Critique Collective

Critique Collective is your source for information and interviews about emerging and established contemporary artists.

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5 Affordable Cities for Emerging Artists

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The art world can be terrifying for young artists, especially with the rising price tags on living in New York City or Los Angeles today. Fresh out of school with a ton of ideas and debt, you might be wondering where you can move to get your career rolling without breaking the bank.
Find your respite in an affordable city with a blossoming art culture so you can spend your money on making art, not living in a glorified janitor’s closet with a microwave.

Philadelphia, PA
While living in a major city on the East Coast is always going to be expensive, Philadelphia is much cheaper than many of its neighbors and a short ride to New York City, Boston, and Washington, D.C. for openings, museums, studio visits, and collectors. Featuring the Philadelphia Museum of Art, Institute of Contemporary Art, Rodin Museum, and too many galleries and colleges to count, Philly is becoming a thriving cultural center primed for young artists. With one of the largest populations in the United States, a strong public transportation system, and cheesesteak to die for who could say no to the City of Brotherly Love?

Denver, CO
Filled with hip museums and galleries, the art scene in Denver is surging into prominence. The new Clyfford Still Museum is practically a Mecca for abstract painters. The scene is heavily involved with local artists, from exhibitions at the Museum of Contemporary Art to the way Redline is nurturing talent and granting opportunities to emerging artists. Between Untitled art programs at the Denver Art Museum, First Fridays at tons of galleries in multiple arts districts, the new Kirkland Museum, and the Biennial of the Americas, Denver is a rising star for young visual artists. With Boulder not far away, additional opportunities abound. Boasting a 7% unemployment rate and a relatively low cost of living, the state famous for skiing and legalizing weed will be a popular art scene in the near future. Critique Collective is currently working on a series of interviews with Denver artists, galleries, and curators. Interested parties should submit their work at https://critiquecollective.com/submissions/.

Miami, FL
You want to move to the beach, huh? Art Basel Miami Beach made Miami quite the destination this winter, but Miami’s consistent growth as an art scene has extended for decades. While Art Basel displayed the luxe and glamour of Miami with the rise of the Pérez Art Museum Miami, growing art districts are the real future of this city. The Wynwood Arts District is full to the brim with galleries, studios, installations, and culture while North Miami includes the MOCA NoMI. Indeed, Miami is sprouting residencies for visual artists at Cannonball, Fountainhead, LegalArt, and Inkhub. While you might not run into Kim Kardashian at Art Basel everyday, you will find yourself immersed in a rising art community in Miami.

Santa Fe, NM
Historically a hidden art jewel in the Southwest, Santa Fe is famous for Georgia O’Keeffe, Western Art, and green chile. With many Americans crossing over from the Northeast to the Southwest, Santa Fe is a growing force to be reckoned with in the art world. With multiple museums (including the Georgia O’Keeffe Museum) and a massive influx of tourists who come for the culture and weather, Santa Fe is a nice place to find collectors despite its small city demeanor. Santa Fe artists can access Albuquerque, Dallas, Denver, and Phoenix in a few hours. Come for the art scene and stay for the sun and Mexican food.

Minneapolis-St. Paul, MN
While you might freeze your nostrils closed, living in the twin cities is a viable option for artists seeking to escape the hustle and bustle of many major art centers. Offering the Walker Art Center, Minneapolis Institute of Arts, Minneapolis Sculpture Garden, and a multitude of colleges, Minneapolis isn’t a bad place for young creatives to settle down. The Northeast Minneapolis Arts District includes over a dozen galleries, as well as studios, shops, theatre, and music. With a history as a cultural center, Minneapolis is an attractive location for emerging artists who are looking to break into a small yet respectable art scene.

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George Zimmerman’s Art Sells for Hundreds of Thousands of Dollars

Another wild story about George Zimmerman is surfacing. Back in July, Zimmerman was acquitted on a charge of second-degree murder and manslaughter for shooting and killing Trayvon Martin. So, what could be the new controversy surrounding Zimmerman: another speeding ticket or domestic violence charge? Not exactly. Apparently Zimmerman has been trying his hand at painting, and he’s listed one of his works on Ebay. In doing so, he’s revealed the nature of the art world’s odd affinity for gossip and controversy.

With four days to to go, Zimmerman’s heavily textured, monochromatic blue painting with “GOD ONE NATION with LIBERTY and JUSTICE FOR ALL” printed onto it has bids up to $100,000 and growing rapidly. While President George W. Bush paints dogs and golf courses, Zimmerman creates an image that plays into the spectacle of his situation and relies upon politics to propel him.

Curiously, Zimmerman seems to be tapping into the public as his own marketing system in a way that would certainly inspire jealousy for most contemporary artists. Admittedly, Zimmerman has primarily evoked contemptuous responses, but all publicity is good publicity when Zimmerman’s first painting is projected to sell for multiple thousands of dollars, and all he had to do was put it on Ebay without any marketing. As Ebay bids tend to explode rapidly toward the end of auctions, Zimmerman’s price is likely to multiply.

While artists certainly shouldn’t follow Zimmerman’s model to selling artwork for extravagant prices, it is important to note how he’s exploited the nature of art collection today. The interest is less in imagery and more in the discussion surrounding the work. Zimmerman has no professional training, nor has he worked his way through the art system with residencies, collectors, and journalists. Rather, he’s coming out of nowhere by abusing his odd, controversial position in American culture in order to make a wave. Indeed, visual art today is more about the spectacle than it is about theory or ideas. Critical theorists and psychoanalysts may define this spectacle as jouissance, the Lacanian notion of orgasm in art. Jouissance is that moment when you see something, it clicks in your mind, and an odd state of pleasure and confusion ensues. Contemporary art brings this jouissance out of the image and into the discussion. That is, because the public hears juicy gossip about George Zimmerman all over Twitter, they value the artwork for it’s ironically controversial attraction rather than its imagery.

What does Zimmerman have to say? He claims that his artwork is therapeutic: “First hand painted artwork by me, George Zimmerman. Everyone has been asking what I have been doing with myself. I found a creative, way to express myself, my emotions and the symbols that represent my experiences. My art work allows me to reflect, providing a therapeutic outlet and allows me to remain indoors 🙂 I hope you enjoy owning this piece as much as I enjoyed creating it. Your friend, George Zimmerman.” Feel free to make your own judgment, but the work is certainly selling.

Bottom line: George Zimmerman’s artwork is valued significantly higher than the majority of trained and respected artists because he creates a whole lot of political hoopla. While many see him as a racist or murderer, he’s poised to make a pretty penny on a mediocre painting because of the odd dynamic of valuing gossip in our contemporary society.

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Unconsciously Intuitive Artwork by Davon Foots

Davon Foots, A.K.A GX-4000, was born in 1993. He is a self-trained, contemporary artist based in San Francisco working in numerous fields and mediums of art including digital design, illustration, and collage. Davon incorporates a wide variety of historical art inspirations to create his own distinct artwork. More of his artwork is available online.

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Paul Weiner:
Do you view your artwork as a conceptual or intuitive process?

Davon Foots:
I often find my work to be somewhere in the middle ground of conceptual and intuitive. I say that because my pieces start with a groundwork concept due to the collages and images I lay out first, but the design work and hues are formed unconsciously. That’s where the intuition comes into play, conveying the psychedelic side of the art. I feel as though I rely more on my imagination and creative ability in each piece rather than mechanical skill and execution.

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Paul Weiner:
Tell us about how you begin a new painting.

Davon Foots:
Well, basically, I sort through a couple of magazines, find some images I like, lay them out, get a nice composition and format, grab the pens, and add a couple of comprehensive lines. Then, I lay in watercolors and ink, detail, and a final outline is directed to allow the colors to burst more. My work is all constructed based on impulse, so no piece starts with a sketch or set idea in mind.

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Paul Weiner:
What style would you say your artwork is in?

Davon Foots:
That’s always the toughest question I often get asked by viewers at shows because I try to touch so many different areas in my art. I’ve always been inspired by surrealism, graffiti, 90’s cartoons, pop art, and vintage decorative art. I try to convey distinct aspects of each style simultaneously to create my own unique style. Although it’s really hard to categorize, if I had to break it down, I would say it falls between the lines of underground lowbrow art, and contemporary pop art.

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Paul Weiner:
How do you like the Bay Area art scene?

Davon Foots:
I would say the major things I love about the bay area art scene is the underground heritage, the diverse cultures, and just all the positivity of living in a big city with the small town vibe. The number of indie artists is on the rise and more galleries are starting to open up to emerging and contemporary styles, allowing artists to showcase their talent in a nice setting.  The bay is a dwelling for so many unique individuals, your bound to discover something new from any person you meet. I’m pleased to see that the art scene is still young and fresh,  and is growing fast, and soon to give big markets like L.A and NYC some stiff competition.

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Paul Weiner:
Where is your ideal place to show your work?

Davon Foots:
Well, I’ve shown in a number of distinct settings, art fairs, street events, live collaborations with DJs, boutiques, pop-up shops, and even cafes. The best thing about doing various events is that you get a certain vibe and gathering at different venues, and it allows you to test your work’s versatility, to see if it reaches out to all different types of people in all age groups, genders, races, and demographics. I plan to work my way up to more mid-level galleries and maybe some urban fashion shops around the bay, just to get a better platform to show and market works.

So, if I had to answer this directly, I would say my perfect location to display would be an urban clothing shop or up to date contemporary art gallery in the inner city. However, had you asked me this question a year ago, my perception would have been a lot different.

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Paul Weiner:
Do you like the gallery art system?

Davon Foots:
Personally, I have a lot of dislike for the gallery art “SCHEME” only due to the mass number of artists competing to get space, which usually leads to galleries being booked months to years in advance. There’s also this new trend of galleries that prefer you to pay to show your work, which I think is wrong because, without the artists work and the backing of his or her followers, you would have no show, just a nice, empty lounge to relax in.

I think the good things about the gallery system are that it allows you to get a bigger network, connect directly with artists and art enthusiasts, and bring out your competitive nature. You’ll see another artists doing some of his best work in order to get into shows and fill the space, and, in turn, you get motivated to create and do some of your best work.

I think the gallery scene is a love/hate relationship for any creative person, depending on the situation. Without the galleries, artists would have no place to take their work to the next level. Without the artists, galleries would have a hard time getting a crowd and making money. So, essentially, we need each other to thrive.

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Paul Weiner:
What is the largest piece you’ve ever made?

Davon Foots:
The largest piece I’ve created was only about 5ft x 3ft. It was a huge, trifold collage piece I made specifically for a group art installation called The Asylum. The Asylum took place in May of this year, the same month I featured works in Catapult Art Magazine.

I usually don’t go larger than 2 feet in my work because I focus a lot of attention to detail and line work, and its also more time efficient. When I do decide to make larger pieces, I usually focus a lot more on color and abstractions, losing lots of detail. I do plan to gradually make my works larger as I begin to grasp and get a hang of my style.


Please view Davon Foots’s artwork and “like” Critique Collective on Facebook at http://www.facebook.com/critiquecollective.

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Simone Rene’s Patterns and Fabric Collage

Simone Rene is a fabric collage artist from Brooklyn, New York who holds a BFA in Illustration from the School of Visual Arts. Her artwork is available online at http://www.simonerene.com/.

11.75"x16", cloth

City Background B5, 11.75″x16″, cloth


Paul Weiner:
When did you decide to begin with the medium of fabric collage?

Simone Rene:
I began working in it about 4-5 years ago. At the time I was doing some mixed-media pieces, paint/graphite/paper/found objects and making clothing, but I couldn’t commit to either because I was torn between my love of fabric and making visuals. I was making a quilt for my nephew, one of my first. It had figures of cute monsters and their toys on it. As I was cutting, positioning, and sewing, the direction I wanted to go in suddenly dawned on me – I know, I know – Duh.

Paul Weiner:
Having studied illustration at the School of Visual Arts, do you see that impacting your style today?

Simone Rene:
I have always loved the figure, and it is pretty central in most of my work. I studied Fashion Illustration in high school and took it at SVA. I think that I am prone to elongating and manipulating the figure to sell the story much the same way fashion illustrators do in order to sell clothing.

The Ancestors A1, 10"x31", cloth

The Ancestors A1, 10″x31″, cloth

Paul Weiner:
The idea of selling a story is interesting, and I can certainly see how fashion is incorporated in your work. So, as far as stories go, do you read your artwork as a narrative?

Simone Rene:
I think of my images as grasping at just a phrase pulled from a whole story, and for me that is where the emotion is.

Paul Weiner:
How do you start one of your fabric collages? It must be tough determining which fabric to use.

Simone Rene:
Usually my concept begins with a thought, words followed by a visual that is accompanied by color. Sometimes I just find a piece of fabric that wants to be something. After I have the concept, I sort through my large fabric collection and go on hunts, both new and used, for just the right fabrics. Once I have the dominant fabric color or pattern, things seem to fall into place. I experiment with combinations and sometimes make variations of the same image. It may take a while, and I may have to return to that image over and over again while I work on other pieces, but it’s ok because art is about exploration.

The Ancestors A5, 12"x31.5", cloth

The Ancestors A5, 12″x31.5″, cloth

Paul Weiner:
Is there a particular color or pattern that has intrigued you?

Simone Rene:
I find myself drawn to black and white patterns, cerulean blues, fuchsia pinks, and flesh tones that are cool – not really into the warm autumn colors.

City Background B3, 15"x27", cloth

City Background B3, 15″x27″, cloth

City Background B1, 17"x21.5", cloth

City Background B1, 17″x21.5″, cloth

Paul Weiner:
You’ve mentioned that your family has resided in Brooklyn since the late 1700s. Could you talk specifically about your “City Background” work and how that relates to your own identity?

Simone Rene:
I grew up embedded in family and surrounded by generations of relatives, both by blood and marriage. We were American, we were New Yorkers, and we were Brooklynites.

When I was little, I don’t ever recall wondering who or what we were. I thought that the diversity of my family was normal. It wasn’t until I began middle school and began to be asked to define myself by ticking off a box that I began to consider “What was I?” note not “Who I was.” It was confusing and disheartening to be asked to define myself and by doing so chance wiping away generations of ancestors that may not be stereotypically present in face or person. It made me a bit of a rebel. I checked all the boxes and when called upon could defend that choice because I knew my family’s stories and history.

I think being generations in the city allowed for the ambiguity that did define my family and I. It allows me to explore aspects of my history with familiarity as well as distance.


Please view Simone Rene’s artwork online at http://www.simonerene.com and “like” Critique Collective on Facebook at http://www.facebook.com/critiquecollective.

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Melding Metalwork and Painting: Virginia T. Coleman

Virginia T. Coleman is an artist residing in Denver, Colorado as a member of the Next Art Gallery. She holds an MFA from the Academy of Fine Arts in San Francisco, as well as a Bachelors of environmental design from the University of Colorado at Boulder and a Masters Certificate in welding from the Tulsa Welding School. Her artwork can be found online at http://www.virginiatcoleman.com.

Here is an installation photo from Virginia T Coleman’s recent exhibition, The Lines of a Woman.


Paul Weiner:

Take us through the process of making your work. How do you balance painting with metal?

Virginia T Coleman:

My approach varies depending on the type of work. When it comes to the more conceptual, abstract pieces of my metal art, it begins randomly. I say that because I usually will just be staring at a pile of metal or some scraps I might need to use up, and I begin to arrange them compositionally. This then will lead me to begin to think of a concept that will drive the final arrangement of the elements. The finished product is an exercise in taking the abstract and morphing it into a tangible concept.

If it is a predetermined concept that is larger and more complex in scale, I will begin with a doodle and then a scaled model. The model is usually made out of cardboard to scale so I can think quickly, make changes, add and subtract color before I begin to fabricate it out of metal. Once you begin working with metal, you quickly recognize how you can do something to metal that will take you hours to correct and sometimes correction is not possible.

When I work with metal, I try and use the inherent characteristic of the material before I begin to even consider adding my own personal color. Some pieces in the end require very little added manipulation. others need color to be added. Whichever way the work wanders, I try to make my decisions slowly and methodically.

Willis Polk's Catalyst for Modernist Steel in San Francisco; 2009; stainless steel, wood, oil paint, acrylic paint, and plastic; 25"x28"x11"

Willis Polk’s Catalyst for Modernist Steel in San Francisco; 2009; stainless steel, wood, oil paint, acrylic paint, and plastic; 25″x28″x11″

Linear Deception of Space; 2012; steel; 72"x50"x20"

Linear Deception of Space; 2012; steel; 72″x50″x20″

Paul Weiner:

Out of your metalwork, paintings, and photography, which medium do you find the most challenging?

Virginia T Coleman:

I find challenges out of all the mediums; however, they all fuse into the medium to which I most desire to master, metal. I recognize, however, that I can never master metal because metal is such a dynamic, living entity. Metal gives me challenges everyday through my job as a professional welder to my work as an artist. Metal has become my life challenge.

San Francisco; 2012; steel. acetylene torch, oil paint, and enamel spray; 24″x10″x2.5″

New Orleans; 2012; steel acetylene torch, oil paint, and enamel; 24"x10"x2.5"

New Orleans; 2012; steel acetylene torch, oil paint, and enamel; 24″x10″x2.5″

Paul Weiner:

Could you explain the connection your work seems to have to architecture, both conceptually and materially?

Virginia T Coleman:

Architecture is really the basis for every aspect of my art. I was trained as an architect first, a fine artist second, a sculptor third, and craftsman fourth.

With that being said, I have been enamored by buildings since childhood – the pure power yet delicate embrace a building has on the context of our environments. Buildings are the wallpaper, the tunnels, the dreams, the horror and the magic of our world. Architecture is a platform for taking a concept and morphing it into a tangible, inhabitable object. My architecture training taught me how to draw, to doodle, to think outside the box, to find parallels in seemingly disparate trains of thought, and to dream larger than life.

It seems very logical to me today as a metal sculptor that my material of choice should have always been metal, but I didn’t see that link as clearly as others. It wasn’t till my late twenties that I took my first welding class, and I have never glanced back. I am utterly fascinated by metal and steel structures. The pure power which the material possesses is humbling and its delicate ability to weave together, a technical challenge. It still baffles me the capacity steel has; it can bend across great rivers, cantilever weights into space, or teeter to unimaginable heights. It leaves all of us breathless.

When you start to look at metal or at structures closely, you begin to look at the material metal not as an object to build with, but also as a beautiful canvas both inherently and potentially. You can use the rusted autumn of Corten steel, to the shimmery transparency of stainless, to the purple majestic range captured while heating steel, to all metals abilities to be used as a canvas. Metal is a painting in and of itself. So, as I began my career working with metal, I began to take my years as begin trained a painter as a spring board in coloring metal.

I grew up in a mountain town in Colorado that was in the tidal wave of major development. My playground became construction sites, and I loved it. I would go around touching all the raw materials and seeing how the whole house was being put together almost nail by nail; it was an educational childhood. I knew from a young age that I wanted to learn how to make objects, to be hands on with the actual physical fabrication aspect of design.

Architecture is the thread through all my work.

The Glow of Coit Tower; 2009; wood, oil paint, acrylic paint, and steel; 56″x27″x7″

Paul Weiner:

You’re a member of the co-op at Next Art Gallery here in Denver. How would you describe the vibe of a co-op in comparison with a commercial gallery?

Virginia T Coleman:

I was recommended to it by a fellow artist who was telling me how great the gallery space was, so I decided to give it a try. I have not found a commercial gallery that has really grabbed me yet. I hold strong to my freedom to create unhindered by outside influences. I am not opposed to commercial galleries but have not found them conducive at this juncture.

With the Co-op, I am learning a tremendous amount about how a gallery is run. I can’t say I ever want to run a gallery. I’ll leave that to others, but it is interesting. I am in charge of reviewing potential new members portfolios. It is fun to see what other artist in the Denver area are creating. Every member has his or her own unique voice and we support and encourage all of the members to push their art.


Please view Virginia T Coleman’s artwork online at http://www.virginiatcoleman.com/ and “like” Critique Collective on Facebook at https://www.facebook.com/critiquecollective.

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Submissions

Welcome to Critique Collective!

Please submit your artwork for a potential interview by sending an e-mail to submissions@critiquecollective.com with a link to your website or as .jpg attachments under 1 mb in size. To submit videos, please attach a link to your video, preferably on Vimeo or Youtube. If you choose to attach your work in .jpg form, please limit yourself to five pieces of work. Include a 3-4 sentence biography. Any artwork of any genre or medium is acceptable.

Cheers,

Paul