This pamphlet illustrates how OurGoods, an online network and bartering platform, enables artists to trade labor, space, skills, and objects to accomplish independent projects.
These ephemera portraits represent improvised issues of Landfill Quarterly, constructed by participants at the 2011 Creative Time Summit and exhibition.
Produced in response to a problem Ghana Think Tank collected during its residency at the Queens Museum of Art, this card is designed to mediate an immigrant-officer encounter.
For The Cries of San Francisco, artists hawked their goods and services by calling out into the gallery and the city streets.
In Skidbladnir’s Figurehead (2009-2010), a magical ship of thirteenth-century Norse myth is used to navigate the rising waters that surround Gothenburg.
Mass Ventriloquism filled Gothenburg’s Valsalen—the upholstered belly of a taxidermied blue whale named Carolina—with the voices of fifteen women.
These cards document responses to a question Brindalyn Webster posed to attendees at Bay Area community meetings: “If this meeting was a piece of architecture, what would it be?”
Through actions ranging from gathering sidewalk soot to designing rulers based on the lengths of participants’ feet, Futurefarmers: Intervals explored methods of learning about oneself and the world by walking.