting, but it was also exhibition as logistical support, community gathering place, investigative journalism platform, educational venue, and more. From then on, we were off to the races in actively planning exhibitions that addressed social justice issues head on. 

ANTE. The pandemic has affected everyone in the arts, and has required flexibility and resourcefulness. Your team has recognized that the time has come to put future exhibitions in the physical space on hold. What are your goals moving forward in building an archive? In addition, how do you hope this archival project will evolve? What resources in particular are you seeking to help achieve this goal? 

TCS. It is important to me that the legacy of Franklin Street Works lives on through a digital archive that is organized and accessible to anyone interested in contemporary art history or any of our 415 past exhibiting artists and collectives. I’m working with a handful of past board members to map a path forward in creating that. Right now we are exploring the best approaches in applying for archiving grants. I’ve also been talking to other small art spaces that no longer have physical spaces but still have an online presence, and chatting with archivist friends about the best order of operations in getting started. Since the entirety of FSW’s institutional memory is in my brain and my computer (and back up disk, of course!) it is my responsibility to organize the materials in preparation for a professional archivist. In a perfect world, I’d like to have the spirit of FSW live on in a less localized way. It would be exciting to see the archive combine with a national program of grants for emerging artists and to create and/or support commissioned projects.

Love Action Art Lounge curated by Terri C Smith, installation view of Carmelle Safdie’s commissioned, site-specific installation. Photo by Object Studies.

 

 ANTEWhat particular aspect of your tenure do you reflect on with satisfaction?

TCS. There are so many, but two aspects that come to mind immediately.

First, the transformative nature of Franklin Street Works’ educational programming. The physical space of FSW is an intimate repurposed Victorian row house. So when we had tours, talks, and performances, there wasn’t much physical distance between the community and the presenters. I also intentionally set a very welcoming tone that signified there wasn’t much, if any, hierarchical distance between artist and audience either. I think this intimacy and casual, social vibe created a comfortable space for learning, questioning, and authentic connection that was memorable and resonant. There were dozens of times when a past event attendant would volunteer specifics about how it changed their perspective or affected the course of their work or life. 

The second aspect is a personal one. I developed so many wonderful relationships with FSW’s artists, curators, staff/board, interns, and contract workers these last nine years. So many of the people we partnered with on projects were collaborative, talented, and conscientious. My life is vastly enriched for having known them. I was 43 when I co-founded FSW. Frequently in middle age we can become set in our ways, but my life was infused with an endless stream of compassionate critique, encouragement, and aspirational thinking. Many of the folks I worked with became my teachers, modeling generosity and inquisitiveness, pointing out when I was being old fashioned or on auto pilot, and perennially challenging me to work toward optimal equity and inclusiveness. As stressful as the labor of running an art space can be, the love, laughs, and learning outshone the fatigue that sometimes accompanies this type of work.

Sherry Millner artist talk on the occasion of In this place where the guest rests, curated by Jacqueline Mabey. Photo by Michael Mandiberg.

 

ANTE. How have you focused your energy on moving forward during the pandemic as a cultural producer?

TCS. With the COVID-19 pandemic, this is such a universal question right now in the arts and beyond. Right now my energy is focused on staying connected with close friends, taking care of my body with exercise, and connecting to nature (and my dog) with walks and gardening. I’m also doing some freelance grant and copywriting for an Alzheimer’s organization which has me thinking about how the labor of families, especially women’s labor, is literally keeping eldercare afloat in the U.S. I am thinking there is a feminist exhibition on labor, healthcare, and ageism in there somewhere. Things are still fresh with FSW closing, and I lost my mother recently too so there are a lot of new normals to digest, consequently, I am doing a lot of reflection right now, in a good way, I think, I hope..! Haha.

As we touched on earlier, I am starting to organize materials for an FSW archive. I am also awkwardly working to shift the Feminisms and the Arts class I teach at UConn-Stamford to distance learning and continuing ask colleagues and friends –  especially those whose practices are about creating more equity and inclusiveness in the art world – how I can support them and their work during these difficult times.

In contemplating the last nine years, I’ve realize that curating for me is most rewarding when it’s in collaboration with a community where I feel a significant connection. Ideally, if I were to commit to another full-time position in the visual arts, the community I choose to work with would be as important as the organization. The places that feel like home to me are Bridgeport (where I live) and New Haven (where I have friends and there is a vibrant art scene) as well as my hometown of Nashville, TN. So I hope to stay put in Connecticut or move back to Tennessee. That said, we never know what the future brings, so I’m keeping an open mind at the same time

Culture Push Interview for 10xCommunity: “Voices that Will Help us Remake the World”

Interview by contributor Mariel Tepper

 

ANTE Mag is focusing on ten projects that span creative disciplines and seek to build wider community ties between creative disciplines in our new series of interviews, 10xCommunity. Featuring artistic projects, community-building initiatives and interdisciplinary platforms, ANTE is sharing these interviews on the mag and across social media that spotlight these endeavors through the current social crisis to pivot to sharing positivity and uplifting creative news to our audience. We here at ANTE have long been fans of Culture Push, a New York City-based nonprofit that unites art and social justice through its programs, including fellowships, an online journal, exhibitions and much more. Below we caught up with Artist, Professor and Culture Push Co-Founder Clarinda Mac Low for insights into the current events and initiatives Culture Push is moving ahead with in the time of CoVid-19.

ANTE: So tell us what inspired the creation of Culture Push, and how did you envision this organization as a way to foster artistic initiatives through public participation?

Culture Push: Dreaming up Culture Push was always a collective endeavor, because everything good, for me, happens in conversation. When the first glimmerings of Culture Push started, in 2008, I had been in conversation with many different people about the lack of space for hybrid artforms. At the time I was mostly situated in the dance and performance world, but not really fitting in there anymore (if I ever did) and talking to other people who felt the same way. I wanted to create a home for ideas that didn’t fit anywhere else. The name “Culture Push” came to me after a few conversations I had with Alejandra Martorell and Paul Benney, my partners in the collective TRYST. Culture Push was a name that left room for interpretation, but conveyed a sense of urgency. Then, after a series of conversations with Aki Sasamoto and Arturo Vidich, recent graduates of my alma mater, Wesleyan University, the first form of Culture Push was born. All three of us, though we were from different generations, had expertise both in dance and performance and in other disciplines and sectors, and an abiding interest in how art practice could function beyond the black box and the white cube. We could see how, by creating an entity, we could make a home for hybridity by creating an institution that was expansive in intent and encouraged cross-sector, public-facing conversation. 

We saw the institution itself as the art material, so, when we began, we didn’t actually know exactly what our focus would be. We were performance-makers, so we decided that the form of the organization would rise from experimentation and trial and error–our first step was just to create the institution–the entity–and then the form would emerge from action. So, in 2009, with the help of our amazing initial Board, we incorporated as a non-profit, and because of our Board member Michael Yi it went quite smoothly. 

As movement artists we were committed to corporeal practice and knowledge, and we began with a set of broad principles–our programs would bring together different sectors, would involve “hands-on” public participation and horizontal knowledge share, and would allow for collaboration. The first programs that we devised proceeded from these principles, and from our desire to nurture a fluid culture where the lines between art, politics, daily life, and social experiment could blur, and where challenging the lines between disciplines leads to challenging the form of society.   

ANTE: During this difficult time of the COVID-19 crisis, what are some ways that your organization plans to continue its mission in helping artists and communities affected by the pandemic?

CP: We currently have two major programs–The Fellowship for Utopian Practice (our bedrock) and the newer Associated Artists program. All of the artists we serve are in precarious situations financially and socially. Most of these artists also work as independent contractors, often within an arts context where they are facing cancellations, postponements, and lay-offs, as well as loss of future work. Many of these artists also act as community supporters, and are donating their time and energy to creating space and providing essential services to their fellow New Yorkers. 

To support our artists, we are working with our funders to expand the financial support we offer our current Fellows and Associated Artists, as well as our recent alumni, by offering expanded funding for their ongoing projects and funding for the projects they have begun during this crisis. We also want to offer them opportunities to share work and be in community with each other and with the wider world, and will be brainstorming about how to re-cast their projects for the current time. We are also planning on offering new opportunities, like paying them to give online workshops or presentations, or setting up networking events. The bottom line is to support these important voices in any way we can–they are the voices that will help us remake the world in a better form as this crisis develops and (hopefully!) resolves.

Storm Your Brain—Culture Push Program DOING, by Aki Sasamoto, at the Whitney Museum, 2010. Photo by Arturo Vidich

ANTE: Can you talk about how Culture Push has been able to amplify initiatives that have been started by individuals and groups to help artists and others who have been financially impacted by COVID-19?

CP: The people who are connected to Culture Push tend to be self-starters and community responders. In the initial shock of the shutdown, for example, Shawn Escarciga – at the time Assistant Director of Culture Push – reacted as an individual concerned for the impact that the loss of work would have on people who are already living precariously and responded by immediately starting a GoFundMe, the NYC Low-Income Artist/Freelancer Relief Fund. He was immediately joined by Nadia Tykulsker, one of the current Culture Push Board members. This was not an initiative begun by Culture Push, but, early in the process Shawn and Nadia reached out to Culture Push staff to talk about fiscal sponsorship for the Fund. I had also been thinking about this, and it was great to come together and offer this fiscal sponsorship to a fund that was addressing such urgent need. The fund has, to date, raised over $150,000.

At Culture Push we often talk about the “performance of institution”: that is, we are very small and barebones with a modest budget, but, because we are in good financial standing and our organizational bona fides are strong, we are able to act as a institutional partner when people require a financial or otherwise established entity to get what they need. So, after the success of the partnership with the NYC Low-Income Artist/Freelancer Relief Fund, we decided, for now, to expand our fiscal sponsorship program to include emergency funds independently initiated by staff, Fellows, and other artists in our community that serve low-income, BIPOC, and queer artists, and artists and others based in vulnerable New York City neighborhoods. So far, besides the NYC Low-Income Artist/Freelancer Relief Fund, we are also acting as a sponsor for the Dance Union’s NYC Dancers Relief Fund (COVID-19), started by J. Bouey and Melanie Greene, and for the North Bronx Collective, a group of activists in the Bronx (Alicia Grullòn, a Fellowship alum and current Board member, is a member of the group). By serving as a conduit for higher levels of funding from foundations or individuals, this fiscal sponsorship has so far enabled these emergency funds to greatly expand the financial support they can offer to the people they serve. We don’t take an admin fee, so all funds go directly to the people who need it.

ANTE: In your most recent exhibition, RE-TOOLING, artists developed multidisciplinary “practical tools” for resistance and social change, incorporating dance, performance, installation, and writing. A tool was redefined as a means for “individuals to change their environment (socially, politically, physically) or engage with it in a new way.” Can you speak on the power of creative tools and outlets to help us cope in times of hardship/uncertainty?   

CP: Culture Push is grounded in the conviction that having space for imagination is as important to survival as more tangible resources like food and shelter. Indeed, imagination is how we figure out how to gain those resources under difficult circumstances. Imagination allows us to create work-arounds and new situations when a situation is challenging, but also gives us space to be present, or to escape, or to fully realize ourselves as individuals or as members of a group. It allows us to transcend difficulty, to connect to each other and to the other creatures we share space with, to invent new ways of being.

So having access to creativity is imperative for all people, especially people in difficult circumstances. And everybody is creative–whether the results of creative endeavor are recognized as “art” by a mainstream art world is immaterial. Sometimes it takes a nudge here and there for people to find a voice, but it’s always present. The artists in the RE-TOOLING show have developed some nudging tools par excellence, and there are many important voices that are born from their experiments. I’m also reminded of Claudia Prado, who has devised a writing workshop that she runs with working-class Spanish-speaking immigrants (documented and undocumented). The work these people, mostly women, come up with is gorgeous and valuable, from voices we don’t hear often enough. The voices come out easily–they just need the right opportunity and the right catalyst.

ANTE: In addition to physical exhibitions and public projects, Culture Push also features the online journal PUSH/PULL. Can you explain how this publication is integral to the Culture Push mission, and how digital publications/exhibitions could be a way for arts organizations to adapt in the time of social distancing?

CP: This is a great question, and definitely one we have been thinking about a lot. From the beginning we have seen some form of publication as an asset to the Culture Push community. The first version of this was IdeaNEWS, a publication that reflected on the year that had passed through its form rather than its content. IdeaNEWS was active from 2009-2011. Then, in 2015, our then-Assistant Director Madelyn Ringold-Brown, proposed starting an online publication as a supplement to the Fellowship–a place for Fellows to publicly share their process, work with collaborators, develop ancillary philosophies… basically another part of the public square. It’s since evolved to be a venue where our Associated Artists engage as well. 

CP artists usually bring together groups of people as an integral part of their projects, but now that physical distancing has become a norm and so much of our lives are happening online, we will need a different venue for gathering and creating community. Since PUSH/PULL is already there, and is already known as a venue for quality content, we plan to expand it as a platform, and bring in as much of our community as possible. It’s an exciting possibility, because, while it has been an effective venue for writing, because it lives mainly online it also has been a repository for video, images, graphics, and other media. We are also exploring how it can be interactive.

ArtCraftTech: Tracing Trash, 2010, at McCarren Park. Photo by Peter Stankiewicz

ANTE: One of your organization’s early projects, ArtCraftTech, brought together several creative disciplines (artists, scientists, technology experts) to find artistic and practical solutions to short-term problems, like waste management, through collaboration and dialogue. What are some takeaways on how creative, publicly engaged projects like these can help us deal with real-world problems and inspire collective action for change? 

CP: When we first established Culture Push, all three co-founders started different programs. ArtCraftTech was my “baby,” so to speak, and the form of the program reflected both my experience in devising collaborative performance and my experience working in microbiology laboratories. 

I have a desire to address so-called “real-world” problems directly, but I am also suspicious of the abbreviated process that many cross-sector endeavours seem to engage in. With ArtCraftTech, I gathered people from different professions together and acted as a facilitator as we decided, all together, what problem(s) we wanted to take on. Once we determined that, we decided what questions we wanted to ask, but were not expected to come up with workable solutions–it was clear that solving the problems we were taking on required deep systemic change and far more resources than we had on hand. We did generally end up coming up with some very concrete possibilities for mitigating the problem, but also more subtle approaches, and projects that were provocations as well as “solutions.”

 Engaging in this process, which was a series of meetings that took place over several months, really showed us all how a long, slow, thoughtful process of development can illuminate different aspects of a problem, and bring new ideas to the fore that may have been hiding underneath the more obvious solutions. This was reminiscent of (good) laboratory research, where repeated experiments and the data they bring leads you into unexpected territory, and shows you where you need to go. It’s interesting to think about this now, because, when I was working in laboratories, I was working with HIV, and there is a delicate tension, in disease research, between the urgency of cure and the need for caution and careful observation. I think we’re all being gripped in that narrative now–so much desiring a quick fix for this overwhelming pandemic, but in danger of grabbing on to the first dubious solution that comes along…

Anyway, I digress. 🙂  This understanding of the importance of process imbued all of the co-founders’ programs, and it definitely influenced the form for the Fellowship for Utopian Practice. We were clear from the beginning that the Fellowship needed to be at least a year long, and it needed to privilege process over product, or, as I eventually said, “Process is our product.” This was somewhat tongue-in-cheek, but it’s also true–we are advocating for an arts ecosystem that privileges and supports a thoughtful development process as much as if not more than a specific product or object. Only this will truly allow for deep conversation and lasting change.

ANTE: Can you tell us about some of your recent initiatives and where Culture Push headed in the near future?

CP: Currently our big project is Walking the Edge, a project we’re doing in collaboration with Works on Water and the NYC Department of City Planning. The two arts organizations are working with the Waterfront and Open Spaces Division of the NYC DCP to create a durational artwork that invites everybody to walk all 520 miles of New York City’s coastline, to get people involved with thinking about NYC as a city of water, and to gather deep engagement around the DCP’s Comprehensive Waterfront Plan for 2030. That walk was supposed to start on May 1 (520 in 5/20, get it?) and continue for 24 hours a day until the whole coast was covered. So yeah. We are adjusting. It’s interesting, actually, and not entirely bad, to slow down and reconsider. So, instead of the walk this year, now we are launching prompts and questions and suggestions and performances about our waterfronts, by artists from Culture Push and Works on Water, every Friday at noon on Instagram (at @works_on_water, @culturepusher, and @nycwaterfront).  

Also, we have gathered all the materials for a 10th Anniversary publication that featured several Fellows writing about subjects related to the projects they did with CP, and we were planning to publish and print in April and distribute in June of this year. Of course now that timeline has shifted, but we will be making that available soon as a downloadable .pdf

For the future? Interesting question. There was the Plan for the Future Before, and there’s a Plan for the Future Now. We were finally thinking about creating a hub space for Culture Push (we have been an itinerant organization this whole time, with no fixed physical location or office). That’s still our desire, but, because so many things are so up in the air, how that will play out is very much an open question. Regardless, we will continue supporting artists as they collaborate with communities and create spaces for imagination and solidarity.

 

Pushing Ten Years! Culture Push Benefit + Art Raffle Supports Socially Engaged Art Leading Up to Ten Year Anniversary

Culture+Push+BENEFIT

Culture Push, an innovative NYC-based nonprofit arts organization promoting civic engagement, is hosting their annual benefit on Tuesday, June 26 from 6-9 pm at the Abrons Art Center, 466 Grand Street (#201) New York, NY. This fundraising event honors Art in Odd Places Founder Ed Woodham while raising funds to support one of the nonprofit’s central missions, the Fellowship of Utopian Practice, which funds artists to create socially-engaged projects across a range of mediums and with a variety of audiences in mind. Tickets are still available here – there’s still time to join in and be a part of innovative and experimental social practice Culture Push brings to life! Tickets to the party start at $25, with a $75 option to enter the raffle and leave with a fabulous limited edition artwork!

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Artwork by Chloë Bass for Culture Push benefit raffle

Works are available in the raffle by innovative artists such as Chloë Bass, Caroline Woolard, Aricoco, Todd Shalom and so many more! The Benefit not only continues to support Utopian Practice fellows including Clarivel Ruiz, Chris Ignacio, Kanene Ayo Holder & Jodie Lyn-Kee-Chow, Theodore Kerr, Hidemi Takagi, the Chinatown Art Brigade and more. All artists call attention to the intersection between social and civic participation and the arts. This is a sentiment also advanced by Art in Odd Places founder Ed Woodham, the honoree of the event. Art in Odd Places, a nonprofit arts festival taking place along 14th street in New York City, is in its 14th year and has allowed experimental practice along the length of this public corridor in Manhattan.

ArtRaffleSample-Aricoco ,_Carnivorous Flower no.13__ 2016 acryliccollagegouache on paper 8.5__x8.5__ (It's framed)_
Artwork by Aricoco for Culture Push benefit raffle

Imaginative problem-solving and the genesis of social art lie embedded in the foundation of Culture Push’s mission. Flexible, responsive and avant-garde, Culture Push is celebrating its ten-year anniversary of producing innovative art projects in public for a wide audience. Founded by Clarinda Mac Low, Aki Sasamoto and Arturo Vidich, the founders have mined their respective backgrounds in visual and performing arts to create a platform for artists engaging with creative expression within the public context. Come and attend the Culture Push benefit, win a great artwork, meet inspiring artists and celebrate what is almost ten full years of experimental public art – with many more to come!

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Fellow for Utopian Practice Jodie Lyn-Kee-Chow

 

 

 

Chashama Gala and Art Party Shakes Up Spring Art Gala Season

“This isn’t your grandmother’s charity fundraiser.” Arts patron and Chashama Artistic Director Anita Durst sets the stage with this quip for the upcoming Chashama Gala, billed as the most outrageous art party of the year. The event takes place on Thursday, June 7 with the gala running from 6 pm-9 pm and the Afterparty from 9 pm-12 midnight.

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Sean Langhaus’ AcroYoga from Chashama 2017 Gala (courtesy Sunny Norton)

Over 30,000 square feet of unused office space will be repurposed as a platform for an artistic carnival for the senses, complete with a wide array of interactive art experiences with entertainers, artists and performers engaging guests throughout the evening. The dazzling artistic program will take place at 4 Times Square in New York City. The labyrinthine array of encounters at this year’s Gala will honor renowned artist Tony Bechara and IVY: The Social University.

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Flambeaux Fire – Living Candelabras – (courtesy Manny Inoa / Chashama)

Securing opportunities for 15,000 artists since its beginning in 1995, Chashama partners with property owners to secure spaces for artists to exhibit. All proceeds from the events will support Chashama’s mission to give artists space to create and present their work, while providing free art programming in underserved communities. For more information on Chashama’s programs and mission please visit the organization’s website.  For further information on the event/ticketing, please contact Suzannah Kellner- 646-5946347; email: Suzannah@chashama.org