Proposal for The Meeting (office view)

Proposal for The Meeting (office view) 2019, aluminum, nylon twine, hardware, foam, 24 x 24 x 18 inches. Courtesy of the artist. Photo by Levi Mandel.

Proposal for The Meeting (installation view)

Proposal for The Meeting (installation view) 2019, aluminum, nylon twine, hardware, foam, 24 x 24 x 18 inches. Courtesy of the artist. Photo by Levi Mandel.

Proposal for The Meeting (installation view)

Proposal for The Meeting (installation view) 2019, aluminum, nylon twine, hardware, foam, 24 x 24 x 18 inches. Courtesy of the artist. Photo by Levi Mandel.

Countermeasures: Water Clock

Countermeasures: Water Clock Caroline Woolard, 2017-2018, Glass and Water, 18 × 10 × 10 in, 2018.

Countermeasures: Water Clock (detail)

Countermeasures: Water Clock (detail) Caroline Woolard, 2017-2018, Glass and Water, 18 × 10 × 10 in, 2018.

Countermeasures: Water Clock (detail)

Countermeasures: Water Clock (detail) Caroline Woolard, 2017-2018, Glass and Water, 18 × 10 × 10 in, 2018.

Countermeasures: Level

Countermeasures: Level Caroline Woolard, 2018, blown glass, mineral oil, turned cherry wood, 18 x 8 x 14 inches.

Countermeasures: Level (side)

Countermeasures: Level (side) Caroline Woolard, 2018, blown glass, mineral oil, turned cherry wood, 18 x 8 x 14 inches.

Ta73060918

Ta73060918 Caroline Woolard, 2018, blown glass, outlet, plug, oil painted poplar, 24 ½ x 24 ½ x 7 ½ inches.

Ta73060918

Ta73060918 Caroline Woolard, 2018, blown glass, outlet, plug, oil painted poplar, 24 ½ x 24 ½ x 7 ½ inches.

Ta73060918 (orange)

Ta73060918 (orange) Caroline Woolard, 2018, blown glass, outlet, oil painted plug, poplar, 24 ½ x 24 ½ x 7 ½ inches.

Ta73060918 (orange)

Ta73060918 (orange) Caroline Woolard, 2018, blown glass, outlet, oil painted plug, poplar, 24 ½ x 24 ½ x 7 ½ inches.

Why Am I Talking (W.A.I.T.) Tooth

Why Am I Talking (W.A.I.T.) Tooth Caroline Woolard, 2018, solid glass, 22 x 16 x 6 inches.

Untitled (Imperial Forms)

Untitled (Imperial Forms) Caroline Woolard, cherry wood, poplar, oil paint, 72" x 15" x 15", 2017.

Untitled (Imperial Forms)

Untitled (Imperial Forms) Caroline Woolard, cherry wood, poplar, oil paint, 72" x 15" x 15", 2017.

Untitled (Imperial Forms)

Untitled (Imperial Forms) Caroline Woolard, cherry wood, poplar, oil paint, 72" x 15" x 15", 2017.

Capitoline Wolves

Capitoline Wolves Caroline Woolard, cherry wood, powder coated steel, dyed stoneware, 39” x 36” x 72” each, edition of 5 (forming a circle), 2016.

Capitoline Wolves

Capitoline Wolves Caroline Woolard, cherry wood, powder coated steel, dyed stoneware, 39” x 36” x 72” each, edition of 5 (forming a circle), 2016.

Capitoline Wolves

Capitoline Wolves Caroline Woolard, cherry wood, powder coated steel, dyed stoneware, 39” x 36” x 72” each, edition of 5 (forming a circle), 2016.

Capitoline Wolves

Capitoline Wolves Caroline Woolard, cherry wood, powder coated steel, dyed stoneware, 39” x 36” x 72” each, edition of 5 (forming a circle), 2016.

Capitoline Wolves (rendering)

Capitoline Wolves (rendering) Caroline Woolard, Rhino sketch for 3D printing, 2016.

Study Center for Group Work (installation view)

Study Center for Group Work (installation view) Caroline Woolard, steel, poplar, study center materials, plexiglass, dimensions variable, 2016.

DIY Ruin

DIY Ruin Caroline Woolard, turned poplar, oil paint, dimensions variable, 2016.

Study Center for Group Work (rendering)

Study Center for Group Work (rendering) Caroline Woolard, Rhino sketch for 3D printing, dimensions variable, 2016.

Ladders (for the Study Center for Group Work)

Ladders (for the Study Center for Group Work) Caroline Woolard, plywood, steel, paint, dimensions variable, 2016.

Ladders (for the Study Center for Group Work)

Ladders (for the Study Center for Group Work) Caroline Woolard, plywood, steel, paint, dimensions variable, 2016.

Now

Now Caroline Woolard, video still, single channel video, 2017

LISTEN

LISTEN Caroline Woolard, poplar, 7" x 7" x 4", work in progress, commissioned by the CAC in Ohio

LISTEN

LISTEN Caroline Woolard, cast steel and bronze, electroplated with gold, 1" x 2" x 1", 2018, commissioned by the Ohio CAC

Queer Rocker (rendering)

Queer Rocker (rendering) Caroline Woolard, Rhino sketch for CNC open access Wo/Manual, dimensions variable, 2014.

Queer Rocker

Queer Rocker Caroline Woolard, oak plywood, ratchet straps, newspapers, 48” x 30” x 44”, 2013.

Exchange Cafe

Exchange Cafe Caroline Woolard, furniture, currency, educators, tea, milk, honey, dimensions variable, 2013.

Exchange Cafe

Exchange Cafe Caroline Woolard, Installation view and performance at the Museum of Modern Art, New York2013Furniture, local currency, educator-performers, tea, milk, honey, Dimensions variable

Resources (Detail from Exchange Cafe)

Resources (Detail from Exchange Cafe) Caroline Woolard, tyvek, visitor signature and hand written demands, 2.6” x 6.14”, 2013.

Shaker Residence

Shaker Residence Caroline Woolard, birch wood, sheetrock, paint, performance, 6’ x 3’ x 12’, 2009.

The Work Dress

The Work Dress Caroline Woolard, cordura, canvas, cotton-denim blend, performance, dimensions variable, 2007-2013.

Barricade to Bed

Barricade to Bed Caroline Woolard, Installation view at the Museum of Modern Art, New York2013, Police barricade, tennis balls, mattress, scrap wood, plumbing hardware 20” × 74” × 30”

Barricade to Bed

Barricade to Bed Caroline Woolard, Installation view at the Museum of Modern Art, New York, 2013, Police barricade, tennis balls, mattress, scrap wood, plumbing hardware 20” × 74” × 30”

Countermeasures: Water Clock

Countermeasures: Water Clock Caroline Woolard, 2017-2018, Glass and Water, 18 × 10 × 10 in, 2018.

Countermeasures: Water Clock

Countermeasures: Water Clock Caroline Woolard, 2017-2018, Glass and Water, 18 × 10 × 10 in, 2018.

Countermeasures: Water Clock

Countermeasures: Water Clock Caroline Woolard, 2017-2018, Glass and Water, 18 × 10 × 10 in, 2018.

Marx for Cats (marxforcats.com)

Marx for Cats (marxforcats.com) Caroline Woolard, Leigh Claire La Berge, Or Zubalsky, 2018-2019, glass, website, video, installation

Marx for Cats (marxforcats.com)

Marx for Cats (marxforcats.com) Caroline Woolard, Leigh Claire La Berge, Or Zubalsky, 2018-2019, glass, website, video, installation

PROJECTS

Capitoline Wolves

Project: Capitoline Wolves

Info: Capitoline Wolves (2016), cherry wood, powder coated steel, dyed stoneware, local water, hand mirrored glass, copper bowls, performance 29" x 36" x 72" each, forming a circle that is 15' in diameter
System: Study Center
Carried on Both Sides

Project: Carried on Both Sides

Info: sleep app, installation, 2016-present, in collaboration with Helen Lee, Alexander Rosenberg, and Lika Volkova
Media: SVA Video
Column

Project: Column

Info: turned cherry wood, poplar, (not included: glass form and blow mould), 72 x 12 x 12 inches, dimensions variable
System: Study Center
Countermeasures: Level

Project: Countermeasures: Level

Info: Caroline Woolard, 2018, blown glass, mineral oil, turned cherry wood, 18 x 8 x 14 inches
System: Study Center
DIY Ruin

Project: DIY Ruin

Info: 2016, turned poplar, 18" x 16" x 16" each, oil paint pickling, felt
System: Study Center

SYSTEMS

MEDIA

EVENTS

Making and Being: Building Cooperatives

Friday, February 22, 6:00PM

What if the organization of labor was integral to your project?

With members of Meerkat Filmmakers Collective and Friends of Light.

At Hauser & Wirth Publishers Bookshop 548 West 22nd Street.

The entrance to Hauser & Wirth Publishers Bookshop is at the ground floor and accessible by wheelchair. The bathroom is all-gender. This event is low light, meaning there is ample lighting but fluorescent overhead lighting is not in use. A variety of seating options are available including folding plastic chairs and wooden chairs, some with cushions.

RSVP

Making and Being: Healing and Care

Thursday, February 28, 6:00PM

How do artists ensure that their individual and collective needs are met in order to dream, practice, work on, and return to their projects each day?

With Adaku Utah and Taraneh Fazeli.

This event will be held at 151 West 30th Street  # Suite 403, New York, NY 10001.

The building entrance, elevators, and 4th floor restrooms have no steps and are fully wheelchair accessible. If you require additional assistance upon arrival, please ring the buzzer outside and someone can come down to help you.

Parking in the vicinity is free after 6 PM. The closest MTA subway station is 23rd and 8th Ave off the C and E. This station is not wheelchair accessible. The closest wheelchair accessible stations are 1/2/3/A/C/E 34th Street-Penn Station and the 14 St A/C/E station with an elevator at northwest corner of 14th Street and Eighth Avenue. Nearby Subways include the 1,2,3, A, C, and E trains at Penn Station on 34th St, and the B, D, F M, Q, ad R trains at Herald Square on 34th at 6th Ave.  Both of these stations are wheelchair accessible.

RSVP

Presentation / Studio Visits @ Residency Unlimited

Friday, March 1, 3:00PM

Caroline Woolard will present and do studio visits at the Dirt & Debt residency at Residency Unlimited.

RSVP

Making and Being: When Projects Depart

Thursday, March 14, 6:00PM

What practices might we develop to honor the departure of a project?  For example, where do materials go when they are no longer of use, value, or interest?

With Millet Israeli and Lindsay Tunkl.

 

At Hauser & Wirth Publishers Bookshop 548 West 22nd Street.

 

The entrance to Hauser & Wirth Publishers Bookshop is at the ground floor and accessible by wheelchair. The bathroom is all-gender. This event is low light, meaning there is ample lighting but fluorescent overhead lighting is not in use. A variety of seating options are available including folding plastic chairs and wooden chairs, some with cushions.

 

RSVP

Workshop for Wesleyan faculty

Wednesday, April 17, 3:00PM

Caroline Woolard and Susan Jahoda will offer a workshop for Wesleyan faculty from 3-5pm.

RSVP

Caroline will present @ SVA MFA Fine Arts

Friday, April 19, 12:00PM

Caroline Woolard will present in Sheetal Prajapati's class Artist as Educator for SVA MFA Fine Arts students.

RSVP

Making and Being: Group Agreements

Friday, April 19, 6:00PM

What group agreements are necessary in gatherings that occur at residencies, galleries, and cultural institutions today?

With Sarah Workneh, Laurel Ptak, and Danielle Jackson.

 

At Hauser & Wirth Publishers Bookshop 548 West 22nd Street.

 

The entrance to Hauser & Wirth Publishers Bookshop is at the ground floor and accessible by wheelchair. The bathroom is all-gender. This event is low light, meaning there is ample lighting but fluorescent overhead lighting is not in use. A variety of seating options are available including folding plastic chairs and wooden chairs, some with cushions.

 

RSVP

Art World(s) Conference

Friday, April 26, 6:00PM

Caroline Woolard will participate in the Art World(s) Conference with Deana Haggag, Mickalene Thomas, Melissa Levin, Titus Kaphar, and a representative from the Artist Rights Society, organized by Dexter Wimberly and Heather Bhandari.

 

Panel: You As Gatekeeper -- Defining Goals and Initiating Opportunities Facilitator: Paddy Johnson Participants: Sharon Louden, Alex Paik, Prerana Reddy, Caroline Woolard

 

Artists should not wait for others to set their goals and offer them opportunities. Because there is no one path to take, many artists today are redefining what a successful career looks like. Artist-led initiatives are proliferating and social practice is changing the structure and focus of institutions across the country. Paddy Johnson will facilitate a discussion that includes goal setting and notions of value and labor. Participants will identify real-world examples of artists taking the lead.

RSVP

Workshop with BFAMFAPhD for Culture Push

Saturday, May 11, 12:00PM

Workshop with BFAMFAPhD for Culture Push on May 11 -- details TBD

RSVP

Open Meeting for Arts Educators and Teaching Artists

Friday, May 17, 6:00PM

How might arts educators gather together to develop, share, and practice pedagogies that foster collective skills and values?

Facilitators: Members of the Pedagogy Group.

 

At Hauser & Wirth Publishers Bookshop 548 West 22nd Street.

 

The entrance to Hauser & Wirth Publishers Bookshop is at the ground floor and accessible by wheelchair. The bathroom is all-gender. This event is low light, meaning there is ample lighting but fluorescent overhead lighting is not in use. A variety of seating options are available including folding plastic chairs and wooden chairs, some with cushions.

 

RSVP

Exhibition @ Moore College of Art and Design

Saturday, September 21, 6:00PM

Caroline Woolard will have a solo exhibiton on view at Moore College of Art and Design from August 3 through September 21, 2019. The closing reception will be held on 9/20.

 

RSVP

Book Launch: Making and Being: A Guide to Embodiment, Collaboration and Circulation in the Visual Arts

Friday, October 25, 6:00PM

What ways of making and being do we want to experience in art classes?

Stacey Salazar in dialog with Caroline Woolard, Susan Jahoda, and Emilio Martinez Poppe of BFAMFAPhD.

At Hauser & Wirth Publishers Bookshop 548 West 22nd Street.

The entrance to Hauser & Wirth Publishers Bookshop is at the ground floor and accessible by wheelchair. The bathroom is all-gender. This event is low light, meaning there is ample lighting but fluorescent overhead lighting is not in use. A variety of seating options are available including folding plastic chairs and wooden chairs, some with cushions.

RSVP

TEXTS

Art Journal Open: Making & Being

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Art in America (2014)


(February 2014) Reframing the Debt Debate with BFAMFAPhD by Nate Cohan for Art in America.

Art in America (2016)

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(October 2016) Cathy Lebowitz on The Study Center for Group Work in Art in America.

Art21 (2014)

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(May 2014) Jacquelyn Glesisner on BFAMFAPhD in Art21. 

Art21 (2015)

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(July 2015) Caroline Woolard on NYC Real Estate Investment Cooperative in Art21.

Artforum (2016)

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(October 2016) Wendy Vogel on The Study Center for Group Work in Artforum.

Artists Report Back

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Artists Report Back used data about artists’ demographics, occupations, educational attainment, field of degree, and earnings as recorded by The Census Bureau’s 2012 American Community Survey (ACS) to make statements about the current conditions and contradictions of working artists and arts graduates.

BFAMFAPhD: On the Cultural Value Debate

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(February 2015)

BOMB (2015)

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(July 2015) Caroline Woolard by John Haskell in BOMB.

Caroline Woolard Career Narrative (2017)

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Caroline Woolard Work Sample (2016)

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Carried on Both Sides Writing

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Core 77 (2013)

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(June 2013) Ray Hu on Exchange Cafe and Barricade Bed in Core 77.

Crains New York (2015)

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(May 2015) Hundreds join a new kind of co-op to buy commercial property in high-rent areas by Caroline Lewis in Crains New York Business. 

Creative Commons (2016)

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(August 2016) A politics of cooperation: Caroline Woolard on free culture, fine art, and everyday life by Jennie Rose Halperin in Creative Commons.

Creative Commonwealth: Urban Community Land Trusts

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 (May 2014)

Creative Exchange (2018)

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Critical Writing about Caroline Woolard's Work

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Cultural Research Network (2015)

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(March 2015) The Cultural Research Network on BFAMFAPhD. 

Dear Viewer

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 from BFAMFAPhD (July 2014) 

Deep Craft (2009)

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(April 2009) Interview with Caroline Woolard in Deep Craft.

Digicult

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Art, Activism and Making With Caroline Woolard by Zoe Romano in Digicult.

Fast Company (2011)

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(February 2011) Anya Kamenetz on OurGoods and Trade School in Fast Company. 

Hyperallergic (2012)

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(May 2012) Alternative Economies: A Conversation With Caroline Woolard in Hyperallergic. 

Hyperallergic (2014)

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(June 2014) Jillian Steinhauser on BFAMFAPhD in Hyperallergic. 

I do not have a boss!

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 (Solidarity Economy Poster, 2010)

J20 Solidarity Economy POSTER (English)

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Print this at 11 x 17 / tabloid paper, or order a print to benefit NAACP or SPLC at: http://unterbahn.com/solidarity/

J20 Solidarity Economy POSTER (Mandarin)

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Print this at 11 x 17 / tabloid paper, or order a print to benefit NAACP or SPLC at: http://unterbahn.com/solidarity/

J20 Solidarity Economy POSTER (Spanish)

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Print this at 11 x 17 / tabloid paper, or order a print to benefit NAACP or SPLC at: http://unterbahn.com/solidarity/

LISTEN: A Case Study in Socially Engaged Art

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This is a reflection document for LISTEN, a socially engaged art project comissioned by Wave Pool and the Contemporary Art Center from 2017-2018.

LOL Cats: In Marx For Cats the Internet Confronts Its Favorite Meme

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MoMA Studio: Exchange Cafe reference book

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Online Platforms Are Not Enough. Artists Need Affordable Space. (2016)

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(June 2016) Online Platforms Are Not Enough. Artists Need Affordable Space. by Caroline Woolard in the National Endowment for the Arts.

Pedagogical Possibilities: Arts-Based Practices of Collaborative Time for Teaching the Future

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Peers Inc (2015)

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(June 2015) Peers Inc written by Robin Chase.

Proposal for Free/Open/Libre Art

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 (2012)

Rhizome (2010)

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(January 2010) Interview with Caroline Woolard of OurGoods in Rhizome.

Script for a NYC Real Estate Investment Cooperative

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 (March 2015)

Shareable (2012)

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(May 2012) Tal Berry on Trade School in Shareable. 

Shareable (2015)

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(July 2015) Cat Johnson on NYC Real Estate Investment Cooperative in Shareable.

So you want to start a platform cooperative...

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Solidarity Art Worlds

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 (February 2013)

South Atlantic Quarterly (2015)

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(July 2015) Leigh Claire La Berge on Trade School in the South Atlantic Quarterly.

Statement of Solidarity with #UMaineFuture

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(April 2014) by Caroline Woolard

Storefront for Art and Architecture (2015)

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(August 2015) Manifesto Seires: Measuring Architecture at the Storefront for Art and Architecture.

The Brooklyn Quarterly (2013)

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(November 2013) Jillian Steinhauer on OurGoods, Trade School, and Exchange Cafe for the Brooklyn Quarterly.

The Brooklyn Rail (2017)

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(November 2017) Heather Schatz on The Study Center for Group Work in The Brooklyn Rail.

The Brooklyn Rail (2018)

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(February 2018) The Art of Institutional Possibility: CAROLINE WOOLARD with Thyrza Nichols Goodeve in The Brooklyn Rail.

The Edupunks' Guide to a DIY Credential (2011)

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(2011) The Edupunks' Guide to a DIY Credential written by Anya Kamenetz and put forth by Smashwords Edition. 

The Mesh (2012)

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(February 2012) The Mesh: Why the Future of Business is Sharing written by Lisa Gansky put forth by Penguin Press.

The Nation (2012)

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(March 2012) Laura Flanders on OurGoods in The Nation. 

The New York Times (2010)

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(February 2010) Emily S. Rueb on Trade School in the New York Times. 

The New York Times (2013)

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(March 2013) Randy Kennedy on Trade School in the New York Times. 

The New York Times (2016)

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(October 2016) Martha Schwendender on The Study Center for Group Work in The New York Times. 

The New Yorker (2011)

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(March 2011) Nana Asfour on Trade School in The New Yorker. 

The New Yorker (2014)

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(October 2014) Peter Schjeldahl on BFAMFAPhD in The New Yorker. 

The Sharing Economy (2016)

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(May 2016) The Sharing Economy written by Arun Sundararajan and put forth by The MIT Press. 

The Village Voice (2015)

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(October 2015) Madison Margolin on NYC Real Estate Investment Cooperative in The Village Voice. 

The Wall Street Journal (2011)

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(February 2011) V.L. Hendrickson on Trade School in the Wall Street Journal. 

Upworthy (2015)

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(August 2015) Onnesha Roychoudhuri on NYC Real Estate Investment Cooperative in Upworthy. 

Wired (2013)

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(December 2013) Natalie Jeremijenko selects Caroline Woolard for The Wired Smart List.

artnet News (2017)

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(January 2017) These 11 Artists Will Transform the Art World in 2017 by Christian Viveros-Fauné in artnet News. 

 

TEACHING

2 Hour Workshop Template

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For teachers to think through a 2-hour workshop.

A Critique Feedback Form - Observe, Analyze, Identify Blind Spots and Generative Contradictions

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This feedback form is a meant to guide students as they develop the skills to review their peers' artwork. This worksheet is about how to speak about a project, not about the FORMAT of the critique itself (see Critique Menu for that).

A Critique Menu for Students (2016)

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A "menu" of options for students and teachers who wish to discuss and select individually appropriate structures for critique. Developed in 2016 for an MFA Fine Arts critique course at SVA by Caroline Woolard.

A Discussion Wall

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This activity allows people in a group to slow down and make an analog version of the digital experience of sharing images, quotations, and readings. Returning to these materials again and again at each gathering can be a good way to move the group, as a collective body, into itself.

A Framework: Projects, Platforms, and Practices

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As artists, we need to learn to think organizationally in order to imagine how our artwork and ideas might circulate in the world, and to take action. This workshop aims to help students and artists think through the platforms and practices that are aligned with their projects.

A Project Review Guide

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This is a guide to think through: (1) how a project communicates your intentions (2) how you can best learn and grow as an artist / designer.

Checklist for Good Presentations

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As students prepare to speak about their work and create visual presentations, I ask that they use this checklist.

Conversations: What is a successful project?

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This activity helps students define success on their own terms, and take actions toward this vision of success.

Excerpts from Making and Being (forthcoming)

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Making and Being: a Guide to Embodiment, Collaboration, and Circulation in the Visual Arts is a multi-platform pedagogical project which offers practices of collaboration, contemplation, and circulation in the visual arts. Making and Being is for arts educators who want to connect art to economy; for students who want to make artworks that reflect the conditions of their own production. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content.

Making and Being: a Guide to Embodiment, Collaboration, and Circulation in the Visual Arts is published by Pioneer Works, distributed by DAP, and is a contribution to BFAMFAPhD from Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe. The website with teaching tools, videos, and presentations to accompany Making and Being is coming soon. PRE-ORDER the book here: https://squareup.com/store/makingandbeing and download the excerpt, printed as a newspaper for our series at Hauser and Wirth, here.

 

Finding Collaborators and Creative Conversations in NYC

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A list of places where some of the most kind and generous neighbors, artists, designers, and activists I know gather -- these people make NYC great. 

Free Libre Open Source Systems and Art (FLOSSA)

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How to Start a Trade School (2012)

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I wrote this manual for other organizers of Trade School, a self-organized learning platform that runs on barter, after answering the same questions 100s of times. Louise Ma designed it, and Or Zubalsky wrote the open-source software. 

Socially Engaged Art Worksheet: APPROACH

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Socially Engaged Art Worksheet: POSITIONALITY

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Socially Engaged Art Worksheet: TIME/SCALE/MONEY Agreements

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Socially Engaged Art Worksheet: When someone says art, what comes to mind?

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Ten Leaps: A Lexicon for Art Education (DRAFT)

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The Banking Model of Art (2010)

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The Minute Hand of Social Engagement

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Ways of Being: Introduction

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(October 2017)

Ways of Being: Spaces of Learning

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(October 2017)

Woolard CV (2018)

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Z (Un)doing (Un)compensation

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(March 2014) by Caroline Woolard

ABOUT

Short Bio #1

Caroline Woolard employs sculptures and online networks to study the pleasures and pains of interdependence. Woolard has co-founded barter networks OurGoods.org and TradeSchool.coop (2008-2015), the Study Center for Group Work (since 2016), BFAMFAPhD.com (since 2014), and the NYC Real Estate Investment Cooperative (since 2016). Recent writing on her work has been published in The Brooklyn Rail, Artforum, Art in America, and The New York Times. Woolard’s work has been featured twice in the PBS / Art21 documentary series New York Close Up. Caroline Woolard is an Assistant Professor of Sculpture at the University of Hartford. Making and Being, her forthcoming book about interdisciplinary collaboration, co-authored with Susan Jahoda, will be published in the fall of 2019.

@carolinewoolard

http://carolinewoolard.com



Short Bio #2

Caroline Woolard (b. 1984) is a New York-based artist born in Rhode Island. Woolard employs sculpture, installation, and online networks to study the pleasures and pains of interdependence. Her work has been commissioned by MoMA, the Whitney Museum, the Metropolitan Museum of Art, Creative Time, the Brooklyn Museum, Cornell University, and Cooper Union. She is the recipient of a number of awards and fellowships including at Pilchuck (2018), the Lower Manhattan Cultural Council (2016), the Queens Museum (2014), Eyebeam (2013), Rockefeller Cultural Innovation Fund (2010), Watermill (2011), and the MacDowell Colony (2009). Recent scholarly writing on her work has been published in The Brooklyn Rail (2018); Artforum (2016); Art in America (2016); The New York Times (2016); and South Atlantic Quarterly (2015). Woolard’s work has been featured twice in PBS / Art21 for New York Close Up (2014, 2016). Caroline Woolard is an Assistant Professor of Sculpture at the University of Hartford and a mentor at the School of Visual Arts.  Making and Being, her forthcoming book about interdisciplinary collaboration, co-authored with Susan Jahoda, will be published in the fall of 2019.

@carolinewoolard

http://carolinewoolard.com

 

 

Medium Bio:

Caroline Woolard makes objects and systems at the intersection of art, technology, and the economy. The third and last installment of her project, Carried on Both Sides, will be shown at the Knockdown Center in New York this summer and fall (August - November 2018). Recent project premieres include Carried on Both Sides at Lesley Heller (November 2, 2017), LMAK (January 19, 2018), and Listen at Wave Pool and the Contemporary Art Center in Cincinnati (March 11, 2018). She is an Assistant Professor of Sculpture at the University of Hartford and a Mentor in MFA Fine Arts at the School of Visual Arts. She speaks internationally about art, design, technology, and economic justice. 

Recent commissions include WOUND, Cooper Union, New York, NY (2016); and Capitoline Wolves, Cornell University, Ithaca, NY (2016), and Exchange Café, MoMA, New York, NY (2014). Her multi-year, collaborative systems include OurGoods.org (since 2008); TradeSchool.coop (since 2009); BFAMFAPhD.com (since 2014); NYC Real Estate Investment Cooperative (since 2015). Recent critical writing about her work has appeared in Artforum, Art in America, and in the New York Times. Woolard’s work has been supported by residencies at LMCC (2017); NewInc (2016); Pilchuck (2015); MoMA (2014); Queens Museum (2014); and Watermill (2011) and through fellowships at Eyebeam (2013); and the MacDowell Colony (2009). Caroline Woolard's work has been the subject of two documentaries on PBS for Art21

 

Long Bio:

Caroline Woolard creates sculptures using online networks, hand built objects, and immersive environments. Woolard has co-founded multiple collaborative institutions and networks, including barter networks OurGoods.org (since 2008) and TradeSchool.coop (since 2009); cultural equity platform BFAMFAPhD.com (since 2014); and collaborative method research network The Study Center for Group Work (since 2015). Recent commissions include Listen, Wave Pool and the Contemporary Art Center, Ohio (2018); WOUND, Cooper Union, New York, NY (2016); Capitoline Wolves, Cornell University, Ithaca, NY (2016), and Exchange Café, MoMA, New York, NY (2014).

A committed teacher, Woolard’s pedagogical method is articulated in the innovative textbook and website for arts educators, Making and Being, co-authored with Susan Jahoda, will be published in the fall of 2019. Woolard is a member of the Community Economies Research Network, the Association for Contemplative Mind in Higher Education (ACMHE), and the board of the Schumacher Center for a New EconomicsCaroline Woolard is an Assistant Professor of Sculpture at the University of Hartford and a mentor at the School of Visual Arts.

Woolard’s work has been celebrated by the National Endowment for the Arts, where she delivered the 50th Anniversary keynote (2017) and in New York Close Up, the PBS / Art21 documentary series (2017). Solo exhibitions include Imperial Forms, LMAK gallery, New York, NY (2018), and Carried on Both Sides, Lesley Heller Workspace, New York, NY (2018). Group exhibitions include Crossing Brooklyn, Brooklyn Museum, Brooklyn, NY (2014), and Living as Form, Creative Time, New York, NY (2011). Woolard’s work has been supported by residencies at NEWINC, New York, NY (2017); Lower Manhattan Cultural Council (LMCC) Workspace, New York, NY (2016);  MoMA, New York, NY (2014); Queens Museum, Queens, NY, (2014); and Watermill, Water Mill, NY (2011) and through fellowships at Eyebeam, Brooklyn, NY (2013); and the MacDowell Colony, Peterborough, NH (2009).

Recent scholarly writing on her work has been published in the Brooklyn Rail (2017); Artforum (2016); Art in America (2016); The New York Times (2016); and South Atlantic Quarterly (2015). Recent visiting artist lecture appointments include the School of the Art Institute of Chicago (Chicago, WI); Williams College (Williams, MA); the University of California at Berkeley (Berkeley, CA); the Malmo Art Academy (Malmo, Sweden); University of Wisconsin at Madison (Madison, WI); and the Royal Danish Academy (Copenhagen, Denmark).

Woolard holds a BFA from Cooper Union (Sculpture, 2007) and is a recipient of the Rockefeller Cultural Innovation Fund (OurGoods, 2010-2012), the Antipode Scholar-Activist Project Award (Community Economies Collective, 2016), and the Theo Westenberger Estate Fund (2015). Woolard has been named one of 11 Artists to Transform the Art World (2017), has been listed in the WIRED Smart List (2013), ArtNet's Top 20 Female Artists (2015), and in the Top 100 Women for the Commons by the Peer to Peer Foundation (2014).

 


https://en.wikipedia.org/wiki/Caroline_Woolard

 

Woolard's upcoming eventsfull bioprojectsinstitutionswriting, and past talks are below. Download a PDF of her career narrative here and critical writing about her work here. Email Caroline Woolard [at] gmail [dot] com to request more information.