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Caroline Woolard

2019 Walentas Endowed Fellowship Artist

Caroline Woolard is currently the inaugural Fellow at Moore College of Art and Design, where she is making objects that might interrupt the unavoidable antagonisms of working together. Woolard 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 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). 

Recent commissions include The Meeting, Moore College of Art and Design, Philadelphia, PA (2019); 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. 

Caroline 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). Woolard's work has been the subject of two documentaries on PBS for Art21. 

 

  • Caroline Woolard, Proposal for The Meeting (office view), 2019, aluminum, nylon twine, hardware, foam, 24 x 24 x 18 inches. Courtesy of the artist.

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

  • Caroline Woolard, Capitoline Wolves, 2016, cherry wood, powder coated steel, dyed stoneware, local water, hand mirrored glass, copper bowls, performance, 29 x 36 x 72 inches each, forming a circle that is 15 feet in diameter. Commissioned by Cornell University.

    Caroline Woolard, Capitoline Wolves, 2016, cherry wood, powder coated steel, dyed stoneware, local water, hand mirrored glass, copper bowls, performance, 29 x 36 x 72 inches each, forming a circle that is 15 feet in diameter. Commissioned by Cornell University. (Courtesy of Caroline Woolard, Photo by Levi Mandel)

  • Caroline Woolard, Capitoline Wolves, 2016, (detail) cherry wood, powder coated steel, dyed stoneware, local water, hand mirrored glass, copper bowls, performance, 29 x 36 x 72 inches each, forming a circle that is 15 feet in diameter. Commissioned by Cornell University.

    Caroline Woolard, Capitoline Wolves, 2016, (detail) cherry wood, powder coated steel, dyed stoneware, local water, hand mirrored glass, copper bowls, performance, 29 x 36 x 72 inches each, forming a circle that is 15 feet in diameter. Commissioned by Cornell University. (Courtesy of Caroline Woolard, Photo by Allison Usavage)

  • Caroline Woolard, Capitoline Wolves, 2016, (detail) cherry wood, powder coated steel, dyed stoneware, local water, hand mirrored glass, copper bowls, performance, 29 x 36 x 72 inches each, forming a circle that is 15 feet in diameter. Commissioned by Cornell University.

    Caroline Woolard, Capitoline Wolves, 2016, (detail) cherry wood, powder coated steel, dyed stoneware, local water, hand mirrored glass, copper bowls, performance, 29 x 36 x 72 inches each, forming a circle that is 15 feet in diameter. Commissioned by Cornell University. (Courtesy of Caroline Woolard, Photo by Allison Usavage)

  • Caroline Woolard, Installation view of Barricade to Bed (for exchange cafe), 2013, police barricade, plumbing straps, hardware, 2 x 6 douglas fir cut off, maple wood dowel, tennis balls, foam, fabric, open access kit, prison abolitionist ‘zines, 16 x 43 x 96 inches.

    Caroline Woolard, Installation view of Barricade to Bed (for exchange cafe), 2013, police barricade, plumbing straps, hardware, 2 x 6 douglas fir cut off, maple wood dowel, tennis balls, foam, fabric, open access kit, prison abolitionist ‘zines, 16 x 43 x 96 inches. (Courtesy of the Caroline Woolard and MoMA: Artists Experiment. Photo by Ryan Tempro)

  • Caroline Woolard, Installation view of Barricade to Bed (for exchange cafe), 2013, police barricade, plumbing straps, hardware, 2 x 6 douglas fir cut off, maple wood dowel, tennis balls, foam, fabric, open access kit, prison abolitionist ‘zines, 16 x 43 x 96 inches.

    Caroline Woolard, Installation view of Barricade to Bed (for exchange cafe), 2013, police barricade, plumbing straps, hardware, 2 x 6 douglas fir cut off, maple wood dowel, tennis balls, foam, fabric, open access kit, prison abolitionist ‘zines, 16 x 43 x 96 inches. (Courtesy of Caroline Woolard and MoMA: Artists Experiment, Photo by Ryan Tempro)

  • Caroline Woolard, Installation view of Wound: the Study Center for Group Work, 2016, plywood, steel, paint, three-ing rug on loan from Jean Gardener and the Estate of Paul Ryan, dimensions variable.

    Caroline Woolard, Installation view of Wound: the Study Center for Group Work, 2016, plywood, steel, paint, three-ing rug on loan from Jean Gardener and the Estate of Paul Ryan, dimensions variable. (Courtesy of Caroline Woolard, Photo by João Enxuto)

  • Caroline Woolard, Carried on Both Sides, 2018, poplar, glass, cherry wood, oil paint. Installation view at Lesley Heller.

    Caroline Woolard, Carried on Both Sides, 2018, poplar, glass, cherry wood, oil paint. Installation view at Lesley Heller. (Courtesy of Caroline Woolard, Photo by Levi Mandel)

  • Caroline Woolard, detail of Carried on Both Sides, 2018, poplar, glass, cherry wood, oil paint. Installation view at Lesley Heller.

    Caroline Woolard, detail of Carried on Both Sides, 2018, poplar, glass, cherry wood, oil paint. Installation view at Lesley Heller. (Courtesy of Caroline Woolard, Photo by Levi Mandel)

  • Caroline Woolard, Installation view of Queer Rocker at the Queens Museum of Art, New York, 2013, CNC prototype oak plywood, ratchet straps, newspapers, 48 × 30 × 44 inches.

    Caroline Woolard, Installation view of Queer Rocker at the Queens Museum of Art, New York, 2013, CNC prototype oak plywood, ratchet straps, newspapers, 48 × 30 × 44 inches. (Courtesy of Caroline Woolard, Photo by Martyna Szczesna)

  • Caroline Woolard, DIY Ruin, 2016-2018, turned poplar, oil paint pickling, felt, 18 × 16 × 16 inches each.

    Caroline Woolard, DIY Ruin, 2016-2018, turned poplar, oil paint pickling, felt, 18 × 16 × 16 inches each. (Courtesy of Caroline Woolard)

  • Caroline Woolard, Tantalus and Level installed in Moore Library, 2018

    Caroline Woolard, Tantalus and Level installed in Moore Library, 2018 (Courtesy of Caroline Woolard)

  • Caroline Woolard, Tantalus, 2018, blown glass, outlet, plug, particle board, 24 ½ x 24 ½ x 7 ½ inches, edition of five.

    Caroline Woolard, Tantalus, 2018, blown glass, outlet, plug, particle board, 24 ½ x 24 ½ x 7 ½ inches, edition of five. (Courtesy of Caroline Woolard, Photo by Levi Mandel)

  • Caroline Woolard, Tantalus, 2018, blown glass, outlet, plug, particle board, 24 ½ x 24 ½ x 7 ½ inches, edition of five.

    Caroline Woolard, Tantalus, 2018, blown glass, outlet, plug, particle board, 24 ½ x 24 ½ x 7 ½ inches, edition of five. (Courtesy of Caroline Woolard, Photo by Levi Mandel)

  • Caroline Woolard, Detail of Countermeasures: Water Clock, 2018, glass, water, turned cherry wood, 18 × 10 × 10 in each.

    Caroline Woolard, Detail of Countermeasures: Water Clock, 2018, glass, water, turned cherry wood, 18 × 10 × 10 in each. (Courtesy of Caroline Woolard, Photo by Levi Mandel)