Creative Time Global Residency Program Winners Announced


Creative Time has announced the recipients of their 2012-13 Global Residency Program, which provides artists with the opportunity to explore key social issues of their work through immersion in communities around the world. This year’s residents are Theaster Gates, Andrea Geyer, Suzanne Lacy, Naeem Mohaiemen, Lisi Raskin, Duke Riley and Mika Tajima. Each will receive a grant of up to $15,000.

Thanks to a grant from the Robert Sterling Clark Foundation and the support of individual donors, Global Residency recipients will have the opportunity to spend a significant amount of time in such culturally rich locations as Kazakhstan, the Netherlands, Afghanistan, Australia, Pakistan, Vietnam and Ghana, among others. The Global Residency does not offer its participants a retreat from the world, as is common of traditional artist in residency programs. Instead, the program is unique in that it invites artists to interact closely with members of niche communities—from Indian textile workers to mariners in Cape Verde—in order to explore important issues and expand the boundaries of their work.

The goals of the residency vary widely for each artist, from service-based projects to theoretical and social research. For his residency in Haiti, Gates intends to explore the relationship between art and the creation of a new economy by providing Haitian seamstresses with the resources necessary to bring their work to the global market. Lacy will travel to Colombia where she will explore the relationship between art and activism through her investigation of socially engaged art education programs.

The Global Residency Program, first established in 2010 and now in its second edition, offers artists the opportunity to retreat from the pressures of the art world, while simultaneously strengthening their artistic practice. Creative Time president and artistic director Anne Pasternak noted in a press release, “Creative Time enables artists to do just that, stepping off the treadmill of their everyday lives and obligations, ignoring the art market, and perhaps, taking an entirely new direction.”