E R I N E L D E R
Erin Elder is an independent curator of contemporary art guided by interests in land use, experimental collaboration, and non-traditional modes of expression. Her research-driven projects take highly participatory forms, working with a broad definition of art to bring audiences into a direct experience of particular places.
From 2012 - 2015, she was the Visual Arts Director at the Center for Contemporary Arts in Santa Fe, where she curated 50+ exhibitions and many public programs. Under her direction, the program worked directly with artists on exhibitions of new work, designed specifically for the unique gallery spaces at CCA. She has also produced projects with a variety of institutions including Yerba Buena Center for the Arts, Württembergischer Kunstverein, Creative Time, the Center for Land Use Interpretation, International Symposium on Electronic Arts and the Museum of Contemporary Art in Denver. Her writing has been published by University of Minnesota Press, University of Houston Press, and various regional magazines, including two self-published blogs.
Underscoring Erin's work is a commitment to the creative process and direct support for artists. From 2009 - 2013, she cooperatively founded and directed PLAND, an off-the-grid residency program near Tres Piedras, NM. She is contributing faculty at Santa Fe University of Art and Design and works with the Rural Environments Field School at University of Colorado. With an MA in Curatorial Practice from California College of the Arts and 15 years of experience in the art world, Erin recently launched Gibbous, a consulting service that supports committed artists at pivotal moments in their careers.
Erin is based in New Mexico and enjoys hiking, yoga, and drawing. She is an avid reader of novels and loves a good conversation.
... because creative people deserve creative support.
Gibbous is a set of professional services made available to committed artists at pivotal moments in their careers to support a sustainable creative lifestyle.
With a unique focus on supporting artists and organizations with hybridized or multi-disciplinary practices, Gibbous steers clients towards a more authentic engagement with the new creative economy.
As a woman-owned, creative enterprise, Gibbous provides:
custom support packages for individual artists
scalable professional development workshop opportunities for schools and arts non-profits
strategic planning for new organizations
high-impact consulting for entities interested in working effectively with artists
useful tools and meaningful experiences to meet any creative growth opportunity
Visit http://gibbouscreative.net for a full menu of services.
LOT is a process-driven and research-based project located in Miami, FL that aims to investigate the legacies and possibilities of the fenced vacant lot. Co-curated by Erin Elder and Felecia Carlisle, the project aims to address of these unique spaces with temporary site interventions as one of several possible outcomes.
Miami is one of the fastest growing cities in the United States. It is home to a wealthy paradox of influences, histories, personas, agendas, fantasies, exploits, economies, languages, cultures, and dreams. LOT highlights the city’s vacant lots as a point of departure for a considered, complex and creative investigation of current trends in development, land use, speculation, space, and power.
Support for LOT is provided by Cannonball through its WaveMaker Grants program, which is part of the Andy Warhol Foundations’s Regional Regranting Program. WaveMaker Grants is supported by the Andy Warhol Foundation for the Visual Arts, John S. and James L. Knight Foundation, and the Miami-Dade County Department of Cultural Affairs.
For more info: www.lotworks.org
Center for Contemporary Arts
2012 - 2015
Santa Fe, NM
For three and a half years, Erin was the Visual Arts Director and conceptualized and implemented CCA's year-round, multidisciplinary visual and performing arts program. On average, CCA produces 16 exhibitions and 40+ public programs annually. Erin's passion involves working closely with artists to create new work that is unique to the context of CCA and that addresses important contemporary issues. During her time, she built the department's staff, budget, and programmatic priorities with a focus on supporting committed artists with a regional connection.
2009 - 2013
Tres Piedras, NM
PLAND, Practice Liberating Art through Necessary Dislocation, was a multidisciplinary organization that supported the development of experimental and research-based projects through a variety of on and off-site programs. Headquartered off-the-grid in Tres Piedras, New Mexico, PLAND was a hands-on, exploratory approach to Do-It-Yourself, alternative living.
PLAND was supported by Graham Foundation for Advanced Studies in Fine Arts; McCune Foundation; The Idea Fund, part of Andy Warhol Foundation for the Visual Arts regional regranting program; among others. PLAND was a semi-finalist and a finalist for support from Creative Capital.
October 11 - January 5, 2014
CCA, Santa Fe
Atomic Surplus was a multi-faceted project that examined what it means to live in the birthplace of the atomic bomb. Atomic Surplus consisted of a major group exhibition; a sub-exhibition of historic artworks; a film series; a lecture series; an essay-driven exhibition catalog; and online archive.
Through a multi-pronged approach and working with diverse partners, Atomic Surplus illustrated a diversity of perspectives on the nuclear legacy. The project not only referenced historical moments and regional connections, but used New Mexico and the WWII-era as a touchstone for looking at much more global and contemporary consequences.
Artists: Center for Land Use Interpretation, ChimÎPom, Peter Cusack, Nina Elder, Eric Lusito, Rankin & Dub Ainu Band, Vanessa Renwick, Bettina Samson, Jim Sanborn, Claudia X. Valdes, Greta Young, Luca Zanier as well as Tony Price and Ed Grothus, Megan Prelinger, and elements from the Los Alamos Historical Archive.
July 12 - September 22, 2013
CCA, Santa Fe
Making Places chronicled the life of two artists -- Linda Fleming and Michael Moore -- who have been married for decades but have never been exhibited together. At once a retrospective, a new commission, a 3D instruction manual, Making Places was an intimate examination of what it takes to develop an art-driven life. Meshing biography with mature bodies of work – some of which span 45+ years – this exhibition was a portrait of the individuals it highlighted, but moreover, it evidenced the possibilities and challenges of merging art and life.
Dust in the Machine
September 21 - November 25, 2012
CCA, Santa Fe
Dust in the Machine was a group exhibition that presented a spectrum of interpretations of the industrialized West, as well as its promises and failures. CCA presented Dust in the Machine in conjunction with the 18th International Symposium on Electronic Art, a symposium and series of events exploring the intersections of art, technology and nature.
Artists: Chris Ballantyne, Lisa K. Blatt, Adriane Colburn, Bethany Delahunt, Jamey Stillings, Lucy Raven, Jesse Vogler, and Shirley Wegner.
Worlds Outside This One
June 4 – August 27, 2011
516 ARTS, Albuquerque
Worlds Outside This One featured a group of emerging international artists and innovators responding to the legacy of homesteading, squatting, hermitage and fort building. The exhibition addressed the urge for momentary acts of self-determination, creating hand-hewn spaces in the gallery and interactive experiences for visitors, as well as showcasing blueprints, shelters, journals and maps.
Artists: Justin Bagley, Amy Balkin, Michelle Blade, Building a Nation, Siraj Izhar, Jed Lind, Elysa Lozano for Autonomous Organization, Mary Mattingly, Travis Meinolf, Meow Wolf, Jay Nelson, N55, Mia Nussbaum, David Ondrik, Stephanie Smith, Swimming Cities, and David Wilson.
Caldera, Sisters, OR
Fire Shelter was a secret venue for secret events, created deep in the forest during a residency at Caldera in Sisters, Oregon. This project was an examination of place, purpose, materials, audience, and temporality.
Each Campfire Lights Anew
Project Row Houses, University of Houston, and Skydive;
Each Campfire Lights Anew was part of a larger exhibition entitled Proposals for a Socialist Colony presented by Skydive in Houston, Texas. The project involved a camping trip with students from the University of Houston and resulted in an evening of campfire cooking and singing, a campfire booklet, as well as a full-length film of the event. The project examined the essential nature of fire and the cultural significance of campfire circles throughout history, as well as their rarity in contemporary society.
Artists: Aharon, Amy Balkin, BAW, Zanny Begg, Chin Xaou Ti Won, Chto Delat, The Copenhagen Commune, José Filipe Costa, Erin Elder, Amy Franceschini, Alex Lockett, David Mobb, N55, Anna Pickering, The Public School, Jon Sack, Temporary Services, and Duncan Wooldridge.
Headlands Center for the Arts and various locations, Bolinas, CA
Becoming Commons was gathering collaboratively produced with J. Morgan Puett, Allison Smith, and Brian Conley at Headlands Center for the Arts. This dinner and townhall-style discussion looked at historical models of communes, collectives, homesteads, experimental outposts, and other forms of collective barn raising, to better articulate a contemporary understanding of "becoming commons."
Following the townhall event, Become Common was designed as an experimental retreat in Bolinas, CA to continue the conversation in an atmosphere of intentional togetherness. Collaboratively produced with Jana Blankenship and Leif Hedendal, the retreat involved participants in preparing locally sourced meals, adventure walks, a fort-building exercise on the beach, a morning of harvest on a local organic farm, film screenings, live music, bonfires, conversations, and more.
2009 - 2010
Red Legacy was a collection of essays on the possible intersections between commune building, land use, and art practice. With 57 articles, Red Legacy remains a receptacle of research, musings, and critical writing.
The Institute for Social Research and the Discovery of Art God
Richmond Art Center, CA and Wurttembergischer Kunstverein, Stuttgart, Germany
The Institute for Social Research was a pedagogical experiment turned communally-dwelling art collective that involved 30 art students from around the world. To formalize their experience, two exhibitions and a major catalog were produced in collaboration with the ISR. At the Richmond Art Center, the collective created an immersive environment exhibiting their multitudinous works. At the Württembergischer Kunstverein, the ISR made an exhibition of their work by way of consensus and hosted a series of public dinners, jam sessions, zine-making workshops, and jacuzzi parties.
Artists: Michelle Blade, Luke Butler, Donna Chung, Dina Danish, Christina Empedocles, Martina Geiger-Gerlach, Patrick W. Gillespie, Kamil Goerlich, Robert Goerlich, Tanor Hudson, Jana Jacob, Anita Kapraljevic, Byung Chul Kim, Florian Klette, Paul Kramer, Travis Joseph Meinolf, Nicholas Meyer, Helena Rempel, Cristina Rodrigo, Rosa Rücker, Marco Schmitt, Ines Lilith Schreiner, Gareth Spor, Kestutis Svirnelis, Sara Thacher, Christoph Trendel, Pablo Wendel with Brian Conley and Christian Jankowski.
In Situ: Richmond
Yerba Buena Center for the Arts, San Francisco
In Situ: Richmond was commissioned by Yerba Buena Center for the Arts on the occasion of Bay Area Now 5 and co-produced with Grace Kook-Anderson and Julia Hamilton. What began as an essentially geographical exploration of Richmond gave way to a deeper interest in the region’s culture of resistance, resulting in an experiential and collaborative project about civil unrest as an oppositional strategy to systemized neglect. Through an exhibition, reader, public forum, and bus tour led by residents, In Situ: Richmondaimed to reassert the position of revolutionary activity within the realm of cultural production, while inviting consideration, conversation and physical witness of an important although largely overlooked Bay Area locale.
San Francisco World's Fair of 2007
various location, San Francisco
SFWF07 was the thesis exhibition for students of CCA's MA program in Curatorial Practice. The project investigated worlds fairs as exhibition forms and also as markers of cultural progress. Responding to the city's new light rail that proposed to connect previously underserved neighborhoods to San Francisco's urban core while ushering in a wave of redevelopment and possible gentrification, the Fair was a weekend of events and projects that questioned notions of capital, commerce, transportation, community. Eleven artists were invited to present work in sites along the Third Street corridor.
Artists: Kyu Che, Daniel Cheek, Kevin Epps, Amy Franceschini, Pablo Helguera, Natalie Jeremijenko, Neighborhood Public Radio, Poppa Neutrino, William Pope.L, William Scott, Sergio De La Torre and Vicky Funari.