Caroline Woolard (original) (raw)
Art.coop national network of art and design cooperatives, 2021-present, Art.coop online
Solidarity Not Charity Caroline Woolard and Nati Linares, report, 121 pages, commissioned by Grantmakers in the Arts, 2021
Solidarity Not Charity Caroline Woolard and Nati Linares, report, 121 pages, commissioned by Grantmakers in the Arts, 2021
Making and Being Caroline Woolard and Susan Jahoda, book, paperback, 7 in. x 9 in. / 700 pages, 2019
Spirits and Logistics Caroline Woolard and Suryanarayanan, report, 2021, 179 pages, commissioned by the Center for Cultural Innovation
Ceiling Tile Megaphone Caroline Woolard, paper, 23-7/8 x 23-7/8 x 3 inches, 2022
Art, Engagement Economy: The Working Practice of Caroline Woolard (onomatopee, 2020)
Art, Engagement Economy: The Working Practice of Caroline Woolard (onomatopee, 2020)
Queer Rocker (rendering) Caroline Woolard, Rhino sketch for CNC open access Wo/Manual, dimensions variable, 2014.
Queer Rocker Caroline Woolard, oak plywood, ratchet straps, newspapers, 48” x 30” x 44”, 2013.
Exchange Cafe Caroline Woolard, furniture, currency, educators, tea, milk, honey, dimensions variable, 2013.
Resources (Detail from Exchange Cafe) Caroline Woolard, tyvek, visitor signature and hand written demands, 2.6” x 6.14”, 2013.
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
The Work Dress Caroline Woolard, cordura, canvas, cotton-denim blend, performance, dimensions variable, 2007-2013.
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 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”
A Brick Holds Water / Bridge Table Caroline Woolard, terra cotta, water, commitment to practice, 2.5 x 3.5 x 10 inches each, edition of 9, 2020.
Bridge Table Caroline Woolard, 1x2 pine, marine plywood, hardware, water filter, water, 50 x 30 x 31 inches, 2020.
A Stone Holds Water Caroline Woolard, porcelain, water, commitment to practice, 2.5 x 3.5 x 10 inches each, edition of 9, 2020.
A Stone Holds Water Caroline Woolard, porcelain, water, commitment to practice, 3.5 x 2.5 x 4 inches each, edition of 32, 2020.
Untitled (installation) Caroline Woolard, power washed stained concrete, water, mycelium, pine, flood light, raw clay (white stoneware), dimensions variable, 2020.
A Brick Holds Water Caroline Woolard, terra cotta, water, commitment to practice, 2.5 x 3.5 x 10 inches each, edition of 9, 2020.
A Brick Holds Water / Bridge Table Caroline Woolard, terra cotta, water, commitment to practice, 2.5 x 3.5 x 10 inches each, edition of 9, 2020.
Caroline Woolard A Brick Holds Water, terra cotta, water, commitment to practice, 2.5 x 3.5 x 10 inches each, edition of 9, 2020.
A Stone Holds Water (detail) Caroline Woolard, porcelain, water, commitment to practice, 3.5 x 2.5 x 4 inches each, edition of 32, 2020.
A Stone Holds Water / Bridge Table Caroline Woolard, porcelain, water, commitment to practice, 3.5 x 2.5 x 4 inches each, edition of 32, 2020.
Untitled (installation) Caroline Woolard, power washed stained concrete, water, mycelium, pine, flood light, raw clay (white stoneware), dimensions variable, 2020.
The Meeting Caroline Woolard: The Meeting (installation view), The Galleries at Moore College of Art & Design (August 3 – September 21, 2019). 2019, walnut, nylon, glass, hardware, mycelium. Photo by Joseph Hu.
Caroline Woolard Caroline Woolard, A Brick Holds Water, terra cotta, water, commitment to practice, 2.5 x 3.5 x 10 inches each, edition of 9, 2020.
Countermeasures: Level Caroline Woolard, 2018, blown glass, mineral oil, turned cherry wood, 18 x 8 x 14 inches.
The Meeting (detail) Caroline Woolard: The Meeting (detail), The Galleries at Moore College of Art & Design (August 3 – September 21, 2019). 2019, walnut, nylon, glass, hardware, mycelium. Photo by Joseph Hu.
The Meeting (detail) Caroline Woolard: The Meeting (installation view), The Galleries at Moore College of Art & Design (August 3 – September 21, 2019). 2019, walnut, nylon, glass, hardware, mycelium. Photo by Joseph Hu.
The Meeting (office view) 2019, aluminum, nylon twine, hardware, foam, 24 x 24 x 18 inches. Courtesy of the artist. Foam bust prototype sculpted by Hannah Rawe, final bust to be made in mycelium. Photo by Levi Mandel.
Modular Daybed for Touching Art Caroline Woolard, 2020, Caroline Woolard, Modular Daybed for Touching Art, 2020, 80 x 15 x 38 inches, steel, aluminum, walnut, popular, acrylic, newspaper.
The Meeting Game Caroline Woolard, single-channel video loop, produced in collaboration with Alex Mallis and Meerkat Media, 2019
The Meeting (installation view) 2019, walnut, nylon, glass, hardware, mycelium. Photo by David Chou.
The Meeting (installation view) 2019, aluminum, nylon twine, hardware, foam, 24 x 24 x 18 inches. Courtesy of the artist. Foam bust prototype sculpted by Hannah Rawe, final bust to be made in mycelium. Photo by Levi Mandel.
The Meeting (detail) Caroline Woolard: The Meeting (installation view), The Galleries at Moore College of Art & Design (August 3 – September 21, 2019). 2019, walnut, nylon, glass, hardware, mycelium. Photo by Joseph Hu.
Countermeasures: Water Clock Caroline Woolard, 2017-2018, Glass and Water, 18 × 10 × 10 in, 2018.
Countermeasures: Water Clock (detail) Caroline Woolard, 2017-2018, Glass and Water, 18 × 10 × 10 in, 2018.
LISTEN Caroline Woolard, poplar, 7" x 7" x 4", work in progress, commissioned by the CAC in Ohio
Countermeasures: Water Clock (detail) Caroline Woolard, 2017-2018, Glass and Water, 18 × 10 × 10 in, 2018.
Countermeasures: Level Caroline Woolard, 2018, blown glass, mineral oil, turned cherry wood, 18 x 8 x 14 inches.
Countermeasures: Level (side) Caroline Woolard, 2018, blown glass, mineral oil, turned cherry wood, 18 x 8 x 14 inches.
Ta73060918 Caroline Woolard, 2018, blown glass, outlet, plug, oil painted poplar, 24 ½ x 24 ½ x 7 ½ inches.
Ta73060918 Caroline Woolard, 2018, blown glass, outlet, plug, oil painted poplar, 24 ½ x 24 ½ x 7 ½ inches.
Ta73060918 (orange) Caroline Woolard, 2018, blown glass, outlet, oil painted plug, poplar, 24 ½ x 24 ½ x 7 ½ inches.
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 Caroline Woolard, 2018, solid glass, 22 x 16 x 6 inches.
Untitled (Imperial Forms) Caroline Woolard, cherry wood, poplar, oil paint, 72" x 15" x 15", 2017.
Shaker Residence Caroline Woolard, birch wood, sheetrock, paint, performance, 6’ x 3’ x 12’, 2009.
Untitled (Imperial Forms) Caroline Woolard, cherry wood, poplar, oil paint, 72" x 15" x 15", 2017.
Ladders (for the Study Center for Group Work) Caroline Woolard, plywood, steel, paint, dimensions variable, 2016.
Untitled (Imperial Forms) Caroline Woolard, cherry wood, poplar, oil paint, 72" x 15" x 15", 2017.
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 Caroline Woolard, cherry wood, powder coated steel, dyed stoneware, 39” x 36” x 72” each, edition of 5 (forming a circle), 2016.
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 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) Caroline Woolard, Rhino sketch for 3D printing, 2016.
Study Center for Group Work (installation view) Caroline Woolard, steel, poplar, study center materials, plexiglass, dimensions variable, 2016.
DIY Ruin Caroline Woolard, turned poplar, oil paint, dimensions variable, 2016.
Study Center for Group Work (rendering) Caroline Woolard, Rhino sketch for 3D printing, dimensions variable, 2016.
Ladders (for the Study Center for Group Work) Caroline Woolard, plywood, steel, paint, dimensions variable, 2016.
Now Caroline Woolard, video still, single channel video, 2017
LISTEN Caroline Woolard, cast steel and bronze, electroplated with gold, 1" x 2" x 1", 2018, commissioned by the Ohio CAC
Countermeasures: Water Clock Caroline Woolard, 2017-2018, Glass and Water, 18 × 10 × 10 in, 2018.
Countermeasures: Water Clock Caroline Woolard, 2017-2018, Glass and Water, 18 × 10 × 10 in, 2018.
Countermeasures: Water Clock Caroline Woolard, 2017-2018, Glass and Water, 18 × 10 × 10 in, 2018.
Marx for Cats (marxforcats.com) Caroline Woolard, Leigh Claire La Berge, Or Zubalsky, 2018-2019, glass, website, video, installation
Marx for Cats (marxforcats.com) Caroline Woolard, Leigh Claire La Berge, Or Zubalsky, 2018-2019, glass, website, video, installation
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
Media: NEA introduction, SVA Video
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
Media: NEA introduction
Project: DIY Ruin
Info: 2016, turned poplar, 18" x 16" x 16" each, oil paint pickling, felt
System: Study Center
Media: NEA introduction, SVA Video
Project: LISTEN
Info: listening object made for CincyStories, steel and bronze, electroplated with gold, 1" x 2" x 1", 2018, commissioned by the Ohio Contemporary Art Center and Wave Pool
System: Study Center
Project: Making and Being
Info: 2015-present, card game, book published by Punctum Books, dimensions variable, made with Susan Jahoda and Emilio Martinez Poppe as a contribution to BFAMFAPhD
System: BFAMFAPhD
Project: New Economic Policy
Info: 2015, Disclaimed Fabric, Quotation on wall, Clitoral Art, in collaboration with Lika Volkova and Leigh Claire La Berge
Project: Recipe House
Info: 2010, locust wood, lumber straps, water drums, tires, screen, assorted hardware dimensions variable, in collaboration with Kate Cahill and Tara Marandino
Project: The Meeting
Info: 2018-present, mycelium, board room office table and chairs, walnut, nylon, poplar, acrylic, hardware, performance, dimensions variable, Photo by Joseph Hu.
System: Study Center
Project: Z Artists Report Back
Info: 2014, report, video, contribution to BFAMFAPhD made in collaboration with Susan Jahoda, Blair Murphy, Vicky Virgin, Caroline Woolard, Zipeng Zhu
System: BFAMFAPhD
Projects x Platforms Workshop @ Yale School of Art
Thursday, October 10, 5:30PM
Caroline will be a facilitating a Projects x Platforms workshop during Night School at Yale School of Art on October 10th.
Achieving the new graduate dream: building sustainable business success at a small scale
(June 2014) Written by Aaron Fry, Steven Faerm, and Reina Arakji, professors in art and design at Parsons The New School for Design in New York City.
Art21 (2014)
(May 2014) Jacquelyn Glesisner on BFAMFAPhD in Art21.
Art21 (2015)
(July 2015) Caroline Woolard on NYC Real Estate Investment Cooperative in Art21.
Art Engagement Economy 01 Foreword
Art, Engagement, Economy: the Working Practice of Caroline Woolard proposes a politics of transparent production in the arts, whereby heated negotiations and mundane budgets are presented alongside documentation of finished gallery installations. Readers follow the behind-the-scenes work that is required to produce interdisciplinary art projects, from a commission at MoMA to a self-organized, international barter network with over 20,000 participants. With contextual analysis of the political economy of the arts, from the financial crisis of 2008 to the COVID pandemic of 2020, this book suggests that artists can bring studio-based sculptural techniques to an approach to art-making that emphasizes interdisciplinary collaboration and dialogue.
Foreword by Patricia C. Phillips; introduction by Caroline Woolard; texts by D. Graham Burnett, Alison Burstein, Stamatina Gregory, Larissa Harris, Leigh Claire La Berge, Stephanie Owens, Cybele Maylone, Steven Matijcio, Sheetal Prajapati, Caitlin Julia Rubin, Mierle Laderman Ukeles, and Caroline Woolard; interviews by Thyrza Nichols Goodeve and Tina Rivers Ryan; illustrations by Caroline Woolard; design by Angela Lorenzo; and text editing by Helen Hofling. Commissioned by Moore College of Art and Design for the inaugural Walentas Endowed Fellowship of 2018–2020.
https://book.carolinewoolard.com/
Art Engagement Economy 02 Mierle Laderman Ukeles and Tina Rivers Ryan
Interviews between Caroline Woolard and Mierle Laderman Ukeles and Tina Rivers Ryan
https://book.carolinewoolard.com/chapter-3-ourgoods-and-tradeschool
Art Engagement Economy 03 Welcome Manifesto
Welcome & Manifesto
https://book.carolinewoolard.com/welcome
Art Engagement Economy Chapter 1
The Meeting
https://book.carolinewoolard.com/chapter-1-the-meeting
Art Engagement Economy Chapter 2
The Study Center for Group Work
https://book.carolinewoolard.com/chapter-2-study-center
Art Engagement Economy Chapter 3
OurGoods.org and TradeSchool.coop
https://book.carolinewoolard.com/chapter-3-ourgoods-and-tradeschool
Art Engagement Economy Chapter 4
Exchange Café
https://book.carolinewoolard.com/chapter-4-exchange-cafe
Art Engagement Economy Chapter 5
BFAMFAPhD
https://book.carolinewoolard.com/chapter-5-bfamfaphd
Art Engagement Economy Chapter 6
LISTEN
https://book.carolinewoolard.com/chapter-6-listen
Art Engagement Economy Chapter 7
Capitoline Wolves and Queer Rocker
https://book.carolinewoolard.com/chapter-7-capitoline-wolves-and-queer-rocker
Art Engagement Economy Chapter 8
Carried on Both Sides
https://book.carolinewoolard.com/chapter-8-carried-on-both-sides
Artforum (2016)
(October 2016) Wendy Vogel on The Study Center for Group Work in Artforum.
Art in America (2014)
(February 2014) Reframing the Debt Debate with BFAMFAPhD by Nate Cohan for Art in America.
Art in America (2016)
(October 2016) Cathy Lebowitz on The Study Center for Group Work in Art in America.
artnet News (2017)
(January 2017) These 11 Artists Will Transform the Art World in 2017 by Christian Viveros-Fauné in artnet News.
BFAMFAPhD: On the Cultural Value Debate
(February 2015)
BOMB (2015)
(July 2015) Caroline Woolard by John Haskell in BOMB.
Core 77 (2013)
(June 2013) Ray Hu on Exchange Cafe and Barricade Bed in Core 77.
Crains New York (2015)
(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)
(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
(May 2014)
Cultural Research Network (2015)
(March 2015) The Cultural Research Network on BFAMFAPhD.
Deep Craft (2009)
(April 2009) Interview with Caroline Woolard in Deep Craft.
Digicult
Art, Activism and Making With Caroline Woolard by Zoe Romano in Digicult.
Fast Company (2011)
(February 2011) Anya Kamenetz on OurGoods and Trade School in Fast Company.
Hyperallergic (2012)
(May 2012) Alternative Economies: A Conversation With Caroline Woolard in Hyperallergic.
Hyperallergic (2014)
(June 2014) Jillian Steinhauser on BFAMFAPhD in Hyperallergic.
Hyperallergic (2019)
(November 2019) Gabrielle Welsh on Re:Working Labor in Hyperallergic.
I do not have a boss!
(Solidarity Economy Poster, 2010)
J20 Solidarity Economy POSTER (English)
J20 Solidarity Economy POSTER (Mandarin)
J20 Solidarity Economy POSTER (Spanish)
LISTEN: A Case Study in Socially Engaged Art
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
Making and Being full book (2019)
Making and Being offers a framework for teaching art that emphasizes contemplation, collaboration, and political economy. Authors Susan Jahoda and Caroline Woolard, two visual arts educators, share ideas and teaching strategies that they have adapted to spaces of learning which range widely, from self-organized workshops for professional artists to Foundations BFA and MFA thesis classes. This hands-on guide includes activities, worksheets, and assignments and is a critical resource for artists and art educators today. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content.
Online Platforms Are Not Enough. Artists Need Affordable Space. (2016)
(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
Peers Inc (2015)
(June 2015) Peers Inc written by Robin Chase.
Rhizome (2010)
(January 2010) Interview with Caroline Woolard of OurGoods in Rhizome.
Script for a NYC Real Estate Investment Cooperative
(March 2015)
Solidarity Not Charity: A Rapid Report (2021)
This report is about the ways that arts and culture grantmakers can engage in systems-change work that addresses root causes rather than symptoms of cultural inequity. The cultural sector is actively seeking alternatives to business-as-usual to create economic and racial justice in the sector and beyond. Grantmakers can play a role in the transformation of the sector by following the lead of BIPOC creatives who are innovating models for self-determination and community wealth. This work is part of an emergent movement in the United States that is known globally as the Solidarity Economy.
South Atlantic Quarterly (2015)
(July 2015) Leigh Claire La Berge on Trade School in the South Atlantic Quarterly.
Special Interest Fund
Art.coop is launching a special interest fund with Movement Strategy Center.
Statement of Solidarity with #UMaineFuture
(April 2014) by Caroline Woolard
Storefront for Art and Architecture (2015)
(August 2015) Manifesto Seires: Measuring Architecture at the Storefront for Art and Architecture.
The Brooklyn Quarterly (2013)
(November 2013) Jillian Steinhauer on OurGoods, Trade School, and Exchange Cafe for the Brooklyn Quarterly.
The Brooklyn Rail (2017)
(November 2017) Heather Schatz on The Study Center for Group Work in The Brooklyn Rail.
The Brooklyn Rail (2018)
(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)
(2011) The Edupunks' Guide to a DIY Credential written by Anya Kamenetz and put forth by Smashwords Edition.
The Mesh (2012)
(February 2012) The Mesh: Why the Future of Business is Sharing written by Lisa Gansky put forth by Penguin Press.
The Nation (2012)
(March 2012) Laura Flanders on OurGoods in The Nation.
The New Yorker (2011)
(March 2011) Nana Asfour on Trade School in The New Yorker.
The New Yorker (2014)
(October 2014) Peter Schjeldahl on BFAMFAPhD in The New Yorker.
The New York Times (2010)
(February 2010) Emily S. Rueb on Trade School in the New York Times.
The New York Times (2013)
(March 2013) Randy Kennedy on Trade School in the New York Times.
The New York Times (2016)
(October 2016) Martha Schwendender on The Study Center for Group Work in The New York Times.
The Sharing Economy (2016)
(May 2016) The Sharing Economy written by Arun Sundararajan and put forth by The MIT Press.
The Village Voice (2015)
(October 2015) Madison Margolin on NYC Real Estate Investment Cooperative in The Village Voice.
The Wall Street Journal (2011)
(February 2011) V.L. Hendrickson on Trade School in the Wall Street Journal.
Trigger Magazine (2023)
(November 2023) Dreaming Up Collecive Energies from the Editors
Upworthy (2015)
(August 2015) Onnesha Roychoudhuri on NYC Real Estate Investment Cooperative in Upworthy.
Wired (2013)
(December 2013) Natalie Jeremijenko selects Caroline Woolard for The Wired Smart List.