of (almost exactly) the same name by two artists who influenced each other and whose work was in dialogue during the 1960s and 1970s. From March 1-22 of 1969, Robert Morris presented an exhibition entitled Continuous Project Altered Daily at Castelli Warehouse, an annex of Leo Castelli Gallery where Morris was represented in New York City. According to the pamphlet documenting the exhibition published by Multiples, Inc. in 1970, the exhibition consisted of “Earth, water, grease, plastic, felt, wood, thread, light, photographs, sound” and Morris’s daily manipulations of these items in the gallery. In 1993, a collection of Morris’s essays was published by October and MIT Press under the same name.

Also in March of 1969, Yvonne Rainer initiated a year-long project called Continuous Project - Altered Daily. The score for the project instructed Rainer to invent a 30-minute choreography and teach it to a group of dancers at the same time. The project culminated in the “latest version” (as prefaced on the exhibition flier) presented at the Whitney Museum of American Art in New York City on March 31 and April 1 and 2 of 1970. The Grand Union, a collaborative and largely improvisation-based dance company of which Rainer was a member, emerged from this project and performed together through 1976.

Morris was and Rainer is committed to exploring the boundaries of art through improvisation; dialogue and collaboration; and challenging received ideas of virtuosity. The title of their artworks can be extrapolated to encompass the whole of either artist’s—or perhaps any artist’s—practice, which by their very nature are continuous projects altered daily. In the work outlined on this website, we prioritize sustained curiosity, intention, and process over outcomes and products; evolution and transformation over perfection. In community with clients and students, we are making something, and the making of it is the thing we are making. We are engaged in a continuous project altered daily.

Continuous Project offers guidance to art workers. We define art workers broadly as anyone working in the creative community(ies) and/or creative economy(ies). The majority of our clients at this time are visual artists, and we also work with curators and other museum staff; gallerists and other gallery staff; and folks in various other areas of the art world, as well as designers and writers who may or may not have careers that overlap or intersect with the art world. Many of our clients have plural or hybrid practices that resist strict categorization; some of the aspects of their practices earn them money, and others don’t; some have jobs, while others are self-employed/micro- or small-business owners; some seek public attention and/or money in exchange for their creative work, while others don’t. 

We changed our tag line from “guidance for artists and art workers” to “guidance for art workers.” This change was inspired by William Deresiewicz’s definition of the term “art worker” in The Death of the Artist: “Art is work. The fact that people do it out of love, or self-expression, or political commitment doesn’t make it any less so. Nor does the fact that it isn’t a job, a matter of formal employment… Self-employment is still employment. Even if you do not have a boss, it’s work. If art is work, then artists are workers… To be a worker is to be like everybody else. Yet to accept that art is work—in the specific sense that it deserves remuneration—can be a crucial act of self-empowerment, as well as self-definition.”

We believe the short phrase “art worker” has a lot of power and can encompass all kinds of roles in the cultural realm. We believe that all practitioners in the creative economies are workers and that the acknowledgment of our labor moves us toward more equity in the cultural fields. The phrase also releases artists from false narratives about their roles, opening portals to the self-determination and interdependance that are critical to artists’ empowerment.

Continuous Project office hours are Monday through Friday, 9:30am to 4:30pm PST. Client meetings are scheduled most Mondays through Thursdays; this schedule subject to change. Email is our primary and preferred method of communication. We do our best to respond to email within 48 hours during office hours.

We offer Private Consulting, Group Consulting, Office Hours, and workshops to individuals and organizations. To learn more, please see our Services page. Corrina is available for select curatorial and writing projects. Please book a discovery call to explore how we might work together. If we decide together that it’s a good fit, you’ll receive a link to schedule a first meeting.

To receive Continuous Project Altered Quarterly; Dear CP; and occasional announcements about offerings from the practice, please subscribe to our mailing list using the form at the bottom of the page. If you sign up, we will save your full name and email address in our database, where we track newsletter open rates and clickthroughs. We will not share or sell your data. You are welcome to unsubscribe or update your email address any time. To submit a question to Dear CP, please send us an email.

Continuous Project acknowledges that the legacy of the art world and its present-day manifestation is inextricably linked to the histories of settler-colonialism and economies based on extraction and exploitation that have ongoing adverse impacts on Black, Indigenous, and People of Color. Continuous Project was founded as a counterpoint to the opacity, exclusivity, paternalism, and scarcity mindset that contribute to the perpetuation of systemic racism, sexism, and classism in the art world. We are actively learning about the intertwined histories of the art world and settler-colonialism and seeking ways to redress the violence at the origin of the art world into our present time. 

Our work is enacted on the traditional and unceded land of past, present, and future Gabrielino Tongva people. We are grateful for their ongoing stewardship of the land, and we are seeking ways to support rematriation as a path toward healing. 

Continuous Project emerges from the rich and complex professional experiences of its principal. The primary voices that coalesced into the concept for this practice are the hundreds of artists who have reached out for advice and support, both before Continuous Project existed and today; and art workers in all sectors of the art world who seek guidance in the evolution of their careers.

CP is grateful for foundational relationships with key figures that led to the present work including: John Peipon; Amelia Olga and Joseph Prowe; Barbara Prowe; Jennifer Prowe; Garry Prowe; Michael Cataldi; Julie Shapiro; John Davis; Dan St. Andre; Jamie Peterson; Susan Martin; Doug Hall; Bill Berkson; Halliday Dresser; Kamran Rastegar; Miles Sherwood; Allison Shields; Jibz Cameron; Saara Traister; Will Rogan; Fynn Sloyan; Bob Linder; Jacob Hartman; Eamon Ore-Giron; Erin Thurlow; Nao Bustamante; Julie Deamer; Euan MacDonald; Chris Johanson; Maya Hayuk; Jenn Joy; Jordan Biren; Dave Muller; Lindsay Brant; Jill Spector; Jennifer West; Olivia Booth; Candace Nycz; Jennifer Krasinski; Jonesy; Jen Collins; Patrick Cates; Christopher Williams; Ann Goldstein; Stephen Prina; Jeremy Gilbert-Rolfe; Liz Larner; Diana Thater; Patti Podesta; Bruce Hainley; Jane McFadden; Mike Kelley; Connie Butler; Lisa Mark; Paul Schimmel; Philipp Kaiser; Elsa Longhauser; Rebecca Morris; Ann Philbin; Anne Ellegood; Ali Subotnick; Kate Lally; Naima Keith; Emily Gonzalez-Jarrett; Elizabeth Cline; Lucy Raven; N. Dash; Jennifer Armbrust; Andrea Zittel; Honor Fraser; Kristen Becker; Designing Women: Jill Spector, Olivia Booth, Taylor Jacobson, Brook Perdigon, and Bari Ziperstein; Adam Miller & Devon Oder; Beth Pickens; Amir Zaki; Debra Scacco; Tenshin Roshi, Jokai Roshi, and all of the residents at Yokoji Zen Mountain Center; and Nancy Sandercock. 

Continuous Project relies on professional services from tax accountant and bookkeeper Michelle Sakamoto; financial planner Victor Schramm; graphic designer Becca Lofchie; attorney Christine Steiner; business consultant Holly Howard; and LMFT Danielle K. Price.

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