Today I woke up in odd mood and decided to release one image from my “Sham-Show” collection. None of these copies ever touched the internet. There are a total of six endorsements that are more humorous than the last and I’ll feature on STP every so often, with more context perhaps (even though its self explanatory). Each were a public announcement that I considered as a hoax but the undertaking was evident. Each bulletin was commercially exhibited near each gallery/institution and received no true consequence.
On this years Mother’s Day, we were invited to the Brant Foundation to celebrate Spencer Sweeney’s new exhibition “Perfect”. I really need to take that drive back to Greenwich, CT to visit because that experience was phenomenal. Here are some of the works:
hey world, this trailer is the long version for my first “home-movie” I premiered in Paris, France in 2017. there were only about 48 people that had the chance to experience this viewing at the small gallery i was working with at the time. i hope you enjoy watching this. if you have any comments, please message me. Thank you 🙂
I am so excited to put on my third solo exhibition held at THE END Project Space this May 2022.
Evolving from the body sized band t-shirt paintings I started making in 2020, I will paint a movie screen sized mural version directly onto the gallery wall.
Over the past year, it’s been a joy to collaborate with the space’s founder and operator Craig Drennen. Thank you, Craig, for the space to show my paintings, and an opportunity to work big.
I’m looking forward to it!
THE END Project Space
1870 Murphy Avenue SW, Atlanta, GA 30310
Opening Reception: Friday May 6, 6PM – 9PM
Gallery Hours: Friday and Saturday 12PM – 4PM and by appointment
As you know, I systematically drop in museums and art galleries in New York City. It’s very entertaining and also, in some way, I get to imitate the act of “falling in love”.
In the past, There has been countless times where I didn’t enjoy the work but I went with intentions are to sit with and appreciate the art. At this moment, these are my recent visits and favorites (in no particular order) in the lower Manhattan area:
I will be visiting more galleries in the next few days and will keep you all in the loop!
Hope to see you at an opening! Thanks!
Is love intrinsic, or is it a habit? What is the difference between love and friendship? What is the relationship of love to truth, freedom, and justice? These are just some of the questions to be explored in What Is Left Unspoken, Love, a thirty-year survey of contemporary art featuring artworks that address the different ways the most important thing in life—love—is expressed.
Organized during a time of social and political discord, when cynicism often seems to triumph over hope, this exhibition will examine love as a profound subject of critical commentary from time immemorial yet with a persistently elusive definition. As poet and painter Etel Adnan wrote, love is “not to be described, it is to be lived.”
What Is left Unspoken will feature nearly seventy works, including paintings, sculpture, photography, video and media art, by more than thirty-five international artists based in North America, Europe, and Asia. Artists include Ghada Amer, Rina Banerjee, Thomas Barger, Patty Chang, Susanna Coffey, James Drake, Keith Edmier and Farrah Fawcett, Alanna Fields, Dara Friedman, Andrea Galvani, General Idea, Jeffrey Gibson, Felix Gonzalez-Torres, Kahlil Robert Irving, Tomashi Jackson, María de los Angeles Rodríguez Jiménez, Rashid Johnson, Gerald Lovell, Rafael Lozano-Hemmer, Kerry James Marshall, Felicita Felli Maynard, Wangechi Mutu, Ebony G. Patterson, Paul Pfeiffer, Magnus Plessen, Gabriel Rico, Dario Robleto, RongRong&inri, Michelle Stuart, Vivian Suter, Jana Vander-Lee, Carrie Mae Weems, Akram Zaatari
at The High Museum (Atlanta) on view March 25 – August 14, 2022
As a group, the abstractions of these visual and audio works address the rose-colored sensations one falls into on a long walk. Like one can get lost in their own thoughts, one can get lost in the artwork and music. As the title insinuates, this show is not meant for quick viewing. These works are slow burns; the longer your eyes and ears fixate upon them, the more details come forth.
‘Schac’ was an alias used by Kai Schachter, a British-American artist (1997-2019). Like far too many others, Kai tragically took his life while battling mental illness. He used art as his primary vehicle of expression a lamentable posthumous revelation. Kai’s work dealt with the inner workings of his mind through humor, self-deprecation, meandering streams of consciousness, and meditative visual expressions like dew and rain. Given the prevalence of mental illness and the tragic consequences that Kai fell victim to, we want to use the artistic gifts he left us to establish a grant in his name. We hope this grant will give artists the platform to make new creations, something Kai loved doing more than anyone.’Schac’, in honor of Kai Schachter, will exhibit a suite of ten drawings he made from 2017-2019. For each of the drawings, we have created an edition of ten pristine reproductions available for purchase. This exhibition is the beginning of an ongoing not-for-profit mission in which grants will be awarded to artists: a cycle in which proceeds will fund the following group of selected artists. Works of art created by the awardees will be exhibited in a yearly exhibition, the proceeds of which will fuel the grant for the following class. The primary aim of this inaugural exhibition is to kickstart the grant. We are hopeful that our first exhibition will allow for a sustainable series in which the the grant can operate.
Kai lived an electric life. He touched the lives of every person he met, always leaving a smile on their face. Kai’s social generosity and his support for the people around him is the inspiration of our project. Although he is no longer with us, we want to keep Kai’s short but bright legacy alive eternally.
Written by Adrian Schachter
The laptop rang on a Tuesday night. Dehydrated, STP’s Maya Kotomori pinged artist and friend Raafae Ghory into the Zoom call, eager to quench her thirst with some good art-chat. Raafae Ghory (b. 1997, Lahore) is a photography based artist whose recent work explores the ways in which a persona can be performatively generated, dispersed, and then corrupted in and across digital and physical spaces. We chat about it all in the wake of his sold out book, ‘FCKKDD.’
Maya Kotomori: What was the process of making this book like?
Raafae Ghory: It’s funny to think about an artistic process when memes [are the] subject matter. That’s so silly! Archiving these images was something I did naturally. I didn’t think about it as a process or practice until I had the idea of making a book. Then I started going back through the images, re-experiencing them. I came across some really good texts that became the foundational theoretical framework of the ideas behind what I did.
MK: What did you read?
RG: The first one that put me in a good place was Giving An Account of Oneself by Judith Butler. After that, I read The Undercommons by Fred Moten, I would recommend that if you haven’t read it. I read The Fisherwoman by Toni Morrison, also.
MK: Fire, I love her.
RG: Have you read that piece?
RG: Yes! And also, The Society of the Spectacle by Guy Debord, which I just posted on my story yesterday, ‘cause I was thinking about Debord, and some French Marxists too.
MK: So, the book is a processed version of your trap account on Insta that became a book! Beyond the account, where did you see that materiality going?
RG: I took the content of the account and wanted to recontextualize it into the form of a book. We’re so used to seeing these types of images right in front of our faces – on a screen – all day. Outside of that, [the book] is a way of reading the world around you. It’s subject matter that lives online! That’s so ingrained in our heads that we often don’t take the time to think about what we’re sharing or consuming.
MK: There was a lot of personality within ‘FCKKDD.’ There’s also a lot of homies in the book. How did they feel to have that shout out in print?
RG: I don’t really know! A bunch of friends have seen the book in its earliest form when I made it three years ago. When I show it to them now, I get a lot of smiles. I think the content and just the nature of the book are both so overwhelming that people don’t even like when they see themselves in it, and they’re still processing all of the material in between that you have to go through, like on an online feed.
MK: If you could define that material in between, what is one word that you would use to define it?
MK: Ether – I love it. Did you know that not only is “ether” an imaginary space, but also a chemical? They used to use it back in the day as an anesthetic. I’m not super familiar with its structure, but I know it’s really bad for you.
RG: Well, there you go.
MK: The book feels like a really broken down time capsule for 2018. Why did you pick that year specifically?
RG: That’s a good question. I feel like the pain [of that year] was definitely an aspect to that. I also just happened to be in a class where I had free reign on what I wanted to create. I was trying to figure out a way to organize ‘FCKKDD’ in a way that made sense, and I also wanted to have a hard start and stop to the work. If there wasn’t that start and stop, the work becomes just like our feeds – it just keeps on going. Having a “year” was a good way to contain that set of work.
MK: Do you hope to make more collections? The side of the book says ‘Volume One’ and I’m trying to try to see another one…
RG: That’s kind of my intention. I mean, as you know, I still keep this ‘FCKKDD’ archive online and it’s an ongoing thing that I’ll do whenever I feel like it. I think the next one that I would do would be for the year 2020. It’s kind of obvious because we basically lived that entire year mediated through our technological tools, and most of our social interactions took place through the Internet. I want to look back at that, but I’m not really in a rush. I don’t really want to process that that year so soon.
MK: When you said 2020, it made me think back to Society of the Spectacle and the idea of the information highway, and the Agora, and how Debord made those connections with public space as a digital experience. With wanting a hard beginning and a hard stop, how would that translate into the layering that you used in the book? What are your opinions on time in that way?
RG: I did the layering and the collaging in the book as an aesthetic way to capture what it feels like to be in the internet. The “higher ups” have said Instagram is all clean lines and grids and you know, infinitely scrolling timelines, but it doesn’t feel that way for the most part. It can just feel like a disorganized sort of overstimulating experience of information, that’s never ending. I wanted to mimic that feeling.
MK: Logic question: is this the first physical book you’ve ever made in print?
RG: This is the first one that I’m putting out to the public. I made another book in 2017, that was just my photographs of my friends, and another for my project about Mecca. Books are my professional career right now. I work at a book publisher called Conveyor Studio in Jersey. It’s a cool spot, there’s only four of us in the shop. They have their own publishing label, and they do a lot of just on demand printing for museums and places like that.
MK: Bookbinding is fascinating!
RG: It is! All 2020 I was still consuming content online, and that was what I posted during that time on my private account. That [reminds me of] one of the main questions that I posed for myself when I was making the book: how can you negotiate a personal experience against the idea of a collective consciousness, how might a stranger who doesn’t even know me be able to relate to the images based on content and subject matter? That [relationship] is ubiquitous, but then again, at the same time, it’s definitely a piece specific to it’s time.
MK: A lot of other artists right now put out self-defining work that is all identity politics, and you don’t do that at all, while building that relationship with the audience. It comes out in a lot of your other work too! I was going through my story archives earlier, and I remember when you had ‘Hajji’ at the Tisch windows for all of January and February and March…
RG: And April 😉
MK: This man said we got a four month run! How do you relate yourself in terms of those two projects – ‘Haajji’ and ‘FCKKDD’?
RG: That’s actually something I’ve been thinking about a lot lately and most of my traditional photography work revolves around these two words: like social documentary in a sense. At the same time, I was thinking about documentary as a form and what exactly that means. Even though it (FCKKDD) doesn’t really have the defining features of what one might consider a documentary, it’s still very much an object, an artifact of smaller artifacts that connect to different people in society.
MK: Super leading question but: how do you feel about the Internet? It’s funny how the internet was started, you know, as this big democratic network, and now, Trump is banned on Twitter? How do you see that [shift]?
RG: That’s something I think about almost every day when I’m at work. I guess it’s really just a big double-edged sword in a sense, because I, myself, when making this book, I wrote a 15 page paper about how memes are the single most democratic form of social critique that we have to this day. But then again, at the same time, the Internet has enabled a space of unparalleled consumerism and just enabled this sort of obliviousness, if you’re not careful. Then you have all the other stuff that goes along with it, like the rise of the far right and that weird space.
MK: Yeah, because the Internet facilitates everyone, it facilitates everyone. And it (internet) also isn’t a neutral thing either. The internet can fit certain agendas which is probably my favorite aspect of the book. The object itself is that the one thing that unifies it.
RG: Another question that I was asking myself was how does our relationship with these images and cultural obsessions change with time? Because there’s a lot in that book that now exists as a dated cultural object in a sense, because we don’t share those images. I was asking the question of what happens to these images that we move on from? I was scrolling on Twitter and there’s people talking about ancient memes, which just popped up today. Like the original Wojack faces, you know what I’m talking about? Just out of nowhere, those are coming back up after what, 10 years of meme progression?
MK: That says a lot about the importance of the archive, because something really old can take on a new meaning, where the old thing is extra-important because it’s really old. And now the Internet is speeding that up where even the book feels distinctly “2018” though 2018 was only three years ago.
RG: Yeah. It’s insane. It’s crazy.
MK: What is your favorite ancient meme and how did you feel about Pepe the frog censorship?
RG: I don’t even know if I have an opinion on that. With memes, how can a certain group of people hijack an image, you know? [Pepe] has been recontextualized so many times on 4chan and Reddit. I don’t know if you’re active on Discord, but some of the Discord groups I’m in all use Pepe. The second you look at it, it just brings up these associations that have kind of been ascribed to it, when at the end of the day, it’s a picture of a frog. It’s so weird how a seemingly meaningless image can hold such cultural weight.
MK: The power of the zeitgeist, and also the power of concealing something is exactly what ‘FCKKDD’ subverts. It also has a dual existence. It still is a private account, and it is a [sold-out] book. Before you opened the book to the public, did anyone random who doesn’t follow the account see it?
RG: Yeah, actually. It’s a funny story. I brought the book to Dashwood about a [couple months] ago, and I was showing it to Miwa. She was really into it, but they’re not taking in books right now. While I was showing it to her, this random man in the store just came up and entered the conversation. And he was like, “Oh, I’m actually working on a project about the Internet, your book seems like it’s right up that alley.” So I was like, “Yeah sure, you want to look at it?” And he was like “Sick, how much? I’ll buy it right now.” And then I sold it to him at Dashwood.
MK: So you subverted Dashwood at Dashwood.
RG: Yeah, exactly. I was like, “you got Cash App?” And that random person, I think his name is Dylan or something, got a copy of the book before I released it.
MK: Do you have a favorite style moment or time period?
RG: Kiko Kostadinov, or Old Navy.
MK: Bro, Old Navy is the shit. I remember like three years ago everyone was trying to bring Gap back and I’m just like, nah nah nah. It’s all about $5 tees at Old Navy.
RG: When I was a kid my mom always used to get clothes for me from Old Navy. I used to hate it so much. And now I’m finding the sickest Old Navy objects on Depop and thrift stores. I was not with it back in the day.
MK: Should we be expecting any ‘FCKKDD’ clothing drops in the future or…?
RG: You know, maybe. It’s not something I’m thinking about, but that might be cool. I don’t know what I would do, but nothing’s off the table.
MK: “Weigh all the options, nothing’s off the table.”
When Lucia Bell-Epstein shoots the food at work, she doesn’t just capture the finished product. She includes bits of the floor, takes portraits of the kitchen staff, and snaps pictures of ingredients in the boxes they arrived in. All of these come together to create a narrative. She doesn’t want to make things feel fake. Her photographic diligence made collecting images for this interview a breeze. She wants this to be the truth. She doesn’t want to make the experience she’s having aestheticized, but instead show appreciation for the space and the people she gets to work with. This is an homage to them, to the farmers, to everyone who is a part of where this food comes from and where it ends up.
Lucia Bell-Epstein is an artist from the Lower East Side in New York. She takes photos and cooks, connecting the two with intent and intimacy. Lauryn-Ashley Vandyke is a producer, curator, and editor from Sugar land, Texas. She sat down with Lucia a couple months to talk about community, what fruits are in season, and her experience cooking at LaLou.
Lauryn-Ashley Vandyke: How would you describe your professional and personal relationship with food?
Lucia Bell-Epstein: Dance. Intimate. It’s what I think about when I’m alone in bed at one in the morning, trying to fall asleep, looking up or writing down notes on my phone about things I want to try to make. Saving photos of dishes that inspire me. There is no boundary between the professional and intimate. I work at a restaurant. That environment is different than if I’m cooking at home with friends. The rigidness that comes with working shapes your relationship to food. In terms of time and space, and in terms of learning how to put out food that you would want to eat yourself.
But at work, it’s chef Jay Wolman‘s food. I work at LaLou, a natural wine bar and restaurant in Fort Greene, Brooklyn. Facilitating chef Jay’s ideas in a way that’s collaborative is really exciting. Say we make a citrus salad at work- when I go to the market on my own and see melons, kumquats or other winter citrus, I’m instantly inspired by what I’m doing at work. Those ingredients stick with me and it becomes intimate. I want to put my own twist on them.
LA: Do you have tips for people who want to incorporate fruit into their savory dishes?
1. Mix fruit with olive oil and dairy, or something that bites, like a sharp lettuce. You could also take beets and pair them with a Clementine or some sort of blood orange.
2. Slice apples on a mandolin and throw them into your favorite salad. See if you like that juicy, sweet taste.
3. Baked apples, or poached pears and red wine. That’s delicious. You could take pears and poach them in a bottle of Malbec, and it’ll still be kind of sweet. Eat them with a piece of meat. That could be your side.
It’s citrus season right now, which is crazy. I didn’t know that winter citrus was a thing until I got into food.
LA: How do you know what’s in season?
LBE: I ask my mom, I ask chef Jay. I ask my friend Sam’s mom, Andrea. She knows everything about produce and the market. This morning we were recipe testing for her cookbook and she made confit kumquats. You submerge kumquats in olive oil and slowly bake them at 200-250 degrees for a few hours and they get nice and soft. You can eat them with literally anything; on breakfast with sour yogurt, or on a piece of toasted rye bread.
LA: What else is she putting in her cookbook?
LBE: I don’t want to give too much away, but it’s from the perspective of a photographer, so aesthetically, it’s going to be gorgeous. She uses a lot of healthy ingredients that taste good, and a lot of Italian influence as well – farm to table vibes.
LA: How is cooking like making artwork?
LBE: It’s one in the same. One of the first things I observed working in the kitchen at Lalou was the idea of the dance; the physicality between chefs moving around seamlessly, sometimes without speaking. Building a salad is a total dance. You want to invite whoever’s eating your salad to taste the art in the way that you want them to.
You know when you go on a date with someone and you’re fighting for that last bite of food with the most shaved Parmesan? Chef Jay always says to me that every bite of the food you put out should be like that. It’s just like if I’m taking a photograph, painting or drawing. I’m not gonna leave a quarter of surface lacking that kind of lust and lushness.
LA: Could walk us through your plating process?
LBE: I’m such a new cook that I learn from watching. When I’m at home cooking for myself and my friends, I try to break lines of the plate or make things look a bit messy and realistic. The last thing I want is to cook something that is so perfect it feels unattainable. Food should be inviting. I think a little gem caesar salad plated with your hands can be just as inviting as something that was plated with tweezers.
My plating process depends on what I’m making, but height is something I strive for. I like things to be a bit glossy, so I like using olive oil to finish things. It makes everything look sexy. These are things I have learned from chef Jay and Andrea.
I also love nights where I’m eating out of the pot. We’re young and don’t like doing the dishes all the time.
LA: Would you rather go on a dinner date or out for drinks?
LBE: Out on a date to get a nice meal. Even hotter than a dinner date; being invited over to cook dinner together.
LA: In the kitchen, what does community mean?
LBE: It’s what I try to illustrate in the photos I take at LaLou. The team I work with is quite small.
I work with people that inspire me and change the way I think about food. Not many people can say that. In the kitchen, there are traditional hierarchies. I’m at the bottom of that totem pole because I just started working there, but it doesn’t feel that way.
Whenever I’m photographing at the restaurant, it’s beautiful to watch how every person on the team has influenced and inspired the food that we put out.
Sitting after service and having a glass of wine with chef Jay and other cooks, listening to them talk about stuff that they want to make; it’s amazing. It’s a natural wine bar, too. I’m learning about orange wines and how to make food pairings with alcohol. Community-wise, it feels like a small family.
LA: How do you build trust in that environment?
LBE: I had to prove my work ethic and my seriousness to myself and the rest of the team. We have fun, but it’s serious work. It’s physically and mentally demanding. Trust was built through the feeling that my coworkers accepted me for who I am, despite the fact that I’m still learning.
Rather than going home feeling weighted and anxious from whatever mistakes I’ve made, I go home feeling inspired to do better. Not for myself, but for the team. Trust is an unspoken result of that.
LA: What’s the difference between cooking with friends and cooking at work?
LBE: At work, I’m cooking the dishes that we serve, which are the dishes by chef Jay. At home, it’s my own intellectual property; I can do whatever I want. xI’m so excited to go to work and talk about what I cooked in my free time.
At work, there’s consistency. Every chicory salad I make will look a little different, but they all have to taste the same. Learning about new ingredients, I get all of that at work too. I’m still growing as a cook and learning how to plate in new dance formations.
LA: What are three of your favorite color combinations?
LBE: I made this chocolate maple tart that was topped with toasted Sicilian pistachios with my friend Hedi. There’s a tan crust next to chocolate brown ganache. It’s finished with bright green pistachios with a pinkish purple hue.
As spring comes, I want to work with more green. I’m thinking about asparagus, wild arugula, leeks and green garlic, which will be sprouting up soon.
There’s a lot you can do with the color white; buttery, brothy cannellini beans with ribbons of pecorino….
LA: How do you come up with color combinations? Do you test things together visually?
LBE: It’s less about color combinations, and more about ingredient combinations. I’m not planning the color palette of things I want to make. I’m newly into beets. At work we made this salad with beets and shaved Humboldt fog, a type of cheese. The texture was amazing. There was the crunchiness, the green leaves, the white snowy humboldt fog with blue ash running through the middle. Then you have a glossy, tender, juicy beet dripping onto the side of the white plate and dying the lettuce. It’s finished with a bit of olive oil. When you take a bite into it, all those colors, textures, and flavors come together.
LA: Our hunger impulse is so associated with color.
LB: Oh totally. When I shoot the food at work, I’m trying to kind of zoom out and document everything from another perspective, not just cooking with the food or handling the ingredients. I really like including bits of the floor, other human beings, hands holding things or shooting within the containers of the ingredients. All of these come together to create a narrative. I don’t want to make things feel fake. I want my photos to show what we do at Lalou. I want this interview, like what I’m explaining to you, to be the truth. I don’t want to make the experience I am having there be aestheticized in my work that I’ve shot there, but rather my appreciation for my space there and the people I get to work with. It’s an homage to the farmers, I’m considering where this food comes from and who’s growing it
LA: Why should people have a relationship with their food from start to finish?
LBE: The first thing that comes to mind Canal Cafeteria. You can go to their produce stand and get free groceries. They’re community-building in the Lower East Side, where I grew up. It’s great to see people in my generation taking initiative like that.
Now more than ever, we need to know where our food is coming from, what we’re putting into our bodies, and how we can buy things that support small businesses and local economies. People make the argument that it’s cheaper to get pre-packaged food but there are ways to buy healthy, fresh ingredients without having to spend an exorbitant amount of money. Invest in what you put into your body.
LBE: There’s nothing that releases more endorphins for me than cooking for myself. You learn so much about yourself, what you like and what you don’t like. It’s a labor of love.
LA: Ben made the analogy between ordering food vs. cooking at home being like swiping on Tinder vs. meeting someone in real life.
LBE: Part of growing up is learning how to nourish yourself.
LA: What traits make someone easy to work with in the kitchen?
LBE: We all have bad days and get moody, myself included. Keeping that outside of the professional environment is critical to being a part of a team. If one person’s feeling off, everybody else feels it. It’s how it is in any work environment.
What makes it easy to work with someone? Being a good listener and teacher. Everyone I work with is easy to work with because they all love what they’re doing. If I was working in some corporate job with people that hated their work, it would be a very different environment. At Lalou, every person in the kitchen is passionate about food and cooking. If you go there and eat the food, you’re tasting their hard work. They care. That in itself is art.
The art world has a tendency to forgo boundaries. Living, working, and scheming all in the same building in East Williamsburg, Ali Sahmel and Emily McElwreath are a prime example of how romance and professionalism can overlap and create a partnership built to last. McElwreath’s vast experience in high-end art advisory and Sahmel’s title as one of the few master chromists in New York City solidify the two as a power couple. This label is not lost on the two, who have recently teamed together to join the handful of art galleries popping up in East Williamsburg. In the midst of working with the couple to organize STP Group Show 3, STP Blog Editor in Chief Lauryn-Ashley Vandyke pops into their apartment across the hall from the gallery for a conversation about what it’s like to mix business with pleasure.
LA: How would you two describe the work that you do, and does it ever overlap?
Emily McElwreath: With Sidel McElwreath, it’s art advisory and curation. I’ve never been with someone as involved in the art community as I am. There is so much overlap. We are either working with the same artist, or there’s a person I’d always wanted to work with, and Ali introduced me, or vice versa. The overlap was super beneficial for both of our careers.
LA: Did you guys meet through art?
EM: We met on Tinder. Living in New York City in the queer community, it’s hard to meet people. Plus, we’re so busy. I wasn’t bar hopping, meeting people.
LA: And there are no lesbian bars anymore.
LA: What was your first date?
AS: It was an Irish pub type place in Clinton Hill. They have the best popcorn there. It was just a block away from my house. I was like, if we’re gonna meet, you’re coming to me.
EM: We started dating right away, as lesbians do. The synergy was there immediately. I had been in business for four years. I was at the Brant Foundation as director of communications and education for six years. Then, I went out on my own and started my art advisory. Your first five years of going out on your own, you’re an infant. Although I was still green, when Ali was like, I want to start my own silk-screen studio,I’d had the experience of starting a small business.
LA: You’re both workaholics.
EM: Ali’s far more organized than I am, but in terms of time in, we’re both constantly working.
AS: We work a lot. Making things, but also looking at shows, studio visits, researching, staying informed.
LA: When I think of the dynamic between me and my work husband, Ben, the reason it works is because we both have our own thing. It overlaps in that we support each other, and we get to collaborate, but we’re always equals. There’s never a weird power dynamic in our relationship.
EM: Being equal is the only way it works. We both have our own separate things that exist without the other person. Those two things are going to exist, even if we don’t as a couple.
AS: We offer different things which benefit the other. Emily’s more outgoing and assertive. I’m more hands-on and creative. It’s a good team.
EM: Launching the art space, Pegasus Gallery, was a no brainer. It used to be an office space for the previous owner of the studio. We came up here and we were like, why don’t we have some sort of experimental, invitation only, art space where we can bring in young curators and emerging artists.
AS: Not as much structure as a Chelsea Gallery.
EM: Downstairs (Pegasus Prints Shop) is the bread-and-butter business. The gallery gives us the freedom to play. That’s where the overlap is- we’re co-directors of the gallery.
LA: What are your goals with both of your projects?
AS: Stepping outside of the box, not creating your traditional print, experimenting with different mediums, paints, and ink. I want to get something new and fresh, so I’m experimenting with airbrush or with printing on different types of substrates.
EM: I’ve worked with everything from blue chip artists to total emerging artists. I deal with the blue chip pieces so I have the opportunity to take chances with emerging artists. I love being able to go to the collector that has a Julian Schnabel in their living room and say, check this artist out. They just graduated and I want you to invest in their talent.
LA: How has digital innovation affected printmaking and selling and purchasing artwork?
AS: Digital printing is easier and faster. It’s like reading the newspaper versus picking up your phone. With that said, it makes me appreciate it more. For me, printmaking is a completely different aesthetic that I’m naturally more drawn to than digital.With the silkscreen process, you see the hand; the tedious nature of creating something.
EM: In terms of digital takeover across the board, we’re 40 year old women. It doesn’t come organically to us. In college, I was still going to the library to use their desktop to write my essays, and actually printing them with a printer to hand it in. It’s a constant learning curve.
LA: There’s a new appreciation for printmaking. People crave that physical process.
AS: Yes. To see the trace of your hand, the manual creation of something, versus hitting buttons all day and just spitting something out.
EM: There’s always going to be room for the authentic, classic, beauty of tangible art. It’s like a little black dress. It doesn’t ever go out of style. There’s an element of the fine art world, especially silk screen, that doesn’t change. Luckily we are dealing with fine art, which for the most part remains tangible and separate from digital takeover.
LA: What did you guys learn about each other through the process of teaching Emily about printmaking?
AS: Emily’s very impatient. She has a difficult time multitasking. We have a different eye.
EM: However, we work well together. We have to. To be able to sustain two small businesses, we both had to help each other out and move into parts of ourselves that are uncomfortable. I’m not that detail oriented. Allie is so organized, patient and all those things that go into being a printmaker. I don’t have those. I’m scrappy, I’m fast, I’m impatient. I want results right away. We’re very different, but I’m still in the shop, racking the prints and helping her, because we have to. It’s free help. When you’re lovers and you work together, it’s like, I need you for five hours downstairs because I’m not paying someone to come in today.
AS: When we meet with artists, too, we just bring forth different concepts and respond to artists differently. It works due to the differences.
EM: I’ve had to learn to take second place to Allie when we’re [in the print shop]. It’s Allie’s studio, and I’m in it. That does not come naturally for me. I’m bossy. I like to be in charge. I’ve gotten to the point where I don’t try to do that in the studio anymore, because I don’t know what the fuck I’m doing. That’s a big learning curve.
LA: When you love someone so much and you’re working together, there’s never any ugh, I can’t believe they’re making me do this. You want to be there.
EM: Yeah. Everything bleeds into one. There’s no we’re doing each other a favor by doing this.
AS: Emily comes down and works with me in the print shop, but also, when she’s doing studio visits, I come and add my insight or criticism in some way. Emily spills into my world and I spill into her world.
EM: I’ve gotten 10 times cooler dating Ali. She’s like, why don’t you come with me to meet this young artist? Then when we’re there she’s like, I’m a chromist. They’re like, oh my god.
LA: What is your favorite thing about working with your partner and what is your least favorite thing?
AS: I love always being around Emily. She’s so fun and funny. At the same time, it’s hard always being together; working together, living together, going to studio visits-
LA: And you don’t have doors in your apartment.
AS: Right. So I value my alone time, my space. I’m a Gemini. I’m contradicting myself. At the same time, I want to be alone.
EM: I’ll oftentimes make the call, like, I’m going to go away for the night. I’ll feel that we need a beat.
The best thing about working together is that Ali’s my favorite person. I want to be around her all the time. We’re talking about working together, living together, and getting through a pandemic together. It’s created a level of intimacy that I didn’t know existed. It’s also two women. I can’t even express how much work needs to go into understanding one another when it’s two women together all the time.
LA: Emotions, sensitivity, thoughtfulness. Women understand; they see so much.
EM: Yeah. I don’t want to see it all. I want to be that dumb dude who’s like, what’s the matter? My favorite thing is being around her, and my least favorite thing probably has to do with me, and my lack of patience and ability to let go of the reins. That’s really hard for me. Sometimes I’m unpleasant to be around. I’m trying to work on that.
LA: I feel like everyone says communication, communication, communication. No one ever says, let things go.
EM: You have to let things go. That’s such a good point. We do our best when we’re able to accept one another for who we are. When it’s not good, we hone in on every little thing. It becomes, why’d you do that? What’s going on? Let’s talk about it. Sometimes there’s nothing to talk about. Also, we’re 40, this is who we are. It might get a little better, but there won’t be some huge upheaval of our personalities.
LA: Can you talk about building trust with each other, but also, the artists you work with?
EM: It was important for me, when I started my own business, to build relationships with the art community. Especially the emerging, mid-career art community. Go into those studios, get to know the artists on a personal level. With that comes a level of trust. These artists are allowing me in their spaces. They’re allowing me into their lives. They’re allowing me to sell work for them. I always liked this quote: Love comes easy. You don’t have to earn love. You have to earn trust, and respect. You can really dig someone, love them, but the trust and respect comes after. That takes a while.
AS: When you’re building and nurturing these relationships, the dialogue is a little bit more at ease. Concepts come naturally, it just kind of flourishes. The more you build relationships with artists, things grow and evolve.
EM: It’s creating like a family for ourselves. My favorite part of our relationship is getting to be mama bears, creating this family of artists, creatives, makers, thinkers, and having a physical hub for people to come to.
LA: How do you build a creative community through the work that you do?
EM: First of all, it takes time. Time, and experience. I’m a huge networker. I’m always connecting the dots. You have to make it a priority to meet people; go to the shows, go to the openings, go to the events. Be authentic. Instagram has allowed us the opportunity to feel connected with one another. There’s a lot of stuff that I hate about Instagram and social media at large, but I love more than I hate.
AS: It’s accessible, easy, and efficient.
LA: You can’t have one without the other. Right now, at least.
EM: 50% of the artists that I do studio visits with, I’m introducing myself via Instagram. Like, this artist told me to check you out. I’d love to see your work in person.
Plus, we get to see what LA is doing at 1:00 AM on a Tuesday. We’re not going to be at that restaurant with you, because we’re on our 10th dream, but I get to wake up and be like look at what LA did last night.
LA: I love Instagram. I didn’t have one for 6 years. I needed the break, to learn to love myself and to not find that validation through other people.
AS: Did you delete your account and then come back?
LA: I deleted it in 2016.
AS: It’s like deleting part of your identity, then reappearing. It’s your digital identity.
In an age of extreme uncertainty, the motions of the familiar have become broken by an appropriate need for change. Liquid Extremes does not attempt to know any one angle of absolute truth, but instead invites the viewer to have an internal dialogue with where they stand emotionally, mentally, and spiritually (through figurative visual art) during these uncertain times. The art presented hopes to reflect the current change occurring at this moment and make it visible to some degree in order to have a conversation with the self, despite the growing frequency of noise being televised at every moment. From this precarious point forth, one needs to slow down and ask themselves, “What now?” before embarking towards this new decade.
ENTER LIQUID EXTREMES
STP fashion week is an open submission online fashion showcase that will happen during NYC fashion week in lieu of access to physical spaces and opportunities for emerging designers. The show is free and open to anyone interested in fashion; all work that is submitted will be included. STP fashion week will kick off September 17th, 2020 on stp.world with a collective show of submitted works featured as clickable cutouts. In addition to images of their work, designers are invited to submit original supporting content to be released at intervals throughout the week amidst a series of live streams and zoom seminars. Submissions open August 8th at 12:00AM EST and close September 17th at 11:59PM EST.
For more information or assistance with your submission please email email@example.com.
Organized by Lumia Nocito, Yard Sale is a group exhibition raising money for The Loveland Foundation, an organization working to provide financial assistance to Black women and girls seeking therapy. The show features the work of 21 artists but YOU can SUBMIT your work and help raise money for The Loveland Foundation. To submit please click link below:
Alfonse Ruggiero (b.1947)
Elliott Chambers (b. 1994) Lives and works in London, UK. “I make paintings about the realm we create for ourselves, be it in reality or fantasy. I am focused on the idea of ‘place’ and the imagery that defines it. My paintings are scenes of importance to me.”
BFA Student Show is a student organized exhibition composed of artworks from students currently enrolled in BFA programsfrom almost 60 art schools around the world and counting!
Artworks from the show will be exhibited here at https://stp.world/ at the end of the school year. All currently enrolled BFA students are invited to submit their work and be a part of this exhibition! As of right now we have brought together representatives from the following schools:
- RISD – Ethan Shaw
- Cooper Union – Ben Werther
- Pratt – Bennett Smith
- Parsons – Lauren Cather and August Blum
- SVA – Adrian Schachter
- NYU – Adam Fried and Paige Labuda
- Barnard – Mia Greenberg
- Yale – Ronan Day Lewis
- University of Tennessee – Cali York
- Reed – Nick Schlesinger
- CalArts – Chloe Palmer
- UT Austin – Caroline Perkison
- Bennington – Lauren Bradley
- Goldsmiths – Theadora Sutherland
- Slade – Giulia Ley
- Bard – Ines Barquet
- Glasgow School of Arts – Purdey Williams
- UCLA – Arthur Wechsler
- HGK Basel – Joaquim Cantor Miranda
- CUNY – Eva Alcantara Sierra
- SAIC – Juan Arango Palacios
- New World – Gabriela Fernandez
- Tyler – Bridge Mccartan
- MICA – Kira Bell
- Concordia University – Xavier Bélanger-Dorval
- PAFA – Aaron Feltman
- Maine College of Art – Alejandra Cuadra
- University of Puerto Rico – Gaby Leonor
- Central Saint Martins – Georgie Sommerville and Ryan Brake
- Columbia University – Oscar Hou and Alyssa Gengos
- Pennsylvania State University – Kristen Byrne
- Chelsea College of Arts – Scarlet Topley
- Massachusetts College of Art and Design – Tashi Salsedo
- Washington University in St. Louis – Alessandra Ferrari-Wong and Jiyoon Kang
- UC Davis – Mika Ware
- SUNY Purchase – Jasper Kesin
- USC – Gabrielle Robinson
- Milwaukee Institute of Art and Design – Olive Craine
- Marist College – Isabella Biagioli
- Edinburgh College – Cameron Mellors
- California College of the Arts – Darian Newman, Anna Nunes, and Lindsey Reddick
- School of Museum of Fine Arts – Jean Chung
- University of Arkansas – Penny Molesso
- Virginia Commonwealth University – Moira Neve and Cali Carter
- Escuela de Artes Plásticas y Diseño – Daniel Pabon
- Wesleyan University – Sultan Olusekun
- Carnegie Mellon – Hannah Kang
- Lewis & Clark College – Elana Goff
- Kent State University – Griffin Allman
- SCAD – John Grund
- Converse College – Kate Frost
- Fashion Institute of Technology – Camila Palacios
- Ruskin School of Art – Olivia Williamson and Mihaela Man
- Corcoran School of the Arts & Design – Catie Leonard
- Otis College of Art and Design – Aya Galgani and Zach Benson
- University of Puget Sound – Rebecca Connolly
- Cornell University – Steven Cha
- UAL, London College of Communication – Emma Toma
- University of Hawai’i at Manoa – Lauren Calkins
- London College of Fashion – Georgios Trochopoulos
- Athens School of Fine Arts – Elpiniki Gelagoti
- Konstfack – Caroline Nord
- Columbus College of Art & Design – Dylan Phipps
- OCAD University – Samantha Lance
- University of Illinois at Urbana Champaign – Symone Sanz
- Camberwell College of Art UAL – Grace Piddington Donald
- Wimbledon College of Art UAL – Georgia Spencer
- Ryerson University – Lucy Alguire
- Syracuse University – Tracey Jean-Claude
To submit please click link below:
**Submissions deadline: May 15, 2020
For more information please get in touch with your school’s representative, or email us at firstname.lastname@example.org.
If your school is not listed above, please contact us to become a representative. We look forward to celebrating these students and hope this opportunity will allow us all to connect and build long lasting relationships.
Press inquires – email@example.com
Andy Heck Boyd is a painter and surrealist animation filmmaker. His prolific practice is motivated, in part, by his paranoid schizophrenia and his experience hallucinating and hearing the voices of Satan. Boyd is inspired by obselete technology, celebrity iconography, and do-it-yourself comic book culture. In addition to creating paintings, namely portraits, Boyd also makes lo-fi videos.