AC Discussion | This Place: 2022 Alternate Currents Working Group
Throughout 2022, Amplify’s Alternate Currents Working Group addressed issues surrounding the social, economic, and ecological dimensions that shape our understanding of what it means to be in, of, or from a “place.”
They oriented their work toward mapping and remapping urban landscapes, personal experiences of cultural self-determination and belonging, and reciprocal relationships between humans, plants, and animals that deepen our understanding of place. We collected their projects in a publication titled, This Place and had an in-depth conversation in the Ashton at Millwork Commons on January 25th to talk more about where we’ve been, how we’ve changed, and what the future might hold.
Read through the transcript below to find links to additional resources, and share your thoughts in the comments section.
Title of Discussion: This Place: 2022 Alternate Currents Working Group Panel Discussion and Book Launch
Panelist 1: David Muñoz; Panelist 2: Caitlin Cass; Panelist 3: Alex Jacobsen
Moderator 1: Nathaniel Ruleaux; Moderator 2: Katie Bettin
Contributor 1: Lee Running; Contributor 2: Joelle Sandfort; Contributor 3: Daniel Castañeda
Date of Discussion: January 25th, 2023
List of Acronyms: [KB] = Katie Bettin; [CC] = Caitlin Cass; [DC] = Daniel Castañeda; [AJ] = Alex Jacobsen; [DM] = David Muñoz; [NR] = Nathaniel Ruleaux; [LR] = Lee Running; [JS] = Joelle Sandfort; [PF] = Peter Fankhauser
Transcript
[PF] Welcome everybody. My name is Peter. I’m one of the I'm part of the Amplify team and we’re grateful to have you all here tonight for our 2022 Alternate Currents Working Group panel discussion and book launch. Alternate Currents is one of Amplify’s cornerstone programs that centers research, collaboration, and critical discussion online with the Alternate Currents blog, and in-person with this bi-monthly discussion series and a working group of artists and organizers who meet monthly to expand their creative research with a group of peers. Our 2022 Alternate Currents Working Group includes: David Muñoz, Caitlin Cass, Alex Jacobsen, Nathaniel Ruleaux, Katie Bettin, Lee Running, Joelle Sandfort, Daniel Castañeda. Holly Lukasiewicz and Shannon Elder, two other incredible people who are part of this group, couldn't be here with us tonight.
We're grateful to all these working group members and are excited to share their research in the collaborative publication we're launching tonight called This Place. The book collects work that group members produced in response to the political, environmental, and economic dimensions that shape our understanding of place and what it means to be in, of, or from a place.
We're going to kick off tonight with a rundown of what the year entailed. Lee Running is going to offer that. Then, we'll shift to the panel discussion and spend about 40-45 minutes there before we open up the floor to questions. We'll have time at the end to hang out and chat too.
Thank you again, all for being here. Thank you Annika Johnson, our incredible program co-facilitator. Thanks to the Nebraska Arts Council, Nebraska Cultural Endowment, and the Sherwood Foundation, whose support makes programs like this possible. And thanks to Millwork Commons for having us tonight and being such generous partners. With that, I’ll pass it over to Lee.
[LR] Thank you. A lot of people have asked me what this group is. This is something that I tell people I'm a part of because I'm so proud of it. A lot of people ask: “What is it that you do? What is this Working Group? What does that even mean?”
I’m new to Omaha, I only moved here in the last two years. I think moving to a new place as an adult, without a community or a job is an amazing and strange and vulnerable experience to have. Often when people move it is for something that is extrinsic. For me, I moved here for my work as an artist. And my gratitude for this group is extraordinary, because it gave me that sort of elusive thing that people talk about a lot but don't really define, which is community. Where do you meet people who you don't work with? Where do you meet people who aren't part of your faith tradition? Where do you meet people who don't go to your school? I think these are places where we're used to finding each other. To find people around the idea of “place” was a really transformative activity for me and to be shown the place of Omaha, through the eyes of this collaborative group was really an extraordinary gift.
We worked both indoors and outdoors. We came to gardens in spaces where I didn't even know gardens could exist. We met in places where we talked about gentrification and shifts in the city. We met outdoors and talked about public art and what these objects mean in the space of a city. We met in a gallery in Joelle’s home. All these people met and talked about an exhibition I put together at PACE. Gatherings like this that happened all throughout the year.
I feel like there's something powerful about making a space like this possible for each of us to reflect with one another about this place we live in. And that idea of working while walking, of talking together over food, working in non-traditional spaces did that. I hope this publication is a catalyst for all kinds of conversations. But I also hope that it's a catalyst for us to come together differently than we expect. I think we are used to public conversations and intellectual conversations happening in academic spaces. And I'm incredibly grateful for these conversations happening truly, in public. So, thank you so much for coming tonight.
[NR] Thanks, Lee. To start off the panel portion, we're going to do some quick intros. I'll introduce myself first and then we'll go to the line. My name is Nathaniel Ruleaux. I'm a partner, father and member of the Oglala Lakota Nation. I'm a visual artist, an actor, and an educator. And it's great to be here with you all and share this, this publication. I'm excited to talk more, ask some questions, and hear your questions too.
[KB] My name is Katie Bettin. I have been a part of this group for two years now. I was a part of last year's group, which looked at institutions. This year, we’re looking at place. I've been grateful to think about myself and others in both of those regards in my day-to-day work in outdoor spaces, gardens, and urban farming. I find a lot of meaning and purpose in those places. And I'm really interested in resiliency, both on the individual level and when we come together in cooperation.
[DM My name is David Munoz. I am a classically trained actor, a playwright, and a comedian. Those are my basics. A lot of my work surrounds the idea of focusing outsider perspectives. In my work, I think about what it feels to belong in a place. In this group, I liked bringing that to every place that I went to and the balance between not knowing and knowing and figuring out what belonging means. Being born and raised here as an adolescent, leaving, and coming back as an adult, I’ve rediscovered things you feel should’ve been familiar but weren’t. I felt that consistently throughout the year.
[CC] I'm Caitlin Cass. I'm a cartoonist and an installation artist. I make comics about failure throughout history. And currently, I’m working on a project about the history of women's suffrage and also racism within the suffrage movement and the ongoing threats to voting. I'm also a recent transplant. I just moved here a year and a half ago to teach at UNO. I teach illustration there. Like Lee said, it's been amazing to become part of a community. I think a lot of my work by nature is having a conversation with history and, but sort of by myself. So, to be in this group, and to be able to root myself in conversations with other artists in Omaha, has been really fabulous.
[AJ] Hey, my name is Alex, I like to make beep-boop noises on my computer. That's primarily what I do. I do installations, films, and a lot of my work explores the acoustics and the resonance between the body and space. So obviously, with place and this work, I was trying to get away from more of the neurological and engage with community and larger aspects of place.
[NR] Thank you all, it's wild to think we’ve spent a year together.
Lee highlighted some of the sites we visited as a group and what it was like going to these different spaces and locations over the course of the year. You all, as individual group members, identified these sites, invited other group members into them, and produced creative research for publication informed by their social, economic and environmental interdependencies. Can you all share examples, either from the visit you organized or another group member’s visit, of how your understanding of what it means to belong evolved during the year?
[CC] The one that really stuck with me was Pioneer Courage Park. It became a symbol of what not to do to cultivate a sense of belonging in a place. There are these very, very heavy one and a half scale sculptures of settlers in a big wagon train right downtown. When you're next to it, they're all larger than life and they're just there and they're weighing down and they're permanent. Being there made me realize that’s not how I want to belong in a place. I don't want to impose myself into a landscape. Nate did a great sort of intervention in the space with footsteps, which is referenced in his book.
[NR] That was the visit Holly organized. She asked us to respond to the space with some sort of non-damaging piece or work. Some of us sketched, Alex recorded audio, and I took chalk spray paint and made footprints in the path the sculptures of these settlers follow to represent that the Umoⁿhoⁿ people walked over this land way before the pioneers. Their history is erased in the space of the sculptures and didactics in the park. That work was a reminder that Native peoples’ histories are integral to all of our histories, everyone on this land and in this place.
[DM] I took everyone on our second meeting to Blackstone, the Cottonwood Hotel, where I worked for a while. Growing up in South Omaha, I never went to Blackstone. It wasn’t a thing. I moved away and when I came back as an adult, the neighborhood seemed very odd to me. I wanted to bring the group there to talk about the idea of development, gentrification, and how neighborhoods change because of it. I wanted to hear everyone else's perspective on a new development in an area that has changed a lot. I'm trying to see if there are patterns happening in the city currently, new developments happening, and whether or not that's beneficial for the city or the people who live here. I found in other people’s visits that personal spaces hold a lot more meaning than a fancy hotel.
[NR] I'll never forget that visit. It may have been the only place we were kicked out of.
[CC] Right. It opened up a great conversation about what constitutes public space and how there are fewer and fewer places where you can freely congregate that don't cost money and don't involve spending money. That conversation sparked more discussion about different ways to create value in a community. You know, how much plant life is there, is it walkable, are there strong neighborhood associations, etc.
[NR] Yeah. And I will also say, each of us prepped one another for our site visits. There's a deep perspective and knowledge that we’re all taking away from this year beyond the site visits. There’s also the documentaries that we passed around, the articles, the personal stories that run so deep.
[KB] Absolutely. And as we've gathered in response to the prompt of place, a lot of our conversations have dealt with access and belonging. How did those considerations impact your practice as an artist or organizer? How did they translate in the book? Did anything surprise you?
[CC] I think, in part as a response to that idea of not wanting to be this heavy weight in a landscape, I decided that my project needed to be spread out and less about me as an individual and more about our group. I wanted to expand that in some way. So, I had conversations with every group member and we would just go on walks. They would choose the location and I made a comic about the conversations we had. I didn't want to draw other people, because that somehow felt wrong in the context of these conversations. So, the landscape or place became the character. It became more about the larger systems instead of the individuals in that context. My conversation with David was really memorable. He talked about the idea that belonging is migratory for him. It's not rooted in just one place. Instead, it’s a constant flux of feeling that defines belonging.
[DM] I remember that conversation. It was very fun. We talked about the idea of coming from a family that migrated and got deported. Every immigrant goes through issues with hiding and fear of getting caught. That makes it very hard to stay in one place because there are challenges that come with staying in one place. And so, for me, belonging means living through transitionary periods, without having a permanent residency, without having assistance. That isn’t found in a singular place. It’s found within the resilience of the people. In my mind, it's my mom, my uncles, my grandmother, my little brother, my family. We went through periods of irregular living situations together and that's what I wrote about in the book.
I did a play last summer about the experience of being queer and being an immigrant in Omaha, specifically. And I took a scene from the play and I transcribed the words so one character speaks in Spanish and the other character speaks in English to mirror the upbringing I had. In the scene, it speaks about the feeling of belonging and that feeling comfortable in a new place doesn't necessarily equate to belonging. So that's what influenced me and how I put into it the book.
[AJ] What you both said reminded me of the general conversation on communities. We were always asking why we were visiting a particular place and why other people were there and what they were doing. For me and my contribution to the book, it was about what we do in the moment, in a broad sense, and then narrowing it down.
[NR] I don't know if we've talked about this before but after Roe got overturned I remember seeing you, Alex, recording audio at the protest on a Dodge and thinking it's so cool to see things that we've done in this group applied outside the group.
[KB] Yeah, I think in some ways, my contribution to the book is a visualization of what I see every day in the growing season. Sometimes people don't see those places or recognize those places as functional or contributing or an attempt at something. I'll just say that way--an attempt at something. But they're very valid. And I think it goes back to being motivated by resiliency in our natural world, and in each other, and understanding that resiliency in one person does not look the same as another. Each of those individualities, when they come together, make a holistic perspective, something that you wouldn't come to on your own.
Let’s open it up to some questions from you all.
[Audience member] I’m curious about your interrogations of place and its relationship to monuments specifically. Can you talk more about that?
[DM] Thank you for that question. I’ll refer to the example of Pioneer Courage Park. There's a plaque there that calls out specific European settlers as discoverers of this land. I’m paraphrasing but it essentially claims that this place was empty, uninhabited, and just waiting to be developed into the city of what would be Omaha, which is entirely false. But here, in this public space, we have an iron saying Europeans were the first and the best.
[NR] Totally, yeah. I have a weird relationship with that park. I flashback to when I was a kid. My grandfather, who was Oglala and an artist and educator, came to town and he wanted to drive by because he heard about these giant bison statues, and he worked with a lot of bison imagery. And he was really impressed by the craftsmanship. It’s supposed to be so patriotic and prideful, but it erases so much of Native peoples’ history in this place. This is Umoⁿhoⁿ land. Their history is here, and it's not shared. So many people in Omaha don't know where the name of the city comes from. Monuments like the one at Pioneer Courage Park enshrine that process of erasure. If you really want to deep dive into monuments, I suggest checking out the Alternate Currents panel discussion from earlier this year called Monuments, Memory, and Place. It's a really great conversation, on a lot of different levels.
That site visit helped us question the built environment across the city. Looking at Blackstone and its history, or the downtown library being demolished to make way for a giant phallic skyscraper. When you do that, the foundation's not sturdy and you don't know why until you know your history. That's an idea I wanted to put forth in this book. My contribution is like a travelogue of Native misrepresentation, positive representation, and hopefully better representation in the future around Omaha. You can cruise around this town and see a cigar store Indian, buildings dedicated to ideas of manifest destiny, a mural in South Omaha about Indigenous women that's beautiful and powerful and says something about our history. Our group discussions really opened my eyes to the importance of being careful, cautious, and wise and listening to folks who know what came before. Yeah. Thanks. Thank you for your question.
[Audience member] So I mean, realizing there’s a lot of commitment and passion and devotion through this journey that has brought you all here, what do you hope readers get out of their experience of the book?
[DM] I like to use these books as a catalyst for understanding. We all contributed work that holds truth for ourselves, but also a dialogue we want to create, whether that dialogue comes from the book or comes from the reader. The goal, I believe, is to share different perspectives.
[CC] Like catalyzing conversation. If it helps you have a conversation with somebody in your life like, oh, it'd be great.
[KB] I think, in this group, a lot of questions, both of ourselves in our surroundings. So, I think my hope for us all in having this book is to question ourselves and think more about what we're doing and where we are and what that impact is in big and small ways. So, it’s really just a good handheld question mark for you.
[Audience member] How did you go about handling opposing views in the group?
[AJ] I felt like we were generally very open to any and all ideas. I don't think there was any like black pill weird conspiracy or anything like that.
[NR] Yeah, I think the place where we butted heads the most was with solutions to problems. Like what if you got a public grant, or what if we did a festival here. We had all sorts of discussions including a very analytical conversation about faiths, and people's beliefs and how they shape relationships to different places. And, you know, that's a scary thing to talk about. But even with somebody in the group who believed something differently than me, I never felt threatened or uncomfortable at all. I think that's a testament to how Amplify sets up these groups in the first place. It's very open and safe. At least it felt that way for me.
[DM] I will say there was more of a sense of whimsy than a sense of conflict when visiting each others’ sites. I've never been to any of the places they brought me. For me, it's like how can I argue or have an opposing opinion of what a space means if I've never personally experienced it myself? Alex's visit was really fun for me. He brought us to the anechoic chamber that’s part of Boys Town National Research Hospital. It's like this silent padded room where you can hear your own blood pulsing through your veins because it’s so quiet. It was such an add sensation and an amazing experience. How can I approach contradicting that experience? I think we were receptive and open to one another, before we formed our own opinions, because that's how we learned to understand a new space.
[JS] Hello. I'm Joelle. I facilitate a gallery out of my garage. And that's where my site visit was this year. And it was really cool to bring everyone in and share that space together. And I think sometimes I get excited about a project and start it without thinking about why I'm doing it and having you all in that space made me slow down and think about what purpose the space serves in the community. And that was really good for me. I do have a question though. I wanted to ask you all if you have things coming up in the next few months that you'd like to tell the audience about.
[KB] The growing season starts pretty soon, hopefully. There's a public seed share coming up on February 11th at the South Omaha Public Library. It's a Saturday from 12pm to 4pm. There will be free seeds for everyone--flowers, vegetables, and a seed of the year that we hope individuals will take for their own spaces and plant, grow it, and then bring it back to restock our Seed Bank. The Seed Bank itself is a project through the Blazing Star Seed Cooperative. We also have another book coming, if you want to read that much. It’s Local Farmers Almanac and Seed Catalogue that will be available at the seed share for people to look through. It has some funny stories and is kind of sarcastic and witty. You have to make light of being in the sun all day. So yeah, the sun is coming back. It's coming.
[NR] Coming up in February, We the People, a group show, opens at Bluebarn Theater. I’m also starting the residency at the Union for Contemporary Art and have two public events: a community paste-up project with some prints that I’ll make there and a talk at the end of the residency.
[AJ] I'm just kind of laying low right now. But I'll have stuff coming out in spring, so stay tuned.
[CC] I have a public Comics and Coffee lecture series at UNO with different cartoonists from all over the country zooming in to talk about their work in comics, and using comics to tackle complex problems. Most of them will be in the Milo Bail Student Center in the Chancellor’s Room at 9am on first Mondays of the month. I'm working on my graphic novel too, but that doesn't come out until 2024, so we have some time.
[DM] Currently, I'm not working on any large projects, but I've been performing improv at The Backline every first and third Tuesday of the month. I want to make people laugh. So that's it so far for me.
[LR] I gave a TED talk with TEDxOmaha in November that will be live this week. And I leave Friday morning for an artist residency at Kohler in Sheboygan, Wisconsin. So, I'll be casting iron for the next four months, which I'm also really, really excited about.
[DC] I’m working on a big project, ArtBus, which is our mobile gallery. So that's why I'm working right now.
[JS] I am part of a two-person show right now at Amplify’s Generator Space on Vinton Street. My friend Wanufi Teshome and I are really excited to share what we put out. If you have time, please make an appointment to see that. And then at Fleabane Gallery, we have shows coming up this spring.
I just wanted to say that this was a really awesome group to be a part of last year. When I learned we were going to be working with ideas related to place, I thought, that's so easy. I know what place is. Then, when I started asking myself, what is place, I spiraled existentially for a year and ended up with a lot more questions than answers. And I think that was good for my practice. I learned so much from all of you this year and I'm proud of the publication and the work we put into it.
[DC] Yeah. Thanks for being here, guys. Before I say goodbye, I want to thank my fellow Alternate Currents Working Group members. It was a really great experience to work with them and get to know more about the meaning of a place and each other’s work during this time. As a graffiti artist, it’s hard to find a place. I'm from Mexico City. Growing up there, we didn't have places for artists. So, we find our places on the streets.
Like David said, being an immigrant and coming here from Mexico City, it was hard learning the language. I was lucky because I did my first mural, probably two months after being here. I didn't speak any English. Graffiti and street art helped me find my place and I’m still finding my place everywhere I go. And my contribution to the book is like a poem about that. Thanks to this amazing group, I hope we’re still doing things together as a collective or cooperative in the future. Thanks, everyone.
*This transcript has been edited for length and clarity.
2022 Alternate Currents Working Group:
Katie Bettin is an urban grower among other working titles. She received her formal education at Colorado State University and has spent the last 2 years in Omaha involved in urban agriculture projects. She has worked predominately on the nonprofit side of food access and food production. Currently, she is working to navigate away from nonprofit food production efforts to explore alternative modes for establishing an equitable, dependable, and interdependent shift in the growing and distribution of local food.
Caitlin Cass makes comics and installations about failing systems and irrational hope. Her recent installation at the Burchfield Penney Art Center examined radical imagination in U.S. suffrage history. Since 2009, Caitlin has published a bi-monthly comic periodical called the Great Moments in Western Civilization Postal Constituent. Her comics and cartoons have also appeared in The New Yorker, The Lily and The Nib. Caitlin was a 2018 NYSCA/NYFA Artist Fellow in Fiction. She earned her MFA from the University at Buffalo, SUNY and recently relocated from Buffalo to Omaha to teach as Assistant Professor of Studio Art, Illustration and Time-Based Media at the University of Nebraska Omaha.
Daniel Castañeda (Sedra D’) is a universal observer, Pachamama warrior, and Indigenous kid. His work draws on his Aztec-Mexica and Mexican roots and the traditions of his ancestors to connect past, present, and future.
Shannon Elder was born and raised in Omaha, NE. She is a self-taught writer of poetry. Through writing she uses language and form to interpret the meaning of experience, emotions, and connection. With this intention, she incorporates other disciplines into her work such as illustration and collage. She is a past participant of the Omaha Zine Fest. Her inspirations include Eileen Myles, Shira Erlichman, Adrienne Rich, and her grandmother’s stories. Currently attending UNO, she is studying for an MBA in Sustainability in hopes to better improve the way we think about our options and impact in the spaces we exist.
Alex Jacobsen is an artist based in Omaha, NE, whose work focuses on the plasticity of sound and aims to provide audiences with a deeper understanding of their spatial-temporal environments. He received his Bachelors of Music from the University of Nebraska at Kearney in 2017. His work has been shown and performed across the Midwest and Europe, including Radiophrenia Art Festival, ESS’s Quarantine Concert Series, and Omaha Under the Radar.
Holly Lukasiewicz explores prairie-inspired botanical design through an impact-conscious lens of sustainability as District 2 Floral Studio, valuing land ecosystem health over trending aesthetics. Holly’s background is in K-12 arts education, and she continues to guide creative-making experiences with community groups as a teaching artist with nonprofits, seeing these connections as a way for participants to grow compassion toward self and others. Holly supports the role of creative practices as an approach to activism, weaving awareness and action around environmental, social and economic concerns.
David Muñoz is an up and coming artist who's main focus is acting. He's studied at the American Academy of Dramatic Arts and the Upstanding Citizens Brigade in New York City for four years. He's worked with sketch teams and improve shows while working with an acting coach to better hone his craft. At the beginning of the pandemic, he was working with Hunter College and an indie theatre company to help develop a new show. Slated to assist the director with their planned tour. Unfortunately once the pandemic reached the city everything had shut down and he had to move back home to Omaha, to help support his mother. He's been trying to upstart his career in a new location since August of last year. He has plans to work with an indie theatre company here in Omaha with hopes to perform, produce, direct and write his own productions in the upcoming future.
Nathaniel Ruleaux (he/him) is an award-winning artist and culture worker currently located on unceded land of the Umónhon & Očhéthi Šakówiŋ in Nebraska. A partner, father, and member of the Oglala Lakota Nation, his work combines modern art with traditional indigenous imagery. He is a founding member of Unceded Artist Collective, and sits on the board of the Omaha Area Youth Orchestras. Recently, he created work for the national Indigenous Futures Survey 2.0 campaign. In addition to creating visual art, he is a classically-trained actor and educator. He received his MFA in Theatre from the University of Houston’s School of Theatre and Dance after receiving a BA in Theatre Performance at the Johnny Carson School of Theatre & Film at the University of Nebraska–Lincoln.
Lee Emma Running makes sculptures and drawings using roadkill animal bones, glass, paper, fabric, fur, raw pigments, and gold. Her training as a traditional papermaker allows her to manipulate materials and process as well as maintain the discipline of a fine craft. Her sculptures, installation and performance work are deeply connected to place. Her work has been exhibited internationally, at the National Taiwan University of the Arts, Taipei, Taiwan, The Morris Graves Museum, Eureka, CA, The Dubuque Museum of Art, Dubuque, IA, Western Carolina University Fine Art Museum, Cullowhee, North Carolina, the Des Moines Art Center, Des Moines, IA, and The Charlotte Street Foundation, Kansas City, KS.
Joelle Sandfort is an interdisciplinary artist and educator living in Omaha, NE. She graduated from Nebraska Wesleyan University with a BA in Art and K-12 Art Education Endorsement. Joelle has exhibited her work at Tugboat Gallery and Sanctuarium. She is currently the organizer of Fleabane Gallery, an alternative exhibition space for emerging regional artists.
About the Alternate Currents Working Group:
The Alternate Currents Working Group (ACWG) is a cohort of artists, organizers, educators, and culture workers who meet monthly over the course of a year to develop and refine creative research for publication. Working Group members become part of a robust support network of peers seeking to open their practices to collaboration, critical feedback, and alternative working processes.
This Place: An Alternate Currents Working Group Reader
A collaborative publication from our 2022 Alternate Currents cohort, This Place: An Alternate Currents Reader, collects and anthologizes Working Group members creative inquires into broad questions around the social, economic, and ecological dimensions that shape our understanding of what it means to be in, of, or from a “place.”
The publication is presented in three overlapping and interlocking thematic sections: Orienting, Belonging, and Relating. Cohort members in the first section find their bearings by orienting their work toward mapping and remapping urban landscapes, their histories, and their futures. Personal experiences of cultural self-determination expand and reshape notions of belonging in the second section. In the third section, group members work to foreground reciprocal relationships between humans, plants, and animals that deepen our understanding of what it means to be in, of, or from a place.
Punctuating the work in this publication are transcripts from conversations that add insight and offer a conceptual underpinning for group members’ individual and collective investigations into the intersections of politics, place, and artistic practice.
All of these things and inexpressibly more, this place is a powerful commons for ideation, exploration, and finding joy in the privilege of being together.
Your purchase supports Alternate Currents programming.
2022 Alternate Currents Cohort Members: Katie Bettin, Caitlin Cass, Daniel Castañeda (Sedra D’), Shannon Elder, Alex Jacobsen, Holly Lukasiewicz, David Muñoz, Nathaniel Ruleaux, Lee Running, and Joelle Sandfort.
Price: $14.00
ISBN: 979-8-9852972-1-8
Ships from Amplify’s offices in Omaha, NE within 3-5 business days.