Posts in Articles
Studio Sunday: Kristen Elizabeth
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We’re bringing back Studio Sundays and this weekend we’re so excited to be introducing you to one of our PxP Contemporary artists, Kristen Elizabeth! Learn more in our interview below and then don’t forget to check our her available works in our premiere exhibition ‘Pilot’, which is currently on view online!

Artist Biography:

Connecticut based artist, Kristen Elizabeth (b.1986) formally educated in Industrial Design, has been developing her unique artistic voice over the past several years. Having grown up on the coast, she is heavily influenced by the sea and the dynamic tension between power and balance that can be observed around us. Her work seeks to draw viewers in through bold movement and a counterbalance of intricate mark making. Her use of a wide variety of materials such as acrylic, graphite, pastel, and more creates a visual statement that can be experienced on multiple levels. In addition to her art, she has been involved in many creative projects including painting a 50ft tall likeness of Lebron James in Harlem's famed Rucker Park, as well as - developed a new logo and fashion illustrations for New York's influential FABB charity event.  Her work has been featured in multiple publications including Create! Magazine, Art Reveal Magazine, and The Wall Street Journal.  

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How did you first become interested in art and can you explain a bit of how it led you to the work you create today?

As long as I can remember, I’ve always had a passion for art. I grew up in a creative family and had practicing artists on both my mother & father’s side. I’ve always had a desire to be creative, but felt I had to be practical. Because of this, I majored in product design and was approaching graduation right at the beginning of the recession in 2008. The career and life I had been envisioning for the past four years all but evaporated, but this allowed me freedom from a traditional path and ultimately set me on the course to where I am today. It’s been quite a ride - with both highs and lows. I hope to express this dynamism that is life through my current and future works.

Describe your current studio or working area. What is most important about it or one thing that you definitely need in your creative space?

I currently divide my time between my small home studio and a larger studio space where I run my business, a children's art studio called SplatterBox. My space at home is peaceful, harmonious and filled with the books, art, and music I love. That space allows me to focus on smaller more contained works using mostly watercolors and inks. SplatterBox allows me the room to stretch out and work on larger pieces without worrying about making a mess - hence the name SplatterBox. That said, it can be a challenge! It can often be hectic & stressful but it is also highly rewarding. I was able to not only lead a fulfilling path teaching kids but also re-discover my passion for art amongst all the glitter, unicorns, & beautiful mess.

Tell us about the inspiration behind your work.

I really try to absorb my environment. I find the people and places around me to be incredible resources. I’ve found that some series tend to draw from specific experiences, while other inspiration could be found in more ethereal experiences. My ‘Mineral Girl’ series was completely inspired by a trip to the amazing mineral room at the Peabody Museum in New Haven, CT. To contrast that, my ‘Geo Swoosh’ & ‘'The Change’ series took from something much more intuitive and deep within myself. I spent much of my childhood by the sea and observed everything from grey misty mornings to deep dark raging storms. Drawing from these visual memories as well as exploring life experiences I had, helped guide my hand.  You can see this in everything from the large sweeping motions to the tapestry of delicate details and patterns.

What one piece of creative or business advice would you give to your younger self?

The one piece of advice I would give my younger self is DON’T WAIT. On pessimistic days I might see it as time wasted, but I have had a range of other experiences and challenges that inform my art today. That said, I held back from truly jumping into my art career for many years and wish I had started that path sooner. It can be intimidating to put yourself out there, but if you keep delaying and putting it off - you’ll never know what opportunities might come your way.

What are you working on now and for the rest of the year?

Right now I’m coming off of an exciting job working for FABB (The Fashion Accessories Benefit Ball) & can’t seem to stray from creating high contrast fashion illustrations. I’ve found these very cathartic and they allow me to create without the pressure of a series or having any constraints imposed (self or otherwise). I’m happy to say they have enabled me to gain a clear headspace and I now have two new series I’m in the process of designing. Both will be an expansion & evolution of my previous work. As a side note, I have to give a nod to the Podcast - Art & Cocktails - for the invaluable information learned while listening to the episode ‘How To Design A New Series’.

View her collection of available works with PxP Contemporary here!

Good Vibes Only: Negativity in the Art World and How to Fight it
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The more we put ourselves out there, the more people will share their opinions of us and our work - both good and bad. It’s amazing to have people express interest in your art on social media and especially in person. We hope that you appreciate the encouragement, internalize that you are deserving of the positive support, and enjoy returning the compliments as much as Kat and I do! But as they say, it’s not always sunshine and roses. It’s likely that you’ve encountered negativity in the art world and it can be difficult to be at your best when the attitude of others doesn’t match your own. I’ve broken down a few common situations below to identify and overcome these unnecessary sources of drama!

Ignoring the ‘Starving Artist’ stereotype

“So what are you going to do with that?” was a question that I would often get from people when I told them that I was studying towards a BFA (and when I was in grad school for my MA in Art History too!). My response was almost always met with a look best described as halfway between puzzled and concerned. After working in the arts for the past ten years, however, I feel more empowered in this field now more than ever. For example, while there is still tons of progress to be made, we are seeing more women and people of color taking charge and making their way into the roles and institutions that had previously been out of reach. Choosing to pursue a creative career shouldn’t feel like it limits your options. From exhibiting nationally and abroad, working for galleries and art fairs to museums and non-profits, starting a business, writing a book, and more, it isn’t what can an artist do...it’s what can’t we do?

It took me quite some time to arrive at the realization that my possibilities were not limited by what others think artists are capable of. While it can be disheartening that not everyone will be 100% supportive of your goals, you don’t need anyone else’s permission to follow your passion. When you put yourself in the mindset that anything can happen, things can surprise you in the best way!

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Minding your Ps and Qs

When Kat and I went to Miami in December 2018, what really stood out to us was the incredible variety of art that we saw (at over ten fairs!). This is one of the things that we appreciate most about this industry: the art world IS big enough that everyone can find their place in it. Not everyone will be represented by blue chip galleries or exhibit in museums, but you do not need to do either of those things to find supportive collectors and share your work with people from around the world. With this in mind, push yourself to be a savvy networker: keep business cards with you, have a memorable elevator pitch ready to go, and don’t be afraid to speak up about your accomplishments.

Here’s an example:

Kat and I stopped at a booth to admire a piece we liked. A man walking by paused next to us to introduce himself as the creator of the work, explain a bit about it, and as he was on his way to do something else just quickly ended the conversation by saying: “Thanks so much for looking at my work. Here’s my card. Please keep in touch!” Keep your business interactions professional and polite, which will ensure that you leave a great impression.

The art world is great for making new connections and finding your niche, but be very careful about burning bridges. It is so unfortunate that for as much good as social media has done for artists, it has also given some people the false notion that they should use it to criticize others. Whether it’s posting disrespectful comments or even trying to preface a remark with “I don’t mean to be negative but…”, engaging in that kind of behavior online will guarantee that the other person will not want to work with you. What if down the road they are the link to a big opportunity that you would have loved to be a part of?

I’m sure you’ve also seen the comments that start off with “sorry to be the one to say this but…”, as if this excuses poor behavior. They’re never from someone who writes criticism as their profession. Rather, it is a cheap way of putting aside guilt when they know that the second half of what they’re going to say is unnecessary and negative. It is highly unlikely that any person with a valid reason for being critical of something would apologize for it.

The same holds true with overreacting to not being selected for a gallery or exhibition. We know that it is disappointing and frustrating, especially if you’ve applied more than once. We’ve been there! You send your best work and hope that it will be picked, but sometimes it just doesn’t happen. I actually discuss rejection in much more depth both in our first book ‘The Smartist Guide: Essential Art Career Tips for Emerging Artists’ as well as on the Art & Cocktails podcast, but my best advice is to stay positive, try to be gracious, and move on. Something better is coming!

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Developing a thick skin

I strongly believe that artists should support artists rather than get sucked into competing with or comparing yourself to others and it is especially disappointing that even today, you still see women who think it’s okay to put down other women (why?!). Remember that everyone is on their own path and even if another artist is finding success that doesn’t mean that you never will. Jealousy will only distract you so keep working hard and be patient that your time will come when it’s meant to. It’s also important to bear in mind that people rarely post about the hard times and struggles that they go through. If all you see are sales and exhibitions, it may seem like an artist achieved ‘overnight success’ when in reality they had to put in blood, sweat, tears and years of effort!

Negative feedback or unsolicited advice (not actual constructive criticism) can feel annoying at best and devastating at worst. As your initial reaction might be defensive, first ask yourself if it is even worth it to continue a discussion with this person. If you still feel the need to respond do so concisely and politely, but don’t expect anything in return. It will be up to you to tune them out, delete their comments or even block them. Kat shared a quote with me a while back that really resonated with me that was something along the lines of “nobody doing more than you will criticize you, only someone doing less.” The people who go out of their way to bring you down are simply dealing with their own feelings of insecurity. While it’s unfortunate that they have to take it out on you, focus instead on the awesome people who are genuinely there to encourage you and what you do!

Kat and I are so happy that the community of readers of both Create! Magazine and The Smartist Guide is a positive place for artists to share, connect, grow, learn, support, and inspire or be inspired by one another. We know this isn’t always how it is and that it can be difficult not to let the fear of facing negativity interfere with or stop you from putting yourself out there. But if it is your dream to be an artist, we encourage you to do it anyway!


Cheers!
Alicia

alicia@createmagazine.com
@puigypics


May 1st is Collectors Day at Moniker Art Fair
Moniker London 2016. Photo courtesy of Moniker Art Fair.

Moniker London 2016. Photo courtesy of Moniker Art Fair.

We’re just a few days away from Moniker Art Fair and in addition to all of the exciting things planned throughout its run, this year, the fair will be kicking off with a special opening event called Collectors Day. Read on to learn more!

Moniker Art Fair is pleased to introduce Collectors Day, a unique concept designed to encourage art buying from fairs, galleries and artists alike. Taking place on opening day, May 1st, 2019 at the fair’s new NoHo location, 718 Broadway, this exploratory initiative challenges and defies the traditional VIP vernissage for art fairs. Providing more than a VIP preview, the day fosters education and accessibility to art collecting through a series of talks and Q&A’s led by collectors, gallery directors, curators, and artists. Moniker’s second New York edition will take place on May 1-5, 2019.

Collectors Day will feature tours across the expansive, multi-level fair lead by Moniker Director Tina Ziegler. Special programming for the day will include panel discussions with art world professionals on a wide range of topics that matter both to veteran and emerging collectors including: how and why to collect contemporary art, the best way to approach building a collection, and investment opportunities and elitism within the art world.

Fair Director Tina Ziegler says, “Collectors Day means real, mature discussion on subjects that matter to our collectors. What are the pros and cons of buying direct from artists? How long can it take for art to mature significantly in value? How do I even begin collecting? These are all things we can and should answer, and we can’t wait to see the effect Collectors Day has on our guests.” Collectors Day will also host talks led by accomplished collectors, gallery directors, curators and artists. Moniker’s approach to the new programming for this New York edition is the latest in a series of initiatives that Moniker has undertaken over the last 10 years to make art collecting accessible to the public.

Photo courtesy of Evoca 1 and Moniker Art Fair.

Photo courtesy of Evoca 1 and Moniker Art Fair.

As part of the Collectors Day program collectors will have a chance to hear short presentations from galleries and Spotlight Artists. The 2019 New York edition continues to exemplify the fair’s commitment to exhibiting the depth and breadth of urban contemporary art from across the globe. 2019 New York edition participating galleries include Vinyl on Vinyl Gallery, Philippines; Mazel Galerie, Brussels; Damien Roman Fine Art, The Hamptons; Fousion Gallery, Barcelona with Spotlight artists WK Interact, Christian Boehmer, Evoca 1, ICY & SOT who are recognized leaders in the urban and new contemporary art movement.

Partners for the Collectors Day include: Art Money, Art Law, Barnebys Auction House, Greenpoint Innovators, It’s a Small World, Juxtapoz Magazine, Norwood Club, Soho House, and Tagsmart among others.

Opening of Moniker Art Fair 2019 | 3pm

Drinks Reception and welcome to the fair | 3pm - 4pm

Fair Tour with Fair Director Tina Ziegler | 4:30pm - 5:30pm

Each person will receive headsets for the tour so they can hear the tour throughout the fair. Each exhibitor will get 5 minutes to introduce their collection to the tour. This gives collectors a guided one-on-one with each gallery and artist.

Collecting Art 101: Starting a Collection | 5:30pm

This program explores questions every new collector should ask themselves: how do you define your personal taste as a collector? What type of collector are you? How to purchase art for passion and purpose?

Collecting Art 101: Investing in Art | 6:15pm

A round table discussion on how collectors control the market, why it’s important to collect in today’s climate, and the good and bad aspects of buying art on Instagram. Guest Speakers include: Derek Gores, Professional Artist, part of the Open Studios Program; Jonathan Levine, Director of Jonathan Levine Gallery (New York); Evan Pricco Editor-in-Chief of Juxtapoz Magazine; Damien A Roman, Director of Damien Roman Fine Art Gallery, The Hamptons; Yasha Young Director and Curator of Urban Nation Museum, Berlin; Tina Ziegler, Director and Curator of Moniker Art Fair.

Additional speakers and programming to be announced.

Mural program, Moniker London 2015. Photo courtesy of Moniker Art Fair.

Mural program, Moniker London 2015. Photo courtesy of Moniker Art Fair.

Dates:

Wednesday, 1st May
VIP Collectors Day: 3pm - 10pm
Ticket price: $75 (Including a $50 credit towards any purchased artwork)

Thursday, 2nd May
Public Opening: 12pm - 9pm

Friday, 3rd May
Fair Open: 12pm - 9pm

Saturday, 4th May
Fair Open: 11am - 8pm

Sunday, 6th May
Fair Open: 11am - 6pm

FREE Entrance Times:
Access to the fair is free to all members of the public for 90 minutes each day.
Thursday 12pm - 1:30pm
Friday 12pm - 1:30pm
Sunday 11am -12:30pm

Location
718 Broadway, NoHo, Manhattan, New York, 10003

Website
www.monikerartfair.com

Hashtag
#monikerNY19 #monikerartfair

Twitter
@monikerartfair

Instagram
@monikerartfair

Facebook
www.facebook.com/monikerartfair

Christian Böhmer Interview | Moniker Art Fair
Image courtesy of Christian Böhmer.

Image courtesy of Christian Böhmer.

For our next preview feature from the upcoming Moniker Art Fair in New York, we’re sharing an interview with Christian Böhmer! Christian is a self-taught contemporary artist who creates large-scale murals along with drawings and paintings. He has exhibited work around the world including in Australia, Germany, The Netherlands, and Switzerland among others. Most recently, he completed a mural painting for the "one wall project" curated by the Urban Nation Museum of Urban Contemporary Art in Berlin. After learning more about his work and process, we’ll certainly be looking forward to seeing what he exhibits at the fair!

Tell us about your background. You describe having roots in the graffiti movement of the 90's so was this the type of art that first inspired you and that you first created? 

Yes, graffiti was the kind of art that influenced me most when I was a kid in the mid-nineties. I was lucky enough to live only a few kilometers from Europe’s largest legal graffiti hall of fame at that time, which was the famous "Schlachthof Wiesbaden". Once a year, there came the world’s most famous writers together to have a graffiti jam for one weekend. I was so fascinated to see what was possible to do just with a spray can, that I decided to try this on my own. As it was a legal spot to paint graffiti, there was no need to hurry or to get nervous. I think this is why I had time enough to experiment in every direction, which included painting characters, too. I found out that I had much more talent in character painting then in writing letters....

How has your work developed since then? When and why did you turn to portraits? 

The first few years I developed in painting characters and as I got better and better, I moved towards a photorealistic style. I believe the most difficult subject one can paint in photorealism is a portrait, where there are no mistakes allowed. And when you dive into this world of painting portraits, you find out that there’s a lot of stories you can tell with that kind of art.

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Images courtesy of Christian Böhmer.

Images courtesy of Christian Böhmer.

Can you explain your reasoning behind covering various body parts of your subjects - namely their heads and faces, but also in recent work, their hands as well?

As I said, it is very interesting to tell stories within portraits. I did that for a long time, but one day you ask yourself, what will be the next challenge? What else can I add to these stories? When you think about that, the next logical step will be to transform the portrait, to paint it in an abstract way. But the abstract in my portrait painting is not the transformation of color or shape, but the paper bag. I found out that for me this is a perfect medium to use in order to transform shape, to give it a message, or to simply hide the face itself. Sometimes less is more :)

You recently completed a new mural in Berlin, congratulations! How did that project come about? How often do you create larger, public works and do you enjoy it as much as your smaller pieces? 

It was Yasha, the director of the Urban Nation Museum of urban contemporary art in Berlin, who asked me to paint this specific wall. I just began working on a new series of drawings, which plays with red colored hands, that tell all those stories that hidden faces can’t tell. This series deals with people on the edge of society, the ones nobody listens to. And the wall I painted in Berlin is located in an area where these people live. So it was the perfect match.

Image courtesy of Christian Böhmer.

Image courtesy of Christian Böhmer.

What will you be showing at Moniker in New York? 

I will be showing this new series of people with red hands hidden behind their paper bag mask. But you need to see it in person!

Do you have any additional exciting projects going on in 2019 and beyond that you'd like to share?

Yes, I will have a huge solo show in Mainz, Germany in September. I’m very glad to be there because that is the place where I grew up and where I had my first graffiti writing experience. I have not been back there for more than 15 years!

I will also have a group show in October at 19Karen Gallery near Brisbane in Australia, which I’m also looking forward to. I love the idea that people from all over the world can have the opportunity to see my art in person.

Moniker will be held May 1 - 5 in New York City at:
718 Broadway
NoHo, Manhattan
New York City, NYC
10003

Learn more about Moniker Art Fair by visiting their website.

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Why I Started Create! Magazine
Photo by Emily Grace Photography

Photo by Emily Grace Photography

I started my first magazine from a tiny studio apartment six years ago out of a desperate need for a creative community. I had no idea what I was doing at the time, and since I didn’t have the funding to start a physical gallery space, this was the next best thing I could come up with, and I am so thankful that I did. This desire to connect with other artists and empower them on their journey has been a constant over the years, and continues to inspire me to grow Create! as well as venture into exciting new projects that will support the growth of the emerging artist community. While I was developing my painting practice, there was a missing component of human connection and support on this unpredictable journey.

Back then, I had no money, no design experience, and all I had was a random idea that I decided to execute after working numerous minimum wage jobs. It took lots of Google searches, studying every publication I could get my hands on in Barnes and Noble on my lunch break, and teaching myself how to build websites, design magazines, and do basic business. I was discovering how to find artists and took lots of trips to galleries and museums to promote my humble publication. There was a period of time where I even walked into galleries in person to introduce myself and handed out free copies of the magazine. As you can imagine, some were super supportive and kind, while some were suspicious or disinterested.

It took many years to build a strong community. Over time I became more and more brave and started partnering with galleries and organizations that were so out of my league, it wasn’t even funny. This forced me to level up, increase the quality of the publication and stick to my commitments. Years and years later, the magazine became my actual job. I am now proud to work with a small team of four incredible women. We work together virtually, so we don’t get to see each other very often in person, but I know each one of us is driven by the love of art and the desire to support fellow creatives, especially those new on their journey.

One of the biggest lessons I’ve learned from starting a creative business so far is that we are so much more powerful than we think. Taking responsibility for our own luck will speed up our success rate faster than waiting on some “expert” to come validate us. From my experiences, being bold and starting something will bring support faster than by wishing for it. We are definitely not meant to do this alone and there will be people on this journey that will help push your career forward, but remember that they also human and had to start somewhere just like you at one point in their life.

I used to approach influential figures in the arts with the notion that they surely must have something I don’t. I used to give myself excuses such as “I don't have rich parents, “I didn’t go to a fancy private art school,” “I don’t know how to do business” or even “I am not attractive or cool enough.” But when I took a chance on myself and got started, things began to shift, and the right people showed up with support.

The entrepreneurial path is not easy, but at the same time it’s open to anyone willing to find missing information, to fail over and over again, to have days where they have no idea what theу are doing and to try again and again until something sticks.

Building a business may not be for everyone, but I encourage you to contribute to a cause that you often think about. Maybe you found a way to do things better in the art world and want to make improvements by launching a better version of what already exists. There is more than enough room for new contributions, and I am excited to see what you create.

More than anything I want you to know that this magazine is for you. I may not get to work directly with each artist, but please know that you are always at the forefront of my mind with every new launch, article, or podcast episode.

Thank you for being a vital part of our community.

Cheers,

Kat

P.S. If you enjoy this content check out my podcast Art & Cocktails or subscribe to our glossy, colorful publication.

If you are an artist looking to get your work published, we always welcome submissions to our free blog and open calls.

Evoca1 Artist Feature | Moniker Art Fair
Image courtesy of Evoca1.

Image courtesy of Evoca1.

We’re just a few short weeks away from Moniker Art Fair which will be held May 1-5, 2019 in New York City. The international fair’s 2019 exhibitors include some of the world’s most renowned urban & contemporary artists and galleries in booth exhibitions as well as solo presentations and installations. 28 exhibitors and four special projects, hailing from 13 countries around the globe, will present work in alignment with this year’s theme, Cause & Effect, which examines our shared roles and commitment to addressing the current state of political, social and ecological issues. Create! will be providing coverage of the fair, but we’re also excited to be bringing you a sneak peek at some of the artists who will be highlighted at this year’s NYC edition of Moniker. Last week we introduced you to WK Interact and this week we’re sharing the incredible work of Evoca1!

Image courtesy of Evoca1.

Image courtesy of Evoca1.

Evoca1 was born in the Dominican Republic, where he spent most of his childhood drawing on walls and playing baseball, until eventually moving to Hollywood, Florida at age 11. 

As an autodidact, he has received his art education from the compulsive study of the old masters’ works and techniques. His pieces are a personal reflection of his life experiences, as well as observations of human behaviors and social struggles.

He currently lives and works out of South Florida, where he continues to develop his craft and research of figurative painting. In recent years, this mainly happened in public spaces where he has painted large-scale murals. His interaction with the local environments has been essential in generating the concept of his work.

Image courtesy of Evoca1.

Image courtesy of Evoca1.

For more information about Moniker please visit their website and follow along with Evoca1 on Instagram.

Image courtesy of Evoca1.

Image courtesy of Evoca1.

WK Interact Interview | Moniker Art Fair
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Create! Magazine is a proud partner of Moniker International Art Fair which will be held in May in New York City. Moniker shines a spotlight not only on young and emerging artists, but also on leaders in the urban and new contemporary art movement. For the forthcoming iteration of the fair, they will be highlighting one of NYC’s most recognized wheat pasting artist, WK Interact. Originally from France, WK Interact has been working in New York for over 20 years. Read our interview below to learn more about his work!

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Tell us about your background. Were you interested in art as a child or did you come to it later in life?

Well, I started to draw when I was 8 years old as my father was a painter. I think I became passionate about art from seeing him in his studio.

What brought you to New York?

I was first in New York when I was 13 years old, but did not have a chance to visit as I had only landed there for a connecting flight to Miami. I came back at age 16 in 1982 and it ended up having an incredible impact on me. My flight arrived late at night and I only knew the address of my hotel on 82nd street near Central Park. Of course, it was the cheapest place to stay and the worst hotel at $15 per night. I spent the next three months traveling all over the state using Greyhound buses and after this, I decided to focus on creating art ‘in motion’. At the age of 18, I came up with a process of making distorted images using a Xerox copy machine which helped me find my signature style. After placing many canvases in my hometown in the south of France illegally, it was obvious to me that the best city to create that sort of interaction with my work would be New York. I ended up living in the city for many years and became a french New Yorker. I’m still living there today!

How has living there affected your work?

Living in New York for me was important to just be there and connect with the city. For my work, I feel that it becomes part of an event or a corner of the street. Even I start to blend in with my work by wearing all black clothes.

Can you explain your interest in figures and your unique techniques to create your work?

My work is based on the following concept: First illustration, then the location, then the motion interacting with the scale of the building. My real motivation is film. I decide to use the street to recreate a story and take photos with people passing by. The interaction part of my concept and process is where I came up with the name WK INTERACT.

What are some of your inspirations?

Sculptors and photographers like Calder and William Klein as well as the film industry including French Connection, Blade Runner...and so many others.

What will you be exhibiting at Moniker?

I  will have one large work and 8 posters plus a large print directly installed on a wall.

Besides showing with Moniker, do you have any other projects this year you'd like to share?

Plenty of projects, but I can’t mention anything yet :)

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Moniker Art Fair has earned a reputation as one of the most exciting contemporary art fairs with it’s roots embedded in urban culture. Learn more by visiting their website or follow them on Instagram.

Moniker Art Fair | New York May 1-5, 2019
Tina Ziegler, Fair Director. Photo courtesy of Moniker Art Fair.

Tina Ziegler, Fair Director. Photo courtesy of Moniker Art Fair.

Create! Magazine is excited to be partnering with Moniker Art Fair for its 11th edition in New York this spring. Read on to learn more about what exciting things you can look forward to at this incredible contemporary art fair!

This May 1 - 5, Moniker Art Fair returns to New York, welcoming international and local collectors to a five-day celebration of New Contemporary Art in Manhattan.

Moniker Art Fair is an acclaimed contemporary art fair with urban influences, which has for 10 years delighted collectors and art lovers in both New York and London with hyper-curated, fully-immersive and broad-scope events.

The next edition, held 1 - 5 May 2019, will dominate the heart of the New York art scene in its 15,000 square-foot venue in NoHo, continuing the never-conventional, always-pioneering fair format that has launched the careers of numerous artists in the past decades in partnership with international galleries.

Moniker has become the go-to for art collectors to learn more about the contemporary art world and to buy art assured by the curation, instinct and advice of professionals.

Moniker London 2018. Photo credit: Sam Roberts.

Moniker London 2018. Photo credit: Sam Roberts.

NEW YORK EXHIBITORS LIST

INTERNATIONAL GALLERIES

GAREY THE THIRD | LA & Hong Kong

FIERCELY CURIOUS | Brooklyn

MAZEL GALERIE | Brussels & Singapore

FOUSION GALLERY | Barcelona

VINYL ON VINYL | The Philippines

ROMAN FINE ART | The Hamptons

CAKE AGENCY | Chicago, Illonois 

11.12 GALLERY | Moscow, Russia

LIVING ART GLOBAL | UK

ANALOG CONTEMPORARY | Philadelphia

PERSEUS GALLERY | New York

 

OPEN STUDIOS

SIRIS HILL | UK

FATHERLESS | Illinois

DEREK GORES | Florida

BURAK KARAVIT | Istanbul

NICK FEDAEFF | Russia

ARTHUR BECKER | New York

TXEMY & AMAIA ARRAZOLA | New York

 

SPOTLIGHT ARTISTS

EVOCA 1 | Dominican Republic

CHRISTIAN BOEHMER | Cologne

WK INTERACT | New York

ICY & SOT | Iran

YOK & SHERYO | The Philippines

ARINZE STANLEY | Nigeria

NUNO VIEGAS | Portugal

Photo credit: Icy & Sot. Photo courtesy of Moniker Art Fair.

Photo credit: Icy & Sot. Photo courtesy of Moniker Art Fair.

FAIR SCHEDULE 2019

Wednesday 1 May 2019
Collectors Day: 3pm-7pm 
VIP Celebration: 7pm - 10pm
$75 (Includes $50 towards your first original artwork purchase)

A program of educational talks, panel discussions and networking sessions
around collecting contemporary and urban art.

Thursday 2 May 2019 
Public Opening | 1pm - 5pm 
Opening Celebration | 5pm - 9:30pm 
$25

General Fair Days
Friday 3 May | 1 - 10pm 
Saturday 4 May | 12 - 8pm 
Sunday 5 May | 11am- 6pm 
$15

STUDENTS AND SENIORS

Students can visit Moniker free of charge. A valid student ID will be required before entry.

Seniors (65+) ticket price is $10 (+booking fee) with code: REDUCED.

FAIR ACCESS

Children under the age of 16 do not need a ticket to visit the fair.

Well behaved leashed pets are welcome on site.



For more information, please visit their website: https://www.monikerartfair.com/ or follow them on Instagram.

Photo credit: WK Interact. Photo courtesy of Moniker Art Fair.

Photo credit: WK Interact. Photo courtesy of Moniker Art Fair.

Lizbeth Mitty
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Described by New York Times critic Ken Johnson as a combination of “painterly verve and hellish beauty”, the work of veteran artist Lizbeth Mitty has long been focused with examining and amplifying the intrinsic abstract beauty of deteriorating or overlooked corners of urban architecture and interiors.

Her latest endeavor ‘The Thread’ is a joint exhibition with her daughter, Dana James on view at M. David & Co. through April 14th. Taking its title from their genetic and psychosocial bond, ‘The Thread’ presents an intergenerational between two contemporary painters with independent practices yet close-knit lives, whose artwork is undeniably influenced by the presence of one another.

Born in Queens, NY to a family of artists, inventors and actors, Lizbeth was immersed in the world of visual art from a young age. Her work has been exhibited in galleries and museums in both the United States and abroad and is held in public and private collections including the The Metropolitan Museum of Art, The New York State Museum, The Orlando Museum of Art, The Zimmerli Archive, The U.S. State Department, and Trierenberg Holding AG (Austria). Her studio is based in Brooklyn, NY.

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Solo Show of Harlem artist Stan Squirewell at Gallery 8, London | April 1-13, 2019
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FACTION Art Projects is delighted to present a solo show of Harlem-based artist Stan Squirewell at Gallery 8, London. Following an exhibition of Squirewell’s work at FACTION’s Harlem space, the FACTION team is bringing him to London for a display of multilayered collages, which through elements of mythology, sacred geometry and science, tackle themes of race and memory. This marks Squirewell’s first solo show outside the US. A Private View of the exhibition will be held on April 2, 2019 from 6-9pm.

Squirewell’s newest works, which have evolved over two or three years of archival study and exploration, are heavily influenced by a recent revelation of his paternal ancestry.

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Squirewell says:

‘For most of my life I believed my family were African Americans who had arrived to the US on slave ships, and it wasn’t until my twenties that I discovered my true heritage, that they were indigenous Americans. As a teacher working closely with the national curriculum I constantly see how history, even now, is curated. My art attempts to rewrite these assumed histories. The beauty of the works capture the viewer, but it’s the ugly that intrigues and leads them to look deeper.’

Rediscovering his ancestry has prompted Squirewell to question his identity, particularly in the western hemisphere. It also speaks to his battle with the omnipresent slavery narrative, when he himself comes from a black family that is not believed to have a history of slavery. Through portraiture he challenges histories and presents a more empowering narrative for black identity, seeking to change the terminology around the very word ‘black’.

The portraits have a16th, 17th and 18th century aesthetic with a contemporary awareness. The depicted figures are both real historical figures and fictitious characters that are in some way related to the artist. Through demonstrating the misrepresentations of history, they critique what we colloquially describe as fact. Each artwork is complete only after he ceremoniously burns both the collage and its hand carved frames which include motifs and markings from ancient indigenous American and African cultures.

The titles of Stan Squirewell’s works reference particular moments in our shared history. One work entitled ‘Willendorf’, is inspired by the prehistoric female figure of ‘Venus of Willendorf’, while another, ‘Amerindian’ refers to the ‘$5 Indians’ - those who, 125 years ago, paid for falsified documents that proved them to be Native American.

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About Stan Squirewell:

Stan Squirewell was born and raised in Washington, DC and currently lives and works in Harlem, New York. His artistic training began at the Duke Ellington School of the Arts. Since graduating he has continued his tutelage under many of DC’s legends including artists Michael Platt and Lou Stovall. Squirewell, is a painter, photographer, installation and performance artist. His work is multilayered and his subject matter tackles themes such as: race and memory through mythology, sacred geometry and science. He draws his inspiration from theory books, science fiction movies and novels, avant-garde jazz and indigenous storytelling. He is a (2007 MFA) graduate of the Hoffberger School of Painting where he studied with the late, Grace Hartigan. Squirewell is the first winner of the Rush Philanthropic and Bombay Sapphire Artisan series. He has performed with Nick Cave (SoundSuits) at the National Portrait Gallery and Jefferson Pinder with G-Fine Arts. He is privately and publicly collected, his works are in the Reginald Lewis Museum, the Robert Steele Collection and recently acquired by the Smithsonian for the African American Museum (2015.) Squirewell is currently exhibited as part of ‘Fashioning the body’ at projects+gallery in St. Louis alongside Bisa Butler, Soly Cissé, Renee Cox, David Antonio Cruz, Kenturah Davis, Hassan Hajjaj, Basil Kincaid, Mario Moore, Chris Ofili, Fahamu Pecou, Katherine Simóne Reynolds, Jacolby Satterwhite, Mickalene Thomas, and Kehinde Wiley.

About FACTION Art Projects:

FACTION is a flexible collective, from the team behind the hugely successful Gallery 8 and Coates & Scarry in London, who have created a unique model for artists and gallerists to work together. FACTION addresses the changing market place and the erosion of the traditional art market, where galleries were gatekeepers for artists. FACTION provides artists with promotion and opportunity to access collectors and a wider audience, with all the support of a gallery but without the constraints of the traditional model. They aim to deliver a program of artists that is diverse and inclusive. FACTION launched in February 2018 at Gallery 8 in Harlem, New York and since then has become strongly imbedded in the Striver’s Row community and a highlight of Harlem’s cultural scene.

For more information please contact Anna Beketov, anna.beketov@damsonpr.com, +44 (0)20 7812 0645

Women Working in the Arts: Alana Voldman
Image courtesy of the Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York/DACS, London

Image courtesy of the Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York/DACS, London

For our first-ever women’s issue (available for purchase here) I profiled four young and entrepreneurial women working in the arts to highlight those not only creating work, but also those who are supporting artists as curators, gallerists, educators, writers, and more! I’m keeping this series going on our blog with this mini-interview with art consultant Alana Voldman.

Image courtesy of the Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York/DACS, London

Image courtesy of the Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York/DACS, London

Alana Voldman is an independent art consultant currently based in Antwerp, Belgium. Originally from southern California, she first relocated to Chicago to study art history at DePaul University, after which she began working with several Asian art galleries in the city. She eventually relocated to London to pursue a Master's Degree in Art Business at Sotheby's Institute of Art, with an emphasis on 20th-century art and modern design. In 2017, she relocated to Antwerp, first working as a curatorial assistant at the MoMu Fashion Museum, and now as a freelance advisory consultant and art writer for several companies and institutions. 

Choose one woman artist from history or who is working today and tell us about why she inspires you or has had an impact on you.

I have always been drawn to German-born artist Anni Albers, both for her amazing textile works and her personal story. Forced into weaving, the only workshop available to women during the early years of her art education at the Bauhaus school, she was able to transcend the medium from craft to a recognized and functional art form. In line with the Bauhaus approach to form meeting function, Albers at first explored the limitations of her materials, making objects that not only looked nice but also served a purpose.  Eventually, she became known for her distinct use of color, and 'pictorial weavings', which were essentially modernist artworks made through the process of weaving. What I really admire is her sense of persistence - she mastered something despite it not being her first choice - during a war and in a male-dominated industry no less. It is very easy to be discouraged in the art industry, especially because it can feel quite oversaturated and as if (money-making) opportunities are rare. I often remind myself of people like Albers who had to persevere under even harsher limitations.

Image courtesy of the Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York/DACS, London . Photo is by Tim Nighswander/Imaging4Art

Image courtesy of the Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York/DACS, London . Photo is by Tim Nighswander/Imaging4Art

Are you making the one mistake that is keeping your art from being featured?
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We’ve seen it happen time and again and artists have asked us about this when considering what to submit to our magazine or new gallery, PxP Contemporary. Think that including images from multiple series of works will double or triple your chances of being selected for that juried show, publication or gallery you’ve dreamed of showing with? Well, unfortunately, that’s not likely the case. I know that it’s tempting to want to show off the range of your style and creative ability, but here’s why this isn’t the time to do so.

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  • Demonstrate to the juror that you’ve taken time to really develop an idea, push yourself and stick to it! When you focus on one subject for a while, you get a much better idea of what works and what doesn’t and this helps you build your creative voice. Always keep in mind that submitting your work is like a leaving a first impression. If you have pieces from two bodies of work it can give off the vibe that you don’t quite know who you are yet as an artist or that you’re not confident enough in either series to commit to it fully. I’ll borrow from Kat here and say that you should always be sharing work that excites you! Which paintings, drawings, sculptures, or (insert whatever incredible work you create here) are you most excited about right now? Those are what you should be submitting!

  • Sometimes, it’s purely practical. For publications especially, it is difficult to consider an artist if we wouldn’t be able to put together a consistent spread with their work. Each book, journal, or magazine will have a distinct aesthetic so make it easy for them to know that you are the right fit and to feature your work. The same applies to a gallery, which has to make sure that your work could fill their space and look professional. They are also looking out for their collectors, who come to them specifically for their curatorial expertise. Rather than show them everything in the hopes that they end up buying something (with the risk of overwhelming them), a good dealer will work with the client to help them find something they love from a narrower selection based on their interest and budget. Collectors do often want to see a variety of works, but still within the same theme or style.

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  • If you are equally satisfied with several bodies of work at the moment, I’d still recommend only applying with one or at least one at a time. The biggest issue with this is that you’re leaving the curator to fill in the blanks and assuming that they can or will. How is someone who is not familiar with your work supposed to imagine what the rest of a series looks like when they’ve only seen a few pieces from it? You know that a whole group of works exists that are as great as the ones you’ve submitted, but the curator does not. If they have to go through hundreds or even thousands of artist submissions, they won’t always have the time to go looking through your website or Instagram account to see if you’ve made others like the one or two that they did like.

  • If you’ve recently started a new body of work that you’re wondering if you should start putting out there, make sure it’s ready. Do you have enough works from this series completed and photographed? If not, what’s the rush? There will be more opportunities to apply to. You can keep submitting from an earlier series for now if you want and if there is no restriction from the organization on how recent the work must be or simply allow yourself the time to fully dive into this great new idea.

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Of course, none of this is to say that you have to stick to the same thing forever. No, on the contrary, because it would be hard to have repeat collectors if your work never develops. Your gallery, if you have one, and your collectors simply want to see you continue to grow and will support you along the way!

If you’re making abstract sculptures, but have always wanted to try painting cats, go ahead! One of the greatest things about being an artist is having the freedom to experiment with your creativity. Ultimately, you have to DO YOU. But when it comes time to apply to that next exhibition opportunity, I hope you’ll consider the above and give yourself the best chance of being selected!

As always, both Kat and I are happy to answer any art career questions you have so please feel free to reach out to us: info@createmagazine.com or alicia@createmagazine.com and if you liked this article, check out the Art & Cocktails podcast or our new book The Smartist Guide for more tips.

Cheers and I wish you luck in applying to our current call for Issue 15 curated by Paradigm Gallery! Submit here.

-Alicia


Tiny Room For Elephants Festival in Philadelphia | April 19th-21st
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After speaking with the organizers, Create! Magazine is thrilled to be supporting TRFE and their upcoming event in April! Learn more about this exciting festival in Philadelphia that combines art, music and more below.

Tiny Room for Elephants Festival (#TRFE19) is a month long, collaborative, multi genre art and music experience, held throughout the month of April at Cherry Street Pier.  It is a living art ‘gallery’ that incorporates styles and mediums of 25+ Philadelphia artists painting/installing live from April 8th-April 17th. The finished works are celebrated on April 19th, April 20th and April 21st with live music, djs/producers, panels and interactive elements. 

The organizers, Dame & YaYa

The organizers, Dame & YaYa

The schedule of events is as follows:

Opening Exhibition 

Date: Friday, April 19, 2019

Time: 6:00pm-10pm

Fun Stuff:  Standing Room Only, A Wearable Art Show

Sounds: Camp Candle, Club Crusades, Eric Boss, Johnny Popcorn, Joshua Lang

Music Series

Date: Saturday, April 20, 2019

Time: 9:00am-9:00pm

Fun stuff:   Day Breaker (Tickets sold separately) "1000 Ways to Make It", panel moderated by Cosmo Baker; Live screen printing w/ Do It Now; Sticker Make & Take (Sticker Stampede); DIY Donut Station w/ Federal Donuts

Sounds: Aime, Cierra, Drew Mills, Emynd, Eric Boss, Expo, Femi, Jabair, John Morrison, Kayin x Sylo, Killiam Shakespeare, Kingsley Ibeneche, Mellowbastard, Pierson, Rover Rover, Shane tha Great, Suzanne Sheer, Tha Riva, The Bul Bey

Family Fun Day

Date: Sunday, April 21, 2019

Time: 12:00pm-6:00pm

Fun Stuff:  Easter Egg Hunt, World's Largest Kid's Sip n' Paint (tickets sold seperately), Sticker Make & Take (Sticker Stampede)

Sounds: Lee Jones & Friends

Sponsored in part by: YARDSPhiladelphia Weekly, HabithequeDo It Now T ShirtsFederal Donuts, Joe Werner ProductionsBlickTru WaveThe ParlorBeauMonde OriginalsChampionDWRC

Sarah Leuchtner

“Sarah Leuchtner’s practice deftly incorporates precepts of contemporary culture with a painterly approach that calls on formal relationships with the graphic, the iconographic, and the structural.”

-Bianca Bova, Curator

To create a work of art that causes the viewer to slow down to a full stop in order to spend just a bit more time with it is an accomplishment all on its own. To do the successfully twelve times over, compelling a longer examination of the surface of each piece, is something else entirely. In her recent solo exhibition at Hubbard Street Lofts in Chicago, artist Sarah Leuchtner presented twelve new paintings, filling the room with a distinct tone and palette, both moody and rich with energy. Her visual language weaves together elements of design, pattern, and palpable texture. Paint is at times washed across the canvas, and at other times appears built up, revealing pockets of layers and hidden mark making. Leuchtner’s skills in painting are only matched by her mature and distinct voice as an artist, one that can be heard cohesively throughout her body of work, and one that will only continue to resonate louder over time.

Sarah Leuchtner is a Chicago-based contemporary artist. She received her BFA from the School of the Art Institute of Chicago in 2016. Follow her on Instagram at @sarahleuchtner.

Images courtesy of Sarah Leuchtner and curator Bianca Bova.

Get noticed on Instagram!
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You may have heard that a lot of galleries, curators and writers now discover new artists that they end up representing, exhibiting or interviewing via Instagram. It’s pretty incredible that social media has created such a simple platform for sharing art worldwide. That being said, there are so many talented artists showing their work on Instagram these days that it can seem like a competition for followers and impossible to get noticed. But neither of these are true. Make sure your feed stands out for all of the right reasons!

  • Quality photography for artwork: We know, we say this all the time! As Instagram is a visual platform, it makes sense that all of your images should be high quality. However, this doesn’t mean that you have to spend hours to get a perfectly lit shot of your studio or an artfully messy image of your palette and brushes. Focus on clean, cropped photos of your work that can easily be reposted. Make it easy for others to share your work!

  • Along those lines, while it is fun to mix up the type of images that you share, like detail shots, an installation view and works in progress or even your cat, make sure you regularly show finished pieces (perhaps one of every three to five posts depending on how much work you have and how quickly you create new pieces). I came across a really incredible painting that I wanted to share on Create! Magazine’s Instagram so I went to look up the artist’s profile. I scrolled and scrolled, but could not only not find the painting I wanted - I couldn’t even find one single image of a nicely photographed, completed work cropped to the edges!

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  • Use the right hashtags: We discuss hashtags in more depth in our new book “The Smartist Guide” but the general rule is to be relevant to your work while not being too general or your posts will get lost in the mass of images. So if you make sculptures you could use #sculpture, but that has over 10 million posts and #sculptures has over 1 million. Instead you could try #sculptureart (200,000) or #sculpture_art (9,000).

  • It might be your goal to get reposted by a larger influencer account like an art blog, magazine or curator. DM-ing them to ask for a feature isn’t professional and doesn’t work (nor does random tagging unless they specifically request it!). Often, these accounts will post simple directions like using a specific hashtag on your posts for you to share your artwork with them. We look through #createmagazine regularly and love seeing the great images that the artists in our community share with us! Kat also mentioned recently on an Art & Cocktails podcast episode that Instagram doesn’t allow us to sort through all the messages that are sent to us. With the volume of DM’s we receive, after a day or two it is hard to go back and find specific ones even if it was an artist that we liked.

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  • While I can’t speak on behalf of other publications or curators, I personally don’t care what an artist’s follower count is. If I like the work, I will happy reach out for an interview or repost the work whether they have 50, 500 or 50,000 followers. There’s no need to play games by following a bunch of accounts hoping that some will follow you back and then unfollowing them a few days later. People definitely notice and will remember you in a negative light.

  • Make connections with other artists, curators, galleries and arts publications that you genuinely like. This way you can meaningfully engage with their posts. For example, if you leave a particularly nice or interesting comment on a post, it is likely that they’ll click through to your page. It pays off to be a friendly follower :)

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  • Don’t feel pressured to post new content all of the time! It’s likely that only a fraction of your followers will see any given post so if one has performed particularly well feel free to share it again a while later. Especially as you get more new followers, it is a great idea to keep putting your best work out there - you never know when a new writer or curator will end up on your feed!

  • When you do inevitably get your work shared, you can definitely repost it on your profile to be proud of your accomplishment and it’s also good practice to leave a comment thanking them for the feature. Hopefully one shared work will cause a chain reaction leading to more! That happened to Kat last year with a piece she didn’t expect and early in my career as well with a completely different type of work than what I usually made. Be patient and consistent with your posts and it will happen to you too!

Above all, none of this is important if you aren’t yet happy with your work or don’t have finished pieces to show. Put the time in your studio to get to the point where you have a really strong body of work to post about first and then trust us, the rest will follow.

Happy ‘gramming!

-Alicia

If you’d like to hear more about what writers are looking for on Instagram, you can check out the Art & Cocktails episode Kat did with our other magazine contributor Christina Nafziger at createmagazine.com/podcast.

Looking for additional career tips like these for emerging artists? We’re so excited to share our recently launched book, The Smartist Guide, which discusses topics ranging from perfecting your resume and writing the perfect pitch to a gallery you’d like to represent you to dealing with rejection and finding the best opportunities to show your work! Learn more here.