Small objects, big stories

May 29, 2025

Have you ever held onto an object that feels invaluable — not because of what it’s worth, but because of the story behind it? That question sits at the heart of Barter Boat, a traveling art installation and research project led by Desireé Moore, assistant professor in the School of Visual Studies. Through acts of exchange, storytelling and public engagement, the project invites participants to reconsider how value is created and shared in everyday life.

As ArtPrize juror and curator Rebecca Carbin observes, Barter Boat “focuses on moments of generosity,” using humor and lightness to explore deeper questions about value, memory and connection. Part carnival stand, part community archive, the project travels to public parks, cultural institutions and community events, where participants trade meaningful objects — and the stories that accompany them — contributing to a growing, community-centered record.

We spoke with Moore about the Barter Boat, her research, and where you can stop and see the Barter Boat in action next: 

Can you tell us about the Barter Boat project?

Barter Boat is a traveling art installation that looks like a carnival stand. We set up our “boat” at community events, cultural and art institutions, and public parks to engage with people through the act of bartering. Everything we trade for goes into an inventory of treasures that our artist team repackages into small collections, which are then available to trade with the community at our next stop.

We will barter almost anything that doesn’t rot. We’ve traded for lucky rocks, original drawings, sentimental keepsakes, special one-offs, letters from lovers and mothers, and even historic artifacts. We encourage participants to trade objects that hold meaning beyond financial value because oral history is a big component of what makes a Barter Boat interaction so special.

Ultimately, Barter Boat is about learning from people through object exchange. It offers a platform to reflect on the significance of everyday lived experiences, and it connects individuals to one another through generosity and art.

Also: it’s fun.

How did the project get started, and how does it relate to your research interests more generally?

Barter Boat is a collaborative project between me, Anna Elliott, and Robin Schwartzman. We met at an artist residency in South Carolina back in 2015. We get into all kinds of adventures on our own as well, working in wildly different mediums like experimental filmmaking, museum studies of the American South, and mini golf.

The project functions as a collaborative extension of our individual creative practices. For me, it integrates into a broader film practice that hybridizes fiction, non-fiction and personal experience.

My research invariably stems from a curiosity about archival material. Barter Boat relies on storytelling, archiving and public engagement in a way that closely mirrors filmmaking — except here, the interaction itself is the final work.

What do you hope the Barter Boat accomplishes?

We are at the beginning of a promising new chapter for this project. Over the years, we have learned that Barter Boat functions meaningfully as a site for contemporary oral history exchange. We are now pursuing scholarly investigation into how to facilitate, care for, and distribute an alternative archive — one that democratizes public representation through community-centered involvement.

This summer, that work takes shape across the state. With support from Missouri Humanities and in collaboration with the State Historical Society of Missouri, we will rigorously document oral histories through audio and traded objects through photography. This initiative positions vernacular exchange as a direct catalyst for expanding public access to the formal historical record.

Ultimately, I am most proud of Barter Boat’s ability to reshape how institutions interact with communities. By operating in nontraditional venues like public parks and city centers, the project ensures art remains accessible, challenging the traditional gatekeeping of cultural history.

Anyone can contribute to the historical record. Our lived experiences and everyday objects carry immense cultural value, and history is something we can actively shape together rather than just passively inherit.

What is your favorite aspect of this work? 

My favorite aspect of this work is the opportunity to connect deeply with individuals through storytelling, inviting them to participate directly in the creative process and expand their expectations of art. The people who visit the Barter Boat at any given stop form a remarkable microcosm of that community.

Also: the weird, wonderful artifacts we get.

What has surprised you about your work with the Barter Boat? 

When we built this out of a single collaborative whim ten years ago, I never would have predicted it would evolve into a multi-year, institutionally backed research project. I am constantly surprised by how adaptable the framework remains; it is a project that continues to grow with us, shifting effortlessly from an experimental art installation into a serious methodology for public archiving.

What advice would you give to early-career humanities faculty? 

My primary advice is to start funding applications early and expect to reapply. Rejection is a normal part of the process; it is a learning opportunity rather than a reflection of the merit of your work. Perseverance is key. I also highly recommend reaching out to colleagues who have successfully secured funding to learn from their strategies — they have been exactly where you are and can offer invaluable insight.

Can you speak more about how the Research Council grant was helpful in getting your work started? What did you use those funds for?

The Research Council Grant has been instrumental in supporting our logistical infrastructure, covering the costs of transporting the installation between locations and compensating the collaborators who facilitate the project.

While Barter Boat has a ten-year history as a collaborative art project, this internal funding served as the critical catalyst for launching its current research phase. It allows us to share our scholarship with Missouri cities, towns, and institutions that may lack the resources to sponsor the arts, ensuring that all communities have the opportunity to participate in the broader regional record we are building, and to experience firsthand how artists and scholars are integral to public life.

Can you tell us about the Arts & Humanities Research & Creative Works Program? What did you get out of that program? 

The Arts & Humanities Research & Creative Works Program has been one of the most transformative experiences for my work since starting on the tenure track here at Mizzou. Amanda Carr and Christine Terry, who spearheaded our sessions, provided hands-on guidance during the grant development stage and helped me deeply contextualize Barter Boat’s qualitative methods.

The program was invaluable in helping me communicate how public engagement is not just a secondary outcome of the work, but a primary method of generating new knowledge.

Would you recommend other faculty apply for that program? Why or why not? 

Absolutely. Beyond the exceptional guidance of the program organizers, the structure of a small faculty cohort — each member pursuing ambitious research — creates a profound space for peer connection. It offers a rare opportunity to discuss the real-world management of large-scale projects, and it becomes incredibly generative as scholars inevitably discover unexpected intersections between your work and their own fields.