In 2011, the Vancouver–based Lower Mainland Painting Co. established a temporary Artworkers Hall open to anyone who wanted to attend. Sandpaper membership cards signified their bearers’ self-identification as artists.
Time/Bank currency is acquired by trading increments of one’s time, and can be swapped for goods and services within the global Time/Bank network.
These ephemera portraits represent improvised issues of Landfill Quarterly, constructed by participants at the 2011 Creative Time Summit and exhibition.
For The Cries of San Francisco, artists hawked their goods and services by calling out into the gallery and the city streets.
In Letters Sent Sometime After the Continents Divorced, Alicia Escott addresses extinct species as long lost loves.
This pamphlet illustrates how OurGoods, an online network and bartering platform, enables artists to trade labor, space, skills, and objects to accomplish independent projects.
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.
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.