Steven Rand of apexart

Steven Rand is the executive director of apexart, a non-profit arts organization in Manhattan, New York City.

When did you first realize your passion for the arts?

I remember feeling like an artist early on. Always doing self-initiated creative stuff and even as a toddler, I “fought the power” by not listening or following directions. In retrospect I was embarrassingly self – involved so it was clear I was artist material.

Directing a non-profit arts organization requires a lot of time and dedication. Were there any specific events that led to your decision to support artists by opening apexart? 

I wish it was that altruistic. As a mid-career artist I started to feel that the luxury consumption model of contrived antagonism between artists, galleries and collectors put artists at a disadvantage, and wasn’t so interesting. It wasn’t about the things I found interesting. So I stopped making “gallery art” and working with galleries and found I enjoyed developing the alternative programs that constitute apexart and mentoring the people and process. I had the physical space available and wanted to see some interesting shows. This was in 1994 before all the independent curator programs opened except the Whiney. We’re really an educational organization and only incidentally a promotional one. Enough people seem to appreciate the values we emphasize that our reputation has grown in a good way.

Your exhibits seem to have a political focus. How do you wish to influence the art world with such works and what has the public response been so far?

We don’t select our exhibitions or influence their content. A large international jury of more than 400 people from more than 70 countries do this. It’s more fun and educational for everyone involved to displace the selection process to connect it to real life. Galleries and collectors aren’t exactly real life. It’s what many people want their art to be. Outside of the commercial gallery structure, we’re pretty confused about the role of art as well as it’s efficacy. Artists and curators are trying to be relevant, interesting and viable.

How do you find the time to oversee all of this?

I love what I do and the people I work with at apexart. The atmosphere is always collegial and about trying to do what we do better.

Do you ever personally get to curate these exhibits or are works only decided through guest jurors?

I curated our second exhibition in 1994 and included all my friends so I could get that over with. The way apexart is structured, making friends with staff to get opportunities doesn’t work, so while we get a lot of respect from the international community we’re lonely, but happy.

What are some of the challenges that you face running this organization?

Mainly doing things for the right reasons. For example, often a small org will enlist 5 people to be the jury for a prize or an exhibition. An artist or two, a curator, museum staff person, maybe a foundation person that supports the org. Everyone has the best of intentions but in the end, selections are often based on people they know, that they feel work hard and whose work they like. So, all the people from “other” places that don’t “know people” are at a disadvantage. Consider a curator or artist from Uganda that submits. The NYC jury, even if it appears to be diverse probably won’t relate to African work the way people familiar with it would and the artist/curator is at a double disadvantage. Our jury is composed of people from more than 70 countries, with the diversity that that brings. Some well-known, and others not at all. Each season with the two open calls, we have about 1000 people submitting and almost the same amount jurying. So that means nearly 2000 people involved in writing or evaluating ideas. As an educationally oriented organization that is being effective. Then the exhibitions are located all over the world, on every continent, in villages as well as large cities, that the jurors can follow.

What are some specific qualities of artists that deem them pleasurable to work with? 

We prefer well adjusted, smart, educated, self-funded attractive artists and curators with no attitude, but we’ll work with everyone. People who have worked with us would do so again.

How do you feel about social media and its impact on the way people experience art and life at large?

The ability to target users with specific information creates isolation within society. We are all siloed with a lack of common communication. Social media has created a sense of displaced reality. If we’re not getting the same information we can’t even have a discussion. If I live with you why is my Facebook so different? Do I even know you anymore?

What a weird substitution of an appearance of happiness and success for the real thing. IG locations set up for pictures to show what a good time you’re having in an effort to convince yourself and others what a good time is and that you are having one. Its projected vision and isn’t about the old being here now ethic. My happiness is based on creating an idealized visual image that you find attractive. External validation is the slippery slope of never feeling resolved. Lowering the happiness level in society by removing social mobility, hope and individualism while monetizing everything by subscription and relinquishing initiative. The new subscription model is even removing a sense of ownership in a subtle way. Turns out it’s not so hard to manipulate people and redirect their values. And that’s what social media does so well.

Do you have any specific do’s and don’ts for artists looking to submit their work to you? 

We don’t really look at artist’s work since we don’t do one person shows or artist projects. To submit to an Open Call you need a three artist minimum and the exhibition idea of no more than 500 words which you need to submit on time or close to it.

Do you have future plans for apexart beyond what it is today?

We’ve initiated some new student programs that include university and high school student jurying for our Open Calls accompanied by class syllabus guides, especially timely during COVID. Our current NYC Open Call includes some 22 university classes from around the world. Another new program sends educators into high schools for short sessions to speak with students about the real art world, realistic projections and expectations and unexplored related opportunities in the arts.

https://apexart.org/

Marina Eliasi of Stone Sparrow NYC

Marina Eliasi is the owner and curator of Stone Sparrow Gallery in New York City, focusing on contemporary art.

When did you first realize your passion for the arts? 

My mother was an aspiring artist and I grew up with access to art books, antiques and other inspiring objects as well as frequent access to museums. Art was always a place to escape to - either by making it myself or daydreaming my way through the work of others. When I was in 5th grade I painted a landscape that won first place in the town art fair and really loved the attention. I have never thought I’d end up immersed in anything but some kind of art ever since. 

Were there any pivotal moments in life that made you decide to become a gallery director? 

Not a pivotal moment really. I think I have been on a winding path here my entire life. 

Where did the name Stone Sparrow come from? 

Stone Sparrow is the name I made my wearable art jewelry brand under and it became something synonymous with my name through it’s use on social media. When I was initially launching my jewelry company, I wanted my name to align with me and my brand - something that spoke to my personality as well as the jewelry I was making. My sister and I laughed our way through dozens of names before we came up with the one that fit. Because I had built a strong brand name and following on social media, when I opened the gallery I wanted to be recognizable as the same person in my new role, so I carried it with me here.

What are some of the themes that Stone Sparrow tends to focus on and what reactions do you hope to evoke in your audience? 

The artist roster at Stone Sparrow includes a mix of emerging and established artists working in realism and surrealism. I am strongly attracted to figurative work, so much of what I show is just that. For each group show, I try to fit the work / artists together under themed show prompts. Something catchy that can be openly interpreted by the artists participating. Our next show to open will be titled “Superhero” and it includes everything from a stunning portrait of an older woman who against all odds, still stands to more literal pop interpretations of costumed heroes. With each show I’m hoping for different kinds of feedback, but mostly, I want the shows to elicit emotional reactions from the viewer.

Can you recall any specific experiences you’ve had with an exhibit and/or artist that were especially fulfilling to you? 

Every day in the gallery is fulfilling to me. Being able to watch a visitor fall in love with a piece or have an emotional reaction to something is particularly fulfilling. Being the one who gets to distribute the good news of a sale to an artist is amazingly fulfilling. I love being able to be the catalyst for people to get visibility and watching them blossom with positive feedback from visitors and collectors. 

What do you find most rewarding about gallery directing and curating? 

There are a lot of things that are rewarding about my job. Every new show that goes up is fulfilling to pull off and to step back and admire. Finding someone extremely talented who has been consistently overlooked is rewarding. Receiving thank you notes from my artists for their inclusions in beautiful shows is rewarding. And obviously, helping a collector bring home a piece that they love is rewarding.

What are some of the challenges that you face? 

Well…right now is specifically challenging for a variety of reasons, but I suppose it’s challenging to every single person. Aside from the current, the most challenging thing for me is having to say no to artist’s submissions. I’d love to give everyone a stage, but it’s not possible. The face to face submissions that I have to reject are the hardest. 

Are there certain qualities that you look for in artists in deciding whether they will be pleasurable to work with? And on the contrary, any areas for improvement artists should be aware of? 

Yes, definitely. When deciding if an artist is a good fit for my roster, I’m not only looking at the quality and style of their work, but I’m also looking to see if the artist is someone I can work with long term. Things like manners, personability with their fans on social media (if they’re active on social media), the kind of cv they have, etc are great things to watch to find out what kind of person they are. If we can meet in person or talk rather than only email, it's ideal. I’m fortunate to have been able to meet all but a small minority of my artists in person and can say honestly that they are all wonderful people. 

Do you have any specific do’s and don’ts for artists looking to submit their work to you? 

We officially don’t accept submissions, so I think the biggest piece of advice I can give to an artist looking to submit their work to any gallery is to find out what their submission policies are rather than just blindly emailing, calling or mailing. Researching the kind of work a gallery shows is another big thing a lot of the submission inquiries I get have overlooked as well.

Do you have any plans for Stone Sparrow NYC beyond what it is today? 

We are still in our infancy and are really just hoping to be able to remain in place beyond this time of Covid, but I always have dreams of expanding to other locations. Right now, though, I’m thrilled to be able to open my little gallery in the Village everyday.

https://stonesparrownyc.com/