Farida Mazlan of Destroy Art Inc

Farida Mazlan is the curator of Destroy Art Inc, an international punk rock art agency.


What are your first memories of feeling passionately towards the arts?
Growing up in Malaysia, I had to choose between the Sciences & the Arts during middle/high school. It wasn’t my choice to enter the Science stream, and I very quickly discovered my drawings and graphical illustrations in classes like biology were much better than my flow of facts.

You are a curator, agent, and publisher - how do you find the time for all of this?
I don’t! Juggling exhibition-making, running an online art store and working with artists on various projects means I have to force time for personal development, care and creation. I’m extremely grateful to have a highly talented, driven, visionary and complementary creative partner by my side to ensure our projects come to fruition as effectively as possible.

But I do wish there were more hours in each day. It’s not a complaint- if you love what you do,it doesn’t feel like work! A successful French curator I studied under once said “Being a curator is an impossible job- you have to know how to do EVERYTHING”, so I’m constantly learning through each experience.

What compels you to represent the DIY punk and underground scene?
Punk rock has been a huge influence in my life since I was an early teen, just as much as my interest in art. I’m getting close to 19 years of working, performing, curating and organizing various underground music and art events in 18 countries so all I’ve done has led up to Destroy Art Inc - a global platform of support for punk and underground artists. The genre of punk art has never been truly taken seriously in the art world, yet there is an obvious visual aesthetic and powerful ideological stance that has always been understood and remains more relevant now
than ever. Art is meant to provoke or incite emotion, and punk art in all its irreverence has incredibly important messages to relay today about unity, grit, energy and dismantling barriers.

     There are such loud voices and prolific talents in punk, yet so many artists (ie: Ed Colver, Winston Smith, Dick Lucas, Rikk Agnew, amongst many others) who contributed immensely to the history of the scene who are still relatively obscure and unknown, and still struggle to hustle. So many people recognize iconic punk art through covers and logos, yet do not know who created
them. What compels us is to ensure the creative legacy of these artists are in museums and books with their life’s work given the respect, acknowledgement and success it deserves. We also want to encourage upcoming and contemporary punk artists to connect to their anti-hero elders and have a supportive channel to showcase and expand their expressions and talents.

Do you find that the platform in which you have chosen to highlight this art community has fulfilled your initial curatorial intentions?
Yes, it has certainly developed into a deep, satisfying sense of fulfillment for the both of us. I never expected that my early passions for working with talented artists would lead me to meet and work with some of the most influential people who shaped punk culture, and those who are keeping it alive. It is an honor to be able to make their works and ideas accessible to the general public through education, collaboration, promotion and sales in support of their art.
Moving into a digital platform has allowed a much wider global reach for all the artists to have their works out there, and it’s been extremely fun curating the content and releases. 

What are some of the reactions you receive from your curated events?
Our first exhibition in San Francisco “Welcome to 1984//2020: Punk on the Western Front” had an incredibly successful opening night with an estimated 700 people coming through the 1600-sqft gallery. Some of our favorite reactions were social media posts from new punk artists who wished they were part of it (now one of them has now been published in our shop), and from
our more senior artists who enjoyed the evening meeting fans and old friends that came from different cities. Some of the works we showcased were politically-charged and highly controversial so it was enlightening for us (and the gallerists)to interact with first-time viewers
into the subterranean world of punk rock.

What do you find most rewarding about the curation process?
Getting to put together a cohesive (visual and intellectual) arrangement of artworks that appropriately narrates the punk rock experience and ideologies is really fun! Then having folks have fun with it by getting shocked or awed, then asking lots of questions and discovering (and giving kudos to) the depth of ideas from the artists is truly rewarding in itself.

What are some of the challenges that you face?
Not having enough hours in a day.I’d like to be cloned so one of me can work continuously
while the other sleeps, in shifts. So I guess that means “time management”. See answer of Question #2.

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?
Artists that do not stop working, and creating! And being proactive about putting yourself out there, as often as possible. Active response to communication and deadlines if you’re part of an exhibition is crucial as well, as curators we juggle a lot and struggle occasionally with having
to chase an artist down for missing information or updates. We appreciate chaotic souls but you can do your best to be professional and cooperative.

Do you have any specific do’s and don’ts for artists looking to submit their work to you?
Don’t be shy! Jello Biafra has a shirt that says ‘The Meek Shall Inherit Shit’. If you think we might be interested, just send it! We love to see what you got and do our best to see what we can do. Don’t be afraid to ever ask for help, guidance or clarification as well. As a general rule, don’t send us your biography in an editable document, unless you want or are allowing us to fix
it. And unless we ask for hi-res, please send your digital artwork in a file size that won’t obliterate our inboxes. 

Do you have future plans for curation beyond what you are doing today?
Yes we are always making plans for collaborations, releases with new artists and more exhibitions. We would love to take the show on the road as well. Ideally, we’d love to annually organize 2-3 solid group or solo exhibitions while running the online shop, with a few festivals thrown in for added inspiration, exposure and hopefully get dog-piled and picked up in the pit again so we remember what is real.

https://www.destroyartinc.com


https://www.destroyartinc.com/welcome-to-1984-2020-punk-on-the-western-front -


https://en.wikipedia.org/wiki/SITI:_An_Iconic_Exhibition_of_Dato%27_Siti_Nurhaliza

Ellen Schinderman of Stitch Fetish

Ellen Schinderman is the curator of Stitch Fetish, a pop up fiber erotica show based in Los Angeles.

  When did you first realize your passion for the arts?

I’ve always been an artist. I grew up in the theater, and then fell into visual arts and stitching. I can’t remember a time when I wasn’t making something, working on a character, writing a script, something, from day one.

Were there any specific events that led to your decision to work with other artists?

Coming from a theater background, if you want to work on good material, you have to create your own opportunities, until you’re well known. When I started showing visual art, a little over a decade ago, there weren’t many opportunities for stitchers, nonetheless naughty stitchers, so I started curating.

What exactly is Stitch Fetish and what caused you to choose such a niche art form?

The form chose me! I bought a piece of art, a small oil by Jude Buffum, that was naughty and pixeled. I wondered what porn would look like needlepointed, so I googled it. When I didn’t find anything (although Maria Pineres was already making amazing stuff), I started stitching to amuse myself. After a couple years I started showing it to people, and then showing.
Stitch Fetish is a celebration of sex/the body/gender/erotica, in stitch. I like to say it’s the most whimsical, least objectifying erotica show around.

What are some of the reactions you receive from these exhibits?

Overall the response is incredibly positive. The artists are an amazing community, many of whome fly in for the openings from around the world (this year of COVID is definitely going to be odd). The DTLA community loves the show; this is our 8th year and every year more and more people ask if we’re doing it again. Of course there’s always going to be someone who gets bent about erotica, but that says more about them and their level of comfort with sex/their body/etc. than it does about the show.

Are there any misconceptions about your intention with Stitch Fetish in which you face from the public?

Not that I’m aware of, once in a blue moon someone calls the work porn, but as stated above, that’s about them, not the work.

Has working with other artists provided additional opportunities to express your own creativity?

Absolutely. I’ve been curated into shows by other artists who I’ve shown. Collaborated with people I’ve shown. And best of all, created an amazing community of people who ask one another about the work, support one another, and are just basically fantastic humans.

What do you find most rewarding about the curation process?

Probably the community we’ve created. Although I do love watching teens react to Stitch Fetish. DTLA Art Walk brings in such a diverse crowd, and it’s so fun to watch kids see the art, know it’s funny, but not know if it’s okay to laugh, because it’s ART. I love chatting with them and giving that permission, “Can you believe that someone knit that?” And they bust out laughing. It’s so fun.

What are some of the challenges that you face?

Aside from overcoming people’s preconceived notions of erotica (and really who cares about that), just dealing with basic curator stuff: people not reading the call carefully and submitting paintings or sculptures rather than fiber work, people who get upset that they weren’t accepted, work arriving that wasn’t correctly represented and doesn’t look like the images sent, and, most upsettingly, work that was poorly packed and damaged en route.

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?

I look for artists who are as talented as they are easy to work with and who are gracious. No matter how talented someone is, no one likes dealing with difficult people, and there’s so much talent, it’s not worth the time. 

Aside from being professional, READ the call carefully and thoroughly; don’t waste your time, or the curators.

Do you have future plans for curation beyond what you are doing today?

Always.

http://www.schindermania.com

Nathan Cartwright of Hive Gallery & Studios

Nathan Cartwright is the owner and director of Hive Gallery & Studios in Los Angeles, CA featuring Pop Surrealism, Low Brow, Performance Art and Events

When did you first realize your passion for the arts?
I've been drawing every since I was wee bitty tike... I would draw incessantly on dot-matrix printer paper in the basement when all the other kids were out playing.

What was the initial seed that got you started with Hive Gallery?
The initial seed was starting at Hangar 1018, a large gallery/event space which I worked out of and helped organize before the Hive. I loved working with other artists and musicians in a community setting.

 Does The Hive align with or differ from what you originally
envisioned it to be?
It aligns perfectly with my vision, because I am very near sided... I see what is in front of me and go with the flow. I create, organize and run my business the same way I make my art- organically. I have rough sketches, but enjoy getting lost in executing the overall plan.

Aside from being a busy (bee) gallerist, you are also an artist. Do
you find that you have enough opportunity to express your own
creativity?
I have plenty of time to express, but it seems there is less of that as the years go by... Thus, I've had to become a master of time management. I work on my art late at night until 3/4am during the times that I'm not working on the business, answering phone calls, being tuned into social media. To create is  a challenge, a juggling act, but it's what I live for... similar to having a child. I organize my lifestyle so I can spend time with her.

What do you find most rewarding about gallery directing?
I love working with artists that are in the zone and evolving. Watching artists emerge and grow is one of the best things about my job... besides being around visionaries, freaks, the shamans of our era.

What are some of the challenges that you face?
Working with the rules of the city and the bigger picture is a challenge. I've had to learn the rules as I go along, and figure out how to abide by them, but keep things moving in a forward motion.

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?
I look at skill level first; It's important to have skill in figurative work first. This says a lot about an artist's dedication to his/her trade. I show more figurative/surrealist work and that's what I sell mostly in the business. This is what I'm usually looking for at first.

 Do you have any specific do’s and don’ts for artists looking to
submit their work to you?
Please have a website or some kind of online presence. I don't look at paper portfolios... Also, I ask that you do don't try to show me your work during shows. That is a time when I need to connect with my guests and sell artwork.

Are there any misconceptions about your position as gallerist in
which you face from the public?
I'm a different kind of gallerist-I'm first and foremost an artist, who happens to sell art. I don't know if this is a negative thing, it's just a distorted mirror between gallerist/businessman/artist...but with me I am all in the same.

Do you have any plans for Hive Gallery beyond what it is today?
I would love to have live/work studios in the future... a real community where artists can live cheap and make amazing magickal work. This is a dream which is in the making! In the meantime, I would like to keep pushing new artists, showing them around the world (like our shows in Japan, Germany and Italy), and help them continue to succeed as art warriors in this crazy, wacky world in which we live.
 http://hivegallery.com
Check out Nathan Cartwright on instagram at:@kingbeeme.

Michael McCall of YVARTS Center

Michael McCall is the Executive Curator at Yucca Valley Visual & Performing Arts Center in Yucca Valley, CA.

When did you first realize your passion for the arts?

I was always the kid drawing at his desk, not paying attention to the teacher… when the 1st Grade teacher one day took me to the 6th Grade class to show them how I could cut designs into folded paper, I knew this was the start of something I would do, I didn’t know what an artist was, but it was fun to stand up in front of those bullies and show ‘em who was boss.

 

How did you come into being a curator?

I was always doing the bulletin boards at school, designing the imagery my classmates would see.  During my MFA schooling, I was involved in an invitational exhibition that continued for ten years afterwards, from Key West to DC to Duke University, even to a commercial gallery which was a stretch because nothing was for sale in the show. I’ve always been putting other artists’ work in front of viewers, trying to help my artist friends and expand the public’s perceptions of contemporary artworks. The position I hold now as Executive Curator at YVarts allows me the venue to develop scholarship and back those thoughts and ideas by selecting the imagery to present artwork to the public, and that is very rewarding.

 

Does your current work with the Yucca Valley Visual & Performing Arts Center align with or differ from what you originally envisioned it to be?

I didn’t come into this blindly, I understood what was expected of me. The position is political at times. I was told by my friends to make this work I would have to become more diplomatic. I was a little naïve to believe I could navigate between artists, the greater arts community, and the people who pay my salary without a few setbacks.  My goal is to support all the artists - a utopian concept, but pretty impossible. Choices have to be made. What I want to do in this position is motivate and inspire all artists to get better, to expand their own ideas and go beyond their limitations in developing their work. They are individuals, communicators of concepts and ideas. At the same time, I want this Arts Center to expand and support the arts community, to present the incredible talented artists I find in this area and beyond the boundaries of the hi-desert.

 

Aside from being a busy gallerist, you are also an artist. Do you find that you have enough opportunity to express your own creativity?

As far as spending enough time in my studio, from the time I got out of art school, there was always the challenge of finding a way to pay for that time. To stay focused in that studio, you have to block out a lot of the daily demands. Having a more-than-full-time job doesn’t allow the concentrated amounts of time needed to move the studio work forward like I did before becoming a gallerist.  It becomes frustrating and challenging to do both.

My primary goal is to be a creative person. I have developed ways to use many mediums, sometimes in and on the public stage, while using social media to promote my creativity, not by just isolating in the studio and hoping someone is going to see those creations.  As a multi-disciplined individual, I can be creative anywhere, anytime. One of my strengths is my ability to organize my time, to organize the demanding variables of everyday activities.

 

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

Meeting the artists, visiting their studios, and trying to help them in ways I can.

 

What are some of the challenges that you face?

My biggest challenge is to stay patient with the artists who are not professional with the nuts and bolts of being an artist. All of our jobs are hard enough. If an artist can come to the table prepared, give me what I need to promote their work, to include them in my programming and in the manner that doesn’t create more work for me, I am very appreciative.

 

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?

We all have to understand we are in this thing together, and that egos have to be checked at the door. When an artist can show a sense of humbleness in the light of being a fantastic talent, I am usually impressed and feel they will be a pleasure to work with. When an artist thinks they are the cat’s meow and I sense they are not a sharing person, I tend to back off, no matter how good they are.

 

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

Here’s a few do’s and the don’ts:

With the demands of the administrative responsibilities to do my job, I generally don’t have time to ‘google’ it or look at artists’ websites. What I ask for is a very simple email inquiry with a few jpegs of a couple artworks that are indicative of their body of work they want me to be aware of. That way I can build files for future reference when I am designing an exhibition.  That’s how I do it.

As far as the don’ts… when I have failed to get back in touch after you have made your inquiry, have patience -  understand that my time is limited in answering, and that sometimes I cannot answer. Secondly, when I’m in the public arena or at an opening, don’t pull out your cell phone and try to show me what you are doing. Email me or make an appointment during gallery business hours. Try to understand I can’t be receptive 24/7.

 

Are there any misconceptions about your position as gallerist in which you face from the public?

The main misconception is that we are well-staffed at YVarts. I am the only staff member of a very ambitious project called the Yucca Valley Visual & Performing Arts Center. We are a newly developed non-profit art space in the hi-desert. In the past two years, countless people come to me with ‘suggestions’ on how to make this place better. We are a volunteer organization, and I need you to help by volunteering time to make this the place what it can be. Don’t tell me how, show me how, pitch in with more than words and your suggestions.

 

Do you have any plans for the gallery curation, and your own work, beyond what is happening today?

As for the curatorial duties, we just opened our biggest exhibition thus far, MOJAVE MADNESS. I am very proud of this effort, I made over 3 dozen studio visits to the artists of the Mojave Desert to find and exhibit their passions. But, as always, I’m working on the next show, on next years’ ideas for shows. That keeps my mind open and ready to look at more, allowing me to find new artists, challenging me to overturn the next stone and find what’s underneath.

As for my own work, my memoir, Captain Squid & the Tentacle Room has just been published by Fabrik Media.  For the moment, I have the opportunity to promote my own artworks in conjunction with this memoir. I spent 15 years writing the story, attempting to relay what it is like to be a practicing artist for 50 years, living through the incredible ups and downs of a profession that is both demanding and unrewarding at times. The reward comes when my creative soul is connected to the Devine spiritual entity that helps me make positive decisions in living a life of fullness. I get up every day with enthusiasm and aliveness to explore, to live in happiness and contentment. 
Visit http://yvarts.com

 

 

Colleena Sabatino of La Matadora Gallery

Colleena Sabatino is the owner and director of La Matadora Gallery, an edgy, post-modern gallery located in Joshua Tree, CA.

Photo: Carly Valentine

 

 

 

 

 

 

 

 

 

 

 

When did you first realize your passion for the arts?

I fell in love with drawing when playing Exquisite Corpse (a Surrealist parlor game) with my friends. At age 14, I created and illustrated my first of many zines. In college, I studied art history in London, which really deepened my love for art.

 

What was the initial seed that got you started with La Matadora Gallery?

La Matadora is an offshoot of Candelabra, a gallery I had in Tucson, AZ for 3 years prior. I wanted to create an alternative space that combined my passions for art & performance.

 

Does La Matadora align with or differ from what you originally envisioned it to be?

At only 333.33 square feet, I initially thought La Matadora would be somewhat limited in scope, but I'm amazed at how much it packs a punch! I've been able to host painting classes, art talks, have bands play, and do way more than I imagined.

 

Do you find that you have the opportunity to express your own voice through this line of work?

Putting together art shows is an art form in itself, and I always like to add a little something-something to give it an edge. For example, as homage to Valentine's Day as well as Flu Season, I plan to set up a Germ-Free Kissing Booth. It will be interactive so whoever wants to take part must wear a hygienic mask & use anti-bacterial wipes (provided at the booth).

 

What do you find most rewarding about running La Matadora?

I love meeting people from all over the world, and being part of the Art Queen complex. The gallery is surrounded by sweet neighbors such as The Beauty Bubble, the World Famous Crochet Museum, Space Cowboy, etc. in the heart of downtown Joshua Tree. I also feel lucky to work with Wendy Gadzuk, an incredible artist, who takes over the gallery every third month so I can focus on my own art.

 

What are some of the challenges that you face?

I'm not formally trained in the art of running a gallery, or any business for that matter, so I'm pretty nontraditional & idiosyncratic in my style. I'm still learning as I go along... and I'm in my 6th year! Maybe I could be called an Outsider Gallerist (like an Outsider Artist who never went to art school).

 

Are there certain qualities that you look for in artists in deciding whether they will be pleasant to work with? And on the contrary, any habits of artists that deem them undesirable to work with?

I seem to gravitate towards art that is somewhat edgy but with a sense of humor, so working with those artists can be more fun. Mutual respect and appreciation is important; in a sense, we're both doing each other a favor.

 

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

I suggest checking out the gallery first and attend a few art parties, if you can. If you like the vibe, then email me some images of your art and info about yourself. Visiting me at gallery is fine too, but it's not always the best time to share your work.

 

Do you have any plans for La Matadora beyond what it is today?

I'd love to maximize the space outside the gallery and install arty vending machines, or something weird like that. I'm inspired by the Glass Outhouse Gallery and how they actually have a glass outhouse. In a similar vein, I have The Loovre, a bathroom gallery full of thrift store art (collected by Curated Mayhem). I hope for more collaboration like that in the future.

 

www.lamatadoragallery.org