Stephanie Syjuco

Stephanie Syjuco works in photography, sculpture, and installation, moving from handmade and craft-inspired mediums to digital editing and archive excavations. Recently, she has focused on how photography and image-based processes are implicated in the construction of racialized, exclusionary narratives of history and citizenship. Born in the Philippines, she is the recipient of a Guggenheim Fellowship and has exhibited widely, including at the Museum of Modern Art, the Whitney Museum, San Francisco Museum of Modern Art, among others. She is an Associate Professor at the University of California, Berkeley, and resides in Oakland, California.

54 Perspectives

Advice for Young Artists from Working Artists.

Speculative Propositions

Examples of grant proposals and how to format project ideas into written form.

Caroline Woolard

Caroline Woolard (b.1984) is an American artist who, in making her art, becomes an economic critic, social justice facilitator, media maker, and sculptor. Since the financial crisis of 2007-8, Woolard has catalyzed barter communities, minted local currencies, founded an arts-policy think tank, and created sculptural interventions in office spaces. Woolard has inspired a generation of artists who wish to create self-organized, collaborative, online platforms alongside sculptural objects and installations.

Her work has been commissioned by and exhibited in major national and international museums including MoMA, the Whitney Museum, and Creative Time. Woolard’s work has been featured twice on New York Close Up (2014, 2016), a digital film series produced by Art21 and broadcast on PBS. She was the 2018–20 inaugural Walentas Fellow at Moore College of Art and Design and the inaugural 2019–20 Artist in Residence for INDEX at the Rose Museum, and a 2020-2021 Fellow at the Center for Cultural Innovation.

A Discussion Wall:

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.

Artists Report Back:

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.

Checklist for Good Presentations:

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.

Conversations: What is a successful project?

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

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

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).

Socially Engaged Art Worksheet: TIME/SCALE/MONEY Agreements

For Visiting Artist, Local Artist, Inviting Arts Organizations, and Partner Organizations 

Socially Engaged Art Worksheet: APPROACH

When starting a socially engaged art, it is helpful to have conversations about the range of approaches and impacts the people involved value, and why.

Socially Engaged Art Worksheet: ENGAGEMENT

For Visiting Artist, Local Artist, Inviting Arts Organizations, and Partner Organizations

Z (Un)doing (Un)compensation:

In March, 2014, Open Engagement asked: How many uncompensated people labor on the piece? What follows is an attempt to reframe the question, and the debate, around (un)compensation.