Open Color Magazine - Touch Issue by OPEN COLOR

Th e TO U CH I s s u e

YANNIS DAVY GUIBINGA ROB WOODCOX / AMBER COWAN / B.Akerlund / Ashley Longshore Alondra excene / Patty CarRoll / Sabiyha Prince / 1

THE touch ISSUE

From the editor

Dear Readers, We began this issue of Open Color Magazine before chaos overtook 2020. What started as another edition of our Sensory Series has become a time capsule of artists’journeys throughout the most turbulent times in modern history. The Touch Issue theme also took on an entirely new meaning as within a matter of days, human contact outside of one’s own household became a threat to survival. We reflected deeply on the meaning of connection and the power of art to create it. The interviews in this issue span from February to December of 2020. As everyone reading this experienced, the year quickly became one filled with anxiety, chaos, and dread as we watched the world around us morph into something unrecognizable. A pandemic that rapidly spread across all continents stopped society in its tracks and proved to be an imminent threat to millions of lives. We lost so many, so painfully, due to COVID-19, and this issue is dedicated to their memory. We saw millions take to the streets in defense of civil liberties and social justice. We saw the Capitol of our country overrun by terrorists bearing our flag. We saw the fastest development of a vaccine in human history, the most consequential presidential election of our time, the loss of the legendary and incomparable Ruth Bader Ginsberg, horrific natural disasters that displaced millions already under siege from the virus, healthcare and other essential workers show more clearly than ever before that they are the backbone of our country, and so much more. But we also saw something else. From the ashes of the most trying year in a generation emerged a newfound reverence or art as the essence of human expression. The Internet became our thread of connection to the outside world, and we saw it used as never before to spread as much creativity as possible—to nourish the hope that so many of us felt was fading. We saw virtual exhibitions and live painting via social media, writer workshops and interviews, photography that allowed us to escape elsewhere if only in our minds, musicians streaming from-home concerts and releasing new albums created during quarantine, and so much more. We proved to ourselves that no matter the obstacles, no matter the depths of suffering, human beings will find a way to connect with one another and lift each other out of a stark reality and into a world of inspiration and beauty. The role that art has played in the conservation of human connection under the most trying of times is a landmark in the history of society. This issue of Open Color Magazine highlights artists who have been lighthouses in the darkest of night; who have sent their work out into the world and as such have given of themselves so deeply when so many of us needed it the most. We thank them for allowing us to share their stories, and we thank our readers for celebrating them with us. With gratitude, Kate Zaliznock

weareopencolor.com | @open.color

Features Opening Sequence

YANNIS davy guibinga

rob woodcox

B.Aukerlund 58 patty carroll

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AMber Cowan

Betty and Veronica

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Life on Ice

alondra excene Ashley Longshare sabiyha prnce

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Contributors Kate Zaliznok FOUNDER & EDITOR IN CHIEF

Kate has explored numerous creative communities from a multitude of angles. As a writer, editor, publicist, event director, art consultant, and brand manager, her uniquely diverse abilities have all been grounded in a central focus on supporting the arts. Open Color is the culmination of over a decade’s experience in these fields, and its events, exhibitions, and magazine serve to connect creative communities around the world.

weareopencolor.com | @kate.zaliznock

Gabriella Lovazzano FASHION EDITOR

Gabby is a vibrant and colorful creative force. The Bay Area native’s experiences as an art director, stylist, designer and cosmetologist all work in tandem as she builds a rainbow universe that’s warm and welcome to all. She sees the world for its possibilities more than its limitations. Her dopeness runs deep, having cut her teeth in grade school modifying clothes. As co-owner of Ejects Collection, she continues to create her own cool as she repurposes outdated mediums into retro-future accessories. An avid fan of the electronic scene, she surrounds herself with DJs, producers and other musical minds, drawing inspiration from the neon hum of urban nightlife scenes. Anything can spark an idea, be it a plush toy, technicolor candy, off-the-path junk shops, or the unbridled beauty nature. Lovazzano now splits her time between San Francisco and Los Angeles in a state of constant creation and discovery. Always cooler than cool, her style and approach can only be described as ice cold.

gabriellalovazzano.com | @gabriellajlovazzano

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ADAM MEOW CREATIVE DIRECTOR & GR APHIC DESIGNER

Adam is a renaissance man through to his core. An artist whose prowess for all things creative is rivaled only by his imagination. He is not only a designer, art director, and digital artist, but also a highly skilled photographer, accomplished painter, and DJ/music producer. You can try to catch him as he slides between the San Francisco Bay Area and Los Angeles. He is always working to expand his talents to new frontiers while consistently pushing the boundaries of conceptual aesthetics. Adam’s artistic wizardry and indepth knowledge have made him an invaluable asset to countless projects and an endless source of inspiration. A spellcaster with his impeccable style, he is a proven tastemaker. In his lifelong pursuit of the arts, Adam has always believed in the shared community that is inherent in the arts and music. He fully invests himself in any project he undertakes and the amount of love and energy that is mixed in is palpable. All-around good human being to know, Meow is the one all the cats are talking about.

adammeow.com | @adamsoltau

Lindsey Fay GR APHIC DESIGNER

Lindsey Fay is a designer based in Northern California with a keen sense for cultural phenomenon. She is an interdisciplinary professional with over 15 years in the design industry. Born and raised in Massachusetts, Lindsey holds a BFA in Interior Design from Suffolk University. She began working in design firms at age 20, working on large scale retail projects, nightclubs, corporate offices in Boston, San Diego, and San Francisco. From Autocad to Adobe, Lindsey’s aesthetic is an inviting, feminie but futuristic, geometry-forward style. Lindsey’s breadth of inspiration explores colors and patterns from her extensive travels in Asia, Indonesia, Jamaica, Costa Rica, Europe, Latin and South America. She loves traveling, snowboarding, sneaker collections, and live music.

lindseyfaydesign.studio | @lindzefay

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Alondra EXCENE W O R D S

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ALONDRA IS A LOS ANGELES-BASED F R EEL A NCE MAKEUP AND SPECIAL EFFECTS ARTIST. NOT EVERYONE KNOWS WHAT THEY WANT TO DO WHILE IN HIGH SCHOOL OR EVEN AFTER BUT AFTER INTERVIEWING ALONDRA IT IS CLEAR THAT SHE HAD PLANS FOR HERSELF EARLY ON—AS EARLY AS FRESHMAN YEAR. AFTER GRADUATION IT WAS THIS DRIVE AND DESIRE THAT MADE HER ENROLL IN MAKEUP SCHOOL AND LAUNCH HER CAREER. WHILE FOCUSING MAINLY ON FILM AND TV SHE DISCOVERED HER LOVE FOR HIGH FASHION AND MUSIC VIDEOS. I HAVE WORKED WITH HER I CAN TELL YOU I KNOW A TRUE ARTIST WHEN I SEE IT. SHE NOT ONLY PUTS HER ALL INTO HER WORK; SHE CAN MOLD YOUR CONCEPT WITH HER SKILLS AND CREATE SOMETHING BEYOND EXPECTATION. I HIGHLY ADVISE SEEKING THIS ONE OUT! EXPLORE HER PORTFOLIO AND PERSONALITY THROUGH HER IG @ALONDRAEXCENE.

www.alondraexcene.com | www.instagram.com/alondraexcene

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"One day I had the realization that someone gets PAID to put fake blood on people!"

Let’s start with how and when you realized that you wanted to have a career as a professional makeup artist? I was a freshman in high school. I already had a love for makeup and makeup effects. My best friend’s Mom, Michele, used to do my hair and makeup for dances and that’s when I really saw the power of transformation makeup has. I was a punk tomboy that smeared black eyeliner all over my eyes, and she would turn me into this beautiful young woman. Discovering Jennifer Corona’s Myspace was also a huge influence on me. I’d never heard the term “freelance makeup artist” until then. I loved the way she made the models creepy yet so beautiful. I was instantly fascinated by her and her work. Now Jenn is a friend and someone I’ve worked with multiple times over my career.

What is your favorite style of makeup? I really love incorporating prosthetics into beauty makeups, so I guess I love the avant-garde. I don’t mind when things aren’t perfect, or beautiful. I like doing weird makeups. My favorite photo series that I’ve done was the Animal/Human Hybrid series I did with Danin Jaquay. It was very Bojack Horsemanesque and the animals were in human situations such as the Walrus who works a desk job and has a dolphin for a boss. We got it published in Paper Magazine which felt really good!

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What attracted you to special FX makeup? In high school, I hung out with my boyfriend and his friends. We would get stoned and watch movies, a lot of them were horror. One day I had the realization that someone get’s PAID to put fake blood on people! That’s all it took really. We’d watch Rob Zombie movies and they’d say “someday you’re going to work with Rob Zombie” and I’d say shut up, no way…well guess who ended up doing a Rob Zombie music video a few years ago?! That was such a huge bucket list moment for me. As an artist where do you find inspiration? Growing up I was heavily inspired by Tim Burton movies, and as I got older I realized that meant I was a fan of Ve Neil’s makeup work since she did all my favorite Burton movies (such as Beetlejuice). Nowadays I’m really inspired by art. I have so many Pinterest boards filled with drawings that I want to re-create with makeup.

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What are your top 5 artists that you admire? Dick Smith, Rick Baker, Ve Neil, those are my legendary icons of makeup (and honestly there’s even more). Then I really love Nelly Recchia and Alex Box. Alex Box is so incredibly inspiring. She is the Queen of avant-garde makeup. Where do you want your profession to go? I’ve always dreamed of being a musician’s personal artist and going on tour! I’ve heard the tour life is not nearly as glamorous as it looks, but I don’t care. To be able to work with one artist and create their iconic looks is an absolute dream. I also love live music and it’s a huge part of my life, so to be a part of someone’s live music experience is so cool! I already work raves and live events, so I feel like my time to tour is coming, haha.

With such a colorful portfolio we must know, what are some of your favorite highlights from your career? Working with Rob Zombie, getting published in Paper Magazine. I was nominated for a Best Makeup award at an indie film festival (did NOT win), was flown to Thailand to co-dept head a horror movie in 2018 (Zombie Tidal Wave). That was such an amazing and challenging experience (we were doing prosthetics in 90 degree, 90% humidity weather). I got to work on the first Sharknado movie. It was the first thing I worked on that was seen by people, and my first red carpet screening! Last year right before COVID, I flew to Mexico and worked EDC. I know I’m missing a lot. I’ve had a lot of really amazing experiences thanks to my career.

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The entertainment and beauty industry is constantly changing; how have you adapted to keep it working for you? When I started school in ’09, I didn’t even have a smart phone. Instagram didn’t exist, and if it did, it was still only available to iPhones. Youtube was new, and the only big makeup artists were Kandi Johnson, Queen of Blending, and Michelle Pham. I mean I’m sure there were others, but you get the idea. So unfortunately, we weren’t taught the power of social media, because we didn’t know yet. Self-application artists didn’t really have the respect they do now (and still lots of pros look down on it and all influencer culture). I never got into makeup to be a star or a celeb myself, so having to adapt to the social media game has been rough. I fought it at first, but it’s so inevitable. I wish I didn’t have to play the social media game, but here we are, haha. It’s an additional full-time job on top of a full-time career. A challenge for most creatives is getting our name out there and landing jobs that are ideal for us. What platforms are you using to promote your work and to ensure you’re being viewed by your target audience? In the past, I would go to networking events and use Craigslist, Mandy, Model Mayhem, etc.. At this point, a lot of my work comes from referrals and returning clients. Having a circle of friends who root for you and pass you along work is vital in this industry. I use social media pretty heavily to promote and share my work. I have a website. I respond to posts on Facebook, and sometimes I straight up drop into people’s DMs for work.experiences thanks to my career.

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I don’t like to spend too much time talking about challenges but I also feel like opening up about them can help other creatives that might be in a similar situation. In addition to self-promotion, what are some challenges coming up in the industry? Getting into the industry at 18 was a blessing and a curse. I’m glad I started my career so young, but that also means I was making dumb mistakes that young people do, but it affected my career. I’ve definitely burned bridges and fucked up a few times. Working on big film sets can sometimes be hard because there’s a hierarchy. Your department head may not want you to be too friendly to the cast, or the producers, or else they’ll think you’re trying to take their job. The set etiquette is very intense and not everyone you assist is going to help you out if you fuck up. The social media game has also been a little challenging. We are all expected to be the celeb or the star now. We have to hustle to get likes, even though those don’t pay our bills. But companies and clients want to see your follower count before hiring you, regardless of your portfolio, and that gets really exhausting. If you could work on or with anyone in the world who would it be and what would it be? Who is your ideal client? Let’s manifest this for you! Right now my dream clients are musician Ashnikko and Dan Levy. Ashnikko is literally on my vision boards, I think we’d create some really fun looks together. Dan Levy because he’s seriously so incredibly talented and such a positive ray of sunshine for people. I’d love to work with him and experience his genius. My ideal would be to work with a musician or a band that really loves collaboration between their makeup artist. Someone who trusts me but also gives me ideas. I see Lady Gaga’s relationship with Sarah Tanno-Stewart and I go “THAT! I want THAT!”

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Ashley LONGSHORE W O R D S

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WHEN WE HOPPED ON THE PHONE WITH TALK-OF-THE-TOWN ARTIST ASHLEY LONGSHORE, THE COUNTRY WAS JUST BEGINNING TO ENTER INTO THE LONG-HAUL PHASE OF QUARANTINE. THE ALABAMA NATIVE (NOW BASED IN NEW ORLEANS) IS KNOWN FOR HER BANG-POW POP ART PAINTINGS, AND SHE WAS ALREADY IN THE PROCESS OF GIVING BACK TO HER COMMUNITY THROUGH HER ARTWORK BY PARTNERING WITH VITAL NON-PROFITS. LONGSHORE’S WORK IS INTERNATIONALLY COLLECTED, AND HAS BEEN CELEBRATED IN IMMERSIVE WONDERLANDS SUCH AS HER TAKEOVER OF BERGDORF GOODMAN’S CAFÉ AND AN EXHIBIT AT DIANE VON FURSTENBERG’S FLAGSHIP STORE OF 37 COMMISSIONED PAINTINGS OF ICONIC WOMEN. TO VISIT HER NEW ORLEANS GALLERY AND STUDIO IS TO GET A GLIMPSE INTO HER MAGICAL, MYSTICAL, HYSTERICAL WORLD, AND SITS PROUDLY AT THE TOP OF OUR MUST-SEE LIST. WE GOT THE CHANCE TO TALK TO LONGSHORE ABOUT CREATIVITY, ACTIVISM, WORKING WITH GALLERIES, AND PERHAPS MOST IMPORTANTLY, SMILING.

ashleylongshoreart.myshopify.com | www.instagram.com/ashleylongshoreart/

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So, first question. It’s apparent that creativity is ingrained in your nature and that the success that you have today is a result of years of dedication and hard work, so what do you consider to be the first major step in starting a professional career as an artist? The most…the 100% most Damn, that didn’t work out. That’s important thing that you must okay. I’m going to reach out to have in order to make it is to four more people.” It is that inner have an extremely, extremely voice of, that like the little engine strong sense of optimism within that could. “I’ve got this. I can do yourself. “I’ve got this. I’m gonna it.” Because here’s the thing. You do great. I tried as best as I could. will most definitely be rejected.

You will most definitely have people that do not understand what you’re doing. You will most definitely, you know, have to find out who your audience is, who you’re marketing to. The most important thing that you can have is that voice that goes “I got this. I’m gonna be okay. I’m gonna wake up. I’m gonna send some emails.” Or, “I’m just gonna be

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creative today. I’m gonna paint. I’m gonna do something for me.” You must have that, or, when the world does come at you – which it will – you’ll have someone to call. You’ve got to go into battle with your armor on. You can’t just go out to any business world thinking it’s all going to be sunshine and rainbows and fucking unicorn farts. It’s not. You are gonna get

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“The most important thing that you can have is that voice that goes “I got this.” gutted, gored, fucking kicked in the genitals, friggin’ be told that you’ll never make it. You’re gonna have people try to fuck you out of money. All of that is going to happen. I’m just gonna keep it real here.

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Please do. This is why I wanted you on here so badly. The most important thing I totally agree with you on is that without that can-do attitude, you won’t get anything done. You have to have an authentic, optimistic inner voice. So, the other thing I wanted to ask you about is – and full disclosure, I went to the University of Alabama, so I have a little bit of experience living in the South – do you see yourself as a representative of Southern culture, particularly one that defies the stereotypes? I see myself as a full-blooded American woman who happened to have been raised in the South, and because of my Southern upbringing, my superpowers are my manners. Even though I could drop an f-bomb at any moment, I promise you I am gracious, enthusiastic, I’ll always say “thank you,” you know. I may shut the door and say “fuck you” when I walk out, but I promise you this, you know, me being raised in the South is a bonus. I’m a full-blooded American woman. I love that. So, you give back in a lot of ways. I’ve seen your work with students and things like that…just so cool. But I wanted to make sure that we touch on what you’re currently doing, which is raising and donating funds to combat this crisis that we’re in right now. Can

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you tell us what you’re doing and the organizations you’re working with? Yes, so obviously the Food Bank. It’s so crucial right now because, you know, look. I’ve never experienced hunger, you know. I don’t know if you have. But all I know is, is that when you have a belly full of food, you can think and regroup and process. All of these kids, you know, who were let out of public schools, some of them, you know, their breakfast and lunch that they have those were the only meals that they for sure were going to have that day. The food banks are attempting to fill every food request that they’re getting. So that’s kids, seniors, and most assuredly all of these health care workers who have got themselves, who are working so long, all these hours. It just seems very normal for me to… after the first week of quarantine, when I was able to catch my breath again and realize that life wasn’t over, and I was like okay, we have amazing collectors. I have incredible engagement. Let’s put ourselves out there and see what happens. And, you know, so we’re $53,000 in donations in two weeks. Between Second Harvest Food Bank and Project Lazarus, which is this amazing facility in New Orleans that houses homeless people with HIV and AIDS, who you can imagine are so incredibly susceptible to COVID, other

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flus and that sort of thing. And this particular group is mostly LGBTQ but they accept anyone. They bring in dogs for therapy, they do these telehealth sessions, they do photography lessons (not so much right now because of COVID). But it is an incredible institution for people who do matter to our society. I’m doing another release, and I’m donating $15,000 to the women’s shelter here, which are women who’ve been abused, they’re basically homeless. They come in and start their lives. Again, it’s group living, they need lots of supplies to be extremely sanitized, more so than ever. There’s kids in there, they need games, they need food. They’re trying to do schooling for the kids. They’re trying to get the women job interviews and that sort of thing. So, I definitely want to help them out. I mean, look, this community has been very good to me, and I don’t want to just sit here and not know that I’m not doing my part to, number one, sustain my team so that there are no layoffs, and, number two, give back to the community that’s allowed me to grow. That shit’s important. That’s so beautiful. And then, of course, I have never given away anything. I don’t do prints or anything like that and so I just thought, my God, all

these parents are trapped with their kids. So, I’m going to release color pages. We released twelve different designs right now, eight of them are amazing power women so I thought wow, great history lessons, and then four presidents. And then, of course, I did five other ones with Miley Cyrus. So, that was fun. I’m curious. You’ve always strongly encouraged artists to self-manage, self-promote, sell their work rather than partner with a gallery. What is your advice to artists who, as you do of course come across, kind of have the outlook of “I just want to be in the studio producing. I have no interest in the business side.” Listen, listen. The way that I do business is not the only way to do business. It’s the way that’s worked for me. I just knew in the beginning that anybody taking 50% from me felt like a dry-ass fuck. I didn’t like it. I always got my check feeling like, damn, are you kidding me? Like, I made that. That’s my spirit. There’s a middle man. It’s too much of a commission. I want you to think about what the retail strategies are for people. When you buy a chair at an interior design store, you know what? They marked it up 50%. It’s a manufactured fucking chair. And for some reason, somebody along the way thought putting those same percentages

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on original art work created by people who have an expiration date, that it should be the same. And I just find it to be, I don’t know, a disgusting image. That being said, maybe you don’t give a damn. Success is only rated on what makes you feel good. Are you hitting your goals? I mean, I remember when my own success strategy was being able to pay my rent. And that meant me making $800 a month. And I felt like I was rich as hell. That being said, if you are an artist that just wants to work with galleries, I suggest that you go into it business-minded, because that gallery works for you. I would be very creative with them, and I would give them goals that they need to hit. That makes sense. It’s a really great way to look at it. Well, I would also go in and say “You believe in me so much that you want to take my inventory. Are there any pieces in this collection that you right now feel so certain that you can sell that you would go ahead and write me a check for 50% for them?” Make them put their money where their mouth is. Otherwise, you could end up with somebody that has taken all of your inventory, with some little asshole mother fucker in black horn-rimmed glasses, rolling their eyes at people walking into the gallery, that’s not doing the work to sell your shit. On the

other side, there are some incredible, incredible galleries out there that go above and beyond. They take their artists to shows, they get their name out there, they get them press. They give them a studio to fucking paint in. I mean, you gotta find somebody that you learn from that is really caring about you and your fucking livelihood, you know?

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and to choose different charitable organizations that I could help out along the way. So I released all these beautiful butterfly cutouts. And then I’ve got diamonds, champagne bottles, and these great riffs, and some beautiful, like, Audrey silhouette cutouts. So, I’m doing that, and then I’m working on small versions of all of my DVF portraits that I did. I’ve got over 100 smalls that are all… it’s like a retrospective collection of all kinds of pieces that I’ve done throughout my last ten years of my career. I’ve got Audrey, so I’m deep in all that right now. And you know what? I had some asshole send me an email. Said you’re so basic, that these are mass-produced, overpriced, I could do these in a day. I thought to myself, you know, I don’t need to fucking do this. I literally do this to offer original artwork to people who are just starting to collect. I have collectors that have loved the smalls, and they put them on their bookshelves. It’s a great opportunity to buy a wedding gift, an anniversary gift, a birthday gift.

I fully agree. I wanted to ask you, too, what you’re currently working on in the studio? Well, right now I’m doing a smalls release, you know, so I’ve been working on those. I was going to do one big giant release, but I just decided because of our crazy times that I would do more of a slow rollout

That’s the only way most people would have access to your work right now. Yeah, and it’s like, alright. I also thought wow, it’s a way to get original fucking merchandise and limited-editions and when those are gone, they’re gone.

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Oh, I know. I’ve been heartbroken in the past. But I’m looking forward to something in the future. I always ask the artist that I’m interviewing if they have to give an opportunity for them to shed a light on any other visual artists or musicians, anyone that you think should be getting more attention who’s not right now. Oh my God, I have so many artists that I love that I collect. OK, there’s Emmanuel DiSosa, who is an incredible painter. He’s based in the UK. I have probably seven of his pieces; he’s so wonderful. My friend Jean Paul Fauves. He is absolutely incredible. There’s a glass-blowing artist, Dylan Martinez, who I collect. She is incredible. Nora Martin-Hall…I just bought two of her pieces. Let me tell you an artist that I bought yesterday, Agnes Grochulska. She’s amazing. I mean, girl, we could do this all day long. A painting from an artist named Carol Lewis. I just bought, oh my God I bought two artists six weeks ago in New York at an art fair. I mean I could go on. Efraim Whitney, I love him so much. Ellie Smallwood. Colin Christian. I love Peter Anton so much. Starsky Brines is a friend of mine. I have two huge pieces of his. Robert Jackson is absolutely unbelievable. Also, Blake Neubert. I love him. I just got…he did a really crazy painting of Joe Exotic that I bought.

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This is exactly why we do this in most of our interviews because 99.99% of the time the artist is like, oh my God, yes. I get a second to just point out… Well, I mean, I’m not just a painter that depends on collectors. When I sold art last week, I’m like, I want to, I’ve got to be smart because I’m running a company and I have to make sure… Right now, I’m like a little fat squirrel storing up my nuts because I don’t know what’s going to happen during the summer and I’m like a mama hen with my team. But there’s always a little something to put back into my art community, and I want artists to thrive. I have one last question. What was the last thing that made you smile? The last thing that made me smile? I mean, listen. They’re calling this social distancing, but I could be real with you. This is physical distancing. I had so much more time to FaceTime with my team one on one, and I’ve got such an incredible team. Such an unbelievable group of individuals. They are just… they’re just amazing humans. And they’re so committed and loyal to what we’re doing in the art world and I’ve got to tell you, every time I’m on FaceTime with them I’ve got a huge smile on my face. They bring me a lot of joy in our mission together to move forward and get out there and provide really safe shipping for our clients right now.

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Sabiyha Prince W O R D S

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TO BRING TOGETHER ART AND ACTIVISM IN BOTH A BEAUTIFUL AND EFFECTIVE WAY IS A FEAT TO BE ADMIRED. DR. SABIYHA PRINCE IS SUCH AN ARTIST. HER LIFE COUPLED WITH HER VAST EXPERIENCE IN THE FIELD OF ANTHROPOLOGY ALCHEMIZES INTO POWERFUL WORK, WITH RICH COLOR PALETTES AND SKILLFUL EXECUTION. AS A WASHINGTON D.C. NATIVE, DR. PRINCE’S PAINTINGS EXPLORE MEMORY, PERSONAL GROWTH, IDENTITY, AND THE BLACK EXPERIENCE IN AMERICA. HER DOCTORATE IN ANTHROPOLOGY (FROM THE CITY UNIVERSITY OF NEW YORK) WAS PRECEDED BY AN UNDERGRADUATE DEGREE IN COMMUNICATIONS ARTS, AND HER LIFE AS A SOCIAL OBSERVER AND ACTIVIST INFORMS HER WORK. SHE HAS AUTHORED BOOKS AND ARTICLES EXPLORING THE IMPACTS OF URBAN CHANGE AND SOCIETAL STRATIFICATION ON BLACK POPULATIONS, IN ADDITION TO DIRECTING EDUCATIONAL PROGRAMMING AND POLITICAL MOBILIZATION CAMPAIGNS FOR THE WASHINGTON OFFICE ON AFRICA, GREENPEACE, AND BLACK VOICES FOR PEACE. WE WERE FORTUNATE TO HAVE THE OPPORTUNITY TO LEARN FROM DR. PRINCE AND THANK HER FOR SHARING HER STORY WITH US. www.sabiyhaprince.com | www.instagram.com/anthro_artz/

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What was the first medium you experimented with? What are some early memories of the beginning stages? I began collaging in middle school in the 70s. Those were the days of Jet, Ebony magazines, as well as Life and Look magazines. There were plenty of images for me to cut out and paste together— including photographs of people who looked like me. I was obsessed with pictures and there were so many things going on in the world during those years. I began overlapping what I cut out with other forms of cut paper and by the time I was in high school I got my hands on an SLR and began taking photographs from then on. I continued taking photographs into my college years and switched my major from psychology/special education to communication arts—with a focus on photography, public speaking and persuasion. After a while I had a big black portfolio that I stuffed with my collages and photographs and I carted around from DC to Poughkeepsie to NYC. Sadly, somewhere along the way I lost track of it. I can remember making a large collage that was vocally appreciated by an art teacher back when I was probably about 13 or so. I attended Bertie Backus Junior High School in NE Washington, DC—I pasted an array of Black faces on a framed piece of cardboard desk and my teacher told me it was very good. It is funny how I have forgotten about the fact that I was a visual artist very early. I dropped that for a while to have other experiences, pursue the performing arts, graduate from college, settle down, and ultimately get my Ph.D. in cultural anthropology (from the City University of New York). I continued to take photographs throughout the years and I took art classes in college. In 2017, I gravitated toward painting. When I first started painting, I was obsessed. I kept all my supplies on the kitchen counter. It was a hot mess but my family was supportive. No one ever complained even though I could have blown up the entire house with an assortment of flammable materials right next to the stove. Also, who was cooking dinner in that chaos. Eventually I moved everything up to the attic but I still paint 32

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in the kitchen or the family room periodically. Other times, now that the weather is so nice, I cart everything outside and work in the backyard. Please describe your creative process to our audience and how it has evolved over time. I balance painting and photo-collaging with running my business, writing, my hobbies, and making time for family and my well-being in a larger sense. I have ideas and projects that I want to begin or are currently completing but I cannot paint each and every day at this point because I have writing assignments to complete and qualitative research projects to engage in. My approach varies. As a photographer, sometimes I take pictures that I then want to paint. I also have ideas in my head, perhaps they come from dreams or some other form of inspiration, that I want to recreate; maybe it’s something I saw or imagined in my head. Then there is the intuitive work—I just pick up a brush and some paint and get started without giving it much thought. I think my work may be inconsistent as a result; I mean if you take a look at my website or IG page you will see that I have a number of different styles. I am not sure if that is good or bad—I try to be true to myself while also reserving room to learn and grow. What are you currently working on in the studio? I’m currently recreating a photograph I took in the Caribbean when I travelled to Barbados. The photo is of a statue of the anti-slavery freedom fighter Bussa—a national hero in that country. I superimposed the image of him standing triumphantly with the remnants of broken shackles and chains on each wrist. The photo of him is layered on top of two photographs—one of an abstract painting I made and another of a sunset. It’s a poignant photograph in and of itself due to the story of liberation that it reflects but the added elements make the image all the more powerful. I’m completing it on a 36x36 inch canvas. I will use my instincts to determine when it is finished. Thus far

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something is missing from it but I’m not sure what. social justice causes? I’m also working on another large canvas for a We are all the products of our environments— physician’s office. It has been a challenge—when I recognizing that our viewpoints and personalities thought I was close to completing the piece, I was are also shaped by a number of variables including told pinks and reds and colors to avoid in this setting reading, traveling, building relationships across because of the way these mimic flesh and blood. I’ve differences, and continuing to grow and openly had to continue with adjustments and tweaks as a seek challenges our beliefs over time. I grew up result but this one also isn’t done. in a period of volatile change in the U.S. and my I have a goal of practicing greater restraint with parents, the children of southern migrants to DC, the work, not that I must do this all the time but kept close tabs on the civil rights movement, social just periodically. I recently sold a beautifully quiet conditions, and other weighty developments taking piece; an acrylic on paper that has a place across the country and around series of curved lines in black with the world during those times. We ate I have a goal a smattering of color. It is very calm dinner around the table as a family and muted yet powerful. I have the of practicing Sunday through Thursday and the capacity to do more work like this but television was often wheeled out I get a bit carried away—particularly into the dining room—particularly greater when I paint after an absence from during the height of the civil rights the process. restraint with movement and the Vietnam War. We watched these events unfold over How has COVID affected your creative the work, not swiss steak and baked potatoes. process, whether it be the impact of social Between that and the stack of distancing, the availability of studio that I must do magazines my mom subscribed to, supplies, or anything else? there was no way my brother and I Covid-19 has not had a huge impact could have grown up in a vacuum. this all the on my creative process. Luckily, I They kept tabs on what was going practically hoard art supplies so I time but just on nationally and globally; albeit to haven’t had a need to go shopping. I a lesser extent. I was informed to a periodically. actually just ran out of 18x24 paper fault—during the uprisings of 1968 yesterday. Another impact is that I was scared to walk past my window people haven’t been able to come through and view after seeing the images of children shot in Newark, the work. That’s where having a website is key. I NJ on the pages of Time and Newsweek. Everything developed a new collector during quarantine and from Watergate to the Reagan years followed by the shipped 3 pieces out to Los Angeles in June. anti-apartheid movement and organizing against the Iraq War, all these events kept the fire in my Where can our readers purchase your work? belly roaring. I believe that the same fire pushed I do not have a link to a store on my website. I like my maternal grandfather north. He was born just the personal approach and encourage people to 36 years after the passage of the Emancipation reach out to me with queries via email—the address Proclamation, which didn’t free anyone by the way, is listed on www.sabiyhaprince.com. and left South Carolina behind him at the age of 17. Claude Franklin was his name and even though he When did you first know you wanted to study anthropology only had a grade school education he made certain and communications? What are some of the major ways the his three daughters obtained college degrees. His depth of your education has informed your dedication to spirit of resistance—the refusal to stay in one’s 33

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place—thrives within me today. I would describe myself as a late bloomer. I was 28 when I enrolled into graduate school to begin studying for a doctorate in cultural anthropology. At times I wish I had started a bit earlier but it was what it was. I grew up in a white flight community during the 60s and 70s. My parents bought the house in 1964 when I was five years old. Many of our white neighbors were gone within a year after our arrival but those who stayed were largely the families of college professors who taught at Catholic University, which was nearby. That translated into having neighbors who were historians, mathematicians and, ironically, two anthropologists. It would be many years before I would become more concertedly interested in the field but I definitely feel like it was my fate. You are a well-established academic who plays an active role in the evolution of how to both learn and teach others about social justice causes. Have you had any mentors during your personal and professional growth? If so, can you describe the value of that relationship? It is probable I would have made my way to anthropology on my own volition but it was during the late 1980s when my boyfriend, who later became my husband, introduced me to my first anthropological mentor. Dr. Michael Blakey was a professor at Howard University at that time. He became nationally-known for his analysis and curation of the Negro Burial Ground skeletal remains discovered in a construction site in lower Manhattan. Dr. Blakey has done phenomenal research and with his help and that of archaeologist Dr. Theresa Singleton, I was able to attend graduate school and work with additional groundbreaking scholars. In particular, Dr. Leith Mullings, who got me through the doctoral program at CUNY, remains a brilliant writer/researcher and public intellectual who modeled how Black women academics can produce important work, mentor students, contribute to the social fabric of the society and juggle family obligations at the same

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time. These mentors welcomed me into the fold of anthropological study and bolstered my confidence and sense of belonging. Women and folks of color often feel unwelcomed in these spaces. These mentors reminded me—reinforced in me the idea that I deserved to be there. Sometimes I believed them. I have had some remarkable experiences with the field of anthropology—including traveling around the world. Belonging to a network of dynamic and committed scholars has been extraordinary (I also have tons of interesting friends who are neither anthropologists or scholars). All that being said, our discipline has its problems—its history is rooted in colonialism and white supremacy. The voices of people of color have been muted or ignored in order to privilege white scholars and uphold them as experts on the cultural practices of others. But the tools; the research methods associated with cultural anthropology can generate very thorough studies that are uniquely situated to foster deep human understanding depending on how they are written. If there is a lot of jargon then forget about it—no one will know what you are talking about. My curiosity about the world drew me to anthropology and I used its methods to pursue research topics that have been historically overlooked. Researching understudied or overlooked topics is a form of resistance. To gather data for my dissertation I chose the Black middle class in central and west Harlem as my focus because educated, African American professionals had been largely ignored by anthropology at that time—the late 1980s/early 1990s. Unlike many of my classmates, I wasn’t interested in “saving the oppressed” and reproducing the unequal researcher-researched dynamic that anthropology is so well known for. I came to graduate study already experienced with protest and organizing and chose, instead, to conduct research among a population that readers could learn about upward mobility in the face of racial inequality from. Your work explores a range of social justice causes. Can you

walk us through one of your pieces for your own analysis of its message? Social justice concerns constitute a portion of what my work delves into. I collaborated with a friend to raise money for RAICES—a firm of attorneys in Texas helping asylum seekers at the southern border of the US. We printed t-shirts, hoodies and tote bags with a painting entitled “Stop Separating Families” and donated the proceeds to the law firm. Similarly, I painted a piece called Build Ladders/Not Walls as a comment on the rabid xenophobia that has been expressed by US politicians at the highest level. Both pieces are semi-abstract and heavily reliant

upon the colors red, white and blue as a marker for nationalism. I am inspired to create by so many factors. In addition to political economic conditions, history and culture I think nature is another large influence on me. I relish working with blues and greens. I have a series of paintings that depict flowers and woodland settings. I’ve started taking drawing classes at The Hill Center in SE DC and began adding human figures to my paintings this winter. One, entitled Levitate, depicts a young woman with a large, red afro floating above colorful woodland flowers with her legs crossed.

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What is your reaction to this historic time we are living in (the combination of a global pandemic and a worldwide cry for justice that has manifested out of the Black Lives Matter movement)? These are unprecedented times we are living in. As a person who has been active for many decades, I fluctuate between being encouraged and feeling skeptical. I have accepted the fact that, despite all the killing of unarmed Black women, men and children over the years, the murder of George Floyd struck an artery. The fact that America and the world witnessed a man’s life end so callously—coming on the heels of the killings of Ahmaud Arbery and Breonna Taylor—has galvanized millions and for that I am optimistic. I’m sorry it got to this point but I remain heartened that people have taken to the streets in protest, and during a pandemic no less, and new conversations are beginning. These are important steps for an embryonic movement and I await the next stage involving the implementation of fixes. Whether we are looking at our education system, health care, law enforcement, or recreational activities, there are no institutions or spaces in American life that has not been impacted by racism (as well as type of inequality based on gender, class and sexuality). Organizations need to go into evaluative mode—examining their practices with a critical eye toward how racism and other isms are being reproduced in their practices. Anti-racist workshops are also a way to go and I understand that the demand for these educational opportunities has exploded across the country and naturally so. When the calls for multiculturalism rang out during the 1980s, the pushback from white gatekeepers was swift and revealing. Advocates for curricula reform were labeled as “ethnic cheerleaders” and “America-haters” but as an educator I’ve remained perpetually befuddled by this type of thinking. The extensive amount of time Indigenous people, Mexicans and people of African have spent on this land mandates a deep dive into their experiences for all students of American life. This gaping hole in our understanding of US history stands among the many factors fomenting ignorance and cross-cultural tensions. 36

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As an activist, what is something that has inspired you lately? What is something specific that has outraged you, and how can our readers help? There is a deep-seated fear, among segments of the populace, that teaching a more inclusive history of this country will diminish patriotism but there is no evidence to support this idea. Also, there should be no caveats about grappling with reality—where ever learning American history takes us is no place to fear. I think this process will lead to some discomfiture but that is where the growth occurs. When we understand the factors that led to ghetto formation, as one example—newsflash: it relates to the concepts of redlining, blockbusting, white flight, and bigotry rather than something inherently wrong with Black people—the nation is strengthened. We become smarter stewards of our democracy when we reinforce the grasp of our past and its impact on current conditions. With regard to both art and activism, do you have any recommended resources for our readers wishing to learn more? (Books, documentaries, articles, etc.) I suggest people research what is going on in their communities related to social justice concerns and get involved with local organizations. I am a firm believer in being proactive about correcting the misinformation we have all been fed. So much information is available online. You can also find reviews and recommendations for instructive and enjoyable materials to expand your understanding of various topics. BOOKS; Douglas A. Blackmon; Slavery by Another Name: The ReEnslavement of Black Americans from the Civil War to World War II Paul Butler; Chokehold: Policing Black MenCoates, Ta-Naheisi; “The Case for Reparations” Matthew Desmond; Evicted: Poverty and Profit in the American City Robin Diangelo; White Fragility Ibram X Kendi; Stamped from the Beginning: The Definitive History of Racist Ideas in America Akiba Soloman and Kenrya Rankin; How We Fight White Supremacy Isabel Wilkerson; Caste: The Origins of our Discontent Isabel Wilkerson; The Warmth of Other Suns

B. Akerlu

THE Avant-Garde Stylist ShakING Up Ho

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This woman knows how to tell a story and make a statement. Whether it’s a commercial, a movie, an A-list celebrity or a trip to the grocery store, her love for fashion is obvious. Think of some of the most memorable iconic looks worn by America’s top celebrities and I guarantee B had a major part in it. Her bold, innovative and experimental style is what sets her apart from the rest and lead her to where she is today. It takes drive, passion and confidence to make it in this industry and B’s got all that and more. As a stylist myself, I am always inspired by her and it was truly a treat to Interview Her. 42

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How was your experience as the costume designer for the movie SPUN? It was pretty much, life changing - I met my husband director Jonas Åkerlund on that film and it changed my path as a costume designer in finding a life partner both personally & professionally.

Can you share some thoughts and feelings about your first time styling for a movie? The first movie that I ever did the costumes for was when I was 19. It was a small, indie movie that nobody has ever heard of with zero budget & pay, but it gave me the courage and the experience to use my imagination making things work with what I had. We all have to start somewhere and if it’s our path we will succeed.

From Beastie Boys to Lady Gaga, the legendary Madonna, and everyone in between, how did you start styling for the stars? It wasn’t that easy in the beginning. I did a lot of shit jobs and dressed thousands of extras before I could show my true talent in dressing superstars. I believe if you work hard and make your work stand out people will take notice and you can pave your way into success.

Out of all of your unbelievable clients and gigs what were some of your favorite memories? There are so many, not sure where to begin. But my time with Madonna is something I will always cherish. She is a very special person & artist to me and has definitely made me a better stylist. Your portfolio is extensive! You continuously outdo yourself and it seems like you are always pumping out content! How do you maintain the momentum? I believe in quality over quantity. I put so much of myself in everything I do and it can be exhausting at times, but when I am inspired I go all in and creating gives me life .

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What are your five favorite things in your styling kit? Tape. I love tape you can create anything with tape. A must have is also good shape wear. You can do so much with manipulation to have the perfect body. Other than that I love accessories. They always tell the story and complete every look.

Do you have a secret weapon? My weapon is shape & texture. Without those, its not a ¨B. Åkerlund ¨ look .

How does your process differ preparing for an editorial vs a music video? The process is pretty much the same. From the moment I get a clear GO on a job my head starts conceptualizing.

How is sourcing today different from when you first started out in the industry? The difference is huge. There are so many more resources with social media & the internet. When I started in this industry, I was relying on my pink pager and keeping my eyes open.

Each one of the projects you work on is so inspirational and larger than life. Your wardrobe selections can’t be an easy find. How did you develop an eye for finding the most avant-garde and innovative pieces in the industry to create your extensive collection? It is a two way street. I find it, and it finds me. Its like a built in robot that gravitates me toward the avant-garde unknown fashion universe.

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I can only imagine how incredible your personal collection is, at what point did your collection turn into your own personal showroom, The Residency Experience? My personal collection is personal. I have been collecting fashion & vintage for over 20 years. The Residency Experience is a PR hub for some of the most amazing and innovative designers in the world that I nature, curate and act as the creative director to able to share my fashion knowledge with the rest of the industry.

What qualities do you look for in a brand when considering them for a spot at The Residency? I use my stylist instincts and always ask myself, ‘if I am excited other people will be excited as well’. And, my partner/co-founder of The Residency, Kent Belden, and I know a brand will do well within the showroom.

Who are some of your favorite designers? Legendary and emerging? Manfred Mugler is my hero. As far as emerging, the list is too long. I like different designers for different reasons.

Who invited you to your first major designer runway show? Oh I can’t remember, but Riccardo Tisci will forever be my man!

If you could go to any runway show in the past when and who would it be? Thierry Mugler & Dior by John Gallion 100 %

Where do you see this industry heading now with the current state of the world? It will all be more digital and not sure the fashion industry will ever be the same.

What’s next for you B? One will have to see and wait ……… www.bakerlund.com | www.instagram.com/bcompleted

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Yannis Davy

Guibinga A Visionary Photographer Honors Culture and Community

Yannis Davy Guibinga is a force to be reckoned with. His photographs demand your attention through striking use of color, powerful subjects, and an unrelenting dedication to the most delicate of details. Guibinga honors the culture of his home country, Gabon, by celebrating the rich history and community he has centered his work on. He also serves as a documentarian of many communities from the African continent as a whole, as well as its diaspora. Currently based in Montréal, Guibinga has exhibited works internationally in Switzerland, South Africa, Nigeria, France, Russia, United States, Switzerland and more, and has also been featured on platforms such as CNN Africa, Document Journal, I-D, Harper’s Bazaar Russia, Condé Nast Traveler and more. Here he joins us in a conversation about past, present, and future:

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How do you select your photography subjects and locations? What are some common elements of both that inspire you to create? My subjects are usually selected depending on the story I want to tell. I think about what kind of person works best for the particular situation and start my research that way by either contacting someone I already know or looking for someone new. Same thing for locations. You have accomplished so much at an early age; what advice would you give to talented artists struggling to find their footing and shine a light on their work? I think the best advice I would give someone is to focus on consistency and the quality of the work over anything else. Nowadays it is very easy to get caught up in the amount of engagement and likes but what truly matters at the end of the day is the message your body of works tells about who you are as a photographer and an artist. Since this is The Touch issue and part of our Sensory Series, what are some of the textures that surrounded you while growing up in Gabon? Additionally, what are some cultural elements that “touched you”— that have embedded themselves in your being? When I think about Gabon what I remember the most is how humid it always was, but in a good way. I remember how vivid the colours always were, which is in a way what I try to bring into my images. It wasn’t always sunny but it always felt alive, even when it rained. Your work’s mission is to help change the common narrative about Africa and its diaspora. With the Black Lives Matter movement becoming a cultural cornerstone of 2020, do you see that common narrative shifting in a meaningful, lasting way? If not, what do you see? I think what happened in 2020 definitely was a good way to get the conversation started on these matters but I unfortunately don’t think that would be enough to bring real actual change because these things take a lot more time. I do believe we are moving in the right direction but I think these issues are so rooted inside of people’s subconscious that it will take a lot more time to unroot.

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For the Touch Issue, we are also delving into the impact an artist’s work can have on a viewer’s emotions. What are some emotions you want your work to convey? Art is subjective so I try to leave my work up for the interpretation when it comes to emotion. What I do try to convey is the stories that I want to tell with my images but even those are left up for interpretation for the most part. Who are some artists whose work has affected you most profoundly? Lina Iris Viktor, Malick Sidibe, Filip Custic, 2020 has been a life-changing year for most around the globe, from the pandemic, to social unrest, economic peril and more. How have these events impacted your work? Are there additional themes in imagery you will be exploring as a result? It made me be more introspective and think deeper about the kind of work I want to create and the stories I want to tell with my images. It made me realize that it is important now more than ever to be intentional with your work and your message and to stay true to who you are and how you see and think about the world. As an artist, what are you most proud of? The ability to create on my own terms. www.yannisdavy.com | instagram.com/yannisdavy/ 41

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As a fine art and fashion photographer, Rob Woodcox is making his mark across both industries with his vivid interpretations of reality, memory, and dream. He is also a passionate advocate for a number of issues, such as raising consciousness and conversation around U.S. foster system and adoption, queer identity, body neutrality, racial equality and environmental justice. Woodcox often balances sweeping landscapes with powerful positioning of subjects, creating artwork that fills the field of vision without overwhelming the senses. Additionally, Rob has taught thousands of students in six continents, 15 countries and 34 cities worldwide and in 2020 released his first photographic art book Bodies of Light. We had the chance to sit down with Woodcox and talk about his 2020 experience, what he’s currently focusing on in his work, his favorite fellow artists, and more.

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Your incredible photography doubles as a powerful expression of advocacy for numerous causes, many of which have been exacerbated by the pandemic. How are you doing during this unprecedented year? 2020 has certainly been challenging in its own ways, but those challenges have come with welcome lessons for me—such as spending more quality time with the people closest to me and prioritizing health over career. Through focusing on solving problems our world is facing and choosing to use my art to discuss those topics, the events of this year didn’t come as much of a surprise but rather a wake-up call for many who have been ignoring glaring issues. My hope is that people are more invested in reforming social policies and most importantly our interactions with the environment, which could very well drastically determine how the next 100 years play out. I recently watched a very powerful documentary on Netflix titled A Life on Our Planet by David Attenborough and regained some hope for what our generation and those younger can accomplish to preserve our presence on this planet. Tell us about your recent work, both process and message. Much of my recent work has involved the human form in nature; I often visualize a world where we live in harmony with the environment around us and I turn these visions into photographs. My dance series specifically is a joy to create; I bring large teams of friends and dancers on location and we collaborate to form patterns and structures that would seem humanly impossible. These compositions each tell a unique story of what we can accomplish when we prioritize community and diversity; the power of combining various skills, ideas and strengths is immense. I always say that I see people as individual patches of a much larger tapestry, and if we were all to be living out our truest passions the problems of the world would be solved. Who have been some of your favorite subjects to photograph and why? Some of my favorite subjects to photograph have been dancers, for their ability to immediately deliver unique posing that tells a story, and people with unique life or love stories. I’ve recently been working on three unreleased series of work that involve love, activism, and life stories that I’m excited to share with the public. People getting passionate is contagious and I’ve found that surrounding myself with other passionate and genuine people allows those sides of me to flourish as well. What is the craziest story behind one of your photographs? There is a nude self-portrait I took in the Yukon (far northern Canada) during a backpacking trip; the weather had predicted moderately good temperatures and no precipitation, however mountain regions can be unpredictable. As we came to the first view of the iconic Tombstone Peaks, we saw a snowstorm

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coming in the distance. Within 5 minutes we were in a blizzard. As soon as this quick dusting of snow passed, I knew I had to capture something. I got naked and created my self-portrait transforming across the scene; you can see the next snow cloud coming in the background—the white haze against the mountains! What are some of the photographs you are most proud of and why? One of my favorite dance photos I’ve created is the scene in an old Spanish monastery where a wave of dancers moves towards the ceilings creating a wave-like formation. That day was pure magic—from the team that came together from the cast of Lion King, to the vastness and beauty of the location. A kind old woman let us into the location off-hours, so we had the whole monastery to ourselves—to play and create. It felt like some kind of dream, like we were transported into the past, so I titled the piece Time Travel. I’m also very proud of my self-portrait series in Iceland where I explore my coming out process and what that felt like. Many of those scenes helped me feel at home in my own body, realizing that no matter where I go I always have myself to rely upon. Who are some of your icons, whether they be artists, activists, or otherwise? This is such a hard question to answer because there are so many! To name a few: Tim Walker, Annie Leibovitz, Frida Kahlo, René Magritte, Richard Avedon, Rihanna, Beyonce, Stacey Abrams, David Attenborough, Jane Goodall, Greta Thunberg, Indya Moore, Dean Schneider. If you could teleport anywhere right this moment, Covid not with-standing, where would it be? It would have to be Antarctica in a colony of penguins! I’ve always wanted to experience that, and it’s the only continent I haven’t visited. Imagine if I teleported there WITH dancers and made a series—iconic. If your work could teach one lesson to every person who viewed it, what would that lesson be and why? We are so dependent on each other and our environment; if we do not respect these truths, we will inevitably dig our own grave. There is so much beauty in developing community and a healthy environment to live, however we often focus on money, gain, and what society defines as “success.” This mentality only leads to destruction when pushed out of balance. I hope people are encouraged to find self-love, community love and environmental awareness, and then get involved so we can begin to repair the vast amount of damage we’ve caused our planet. http://robwoodcox.com | https://www.instagram.com/robwoodcoxphoto/

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AMBER COWAN’S WORK OFTEN STOPS A VIEWER IN HER TRACKS. THROUGH THE USE OF RECYCLED, UPCYCLED, AND SECOND-LIFE AMERICAN PRESSED GLASS, COWAN CREATES INCREDIBLY ORNATE PIECES WHOSE MINUTE DETAILS ARE EMPHASIZED BY MONOCHROMATIC DEPICTION. THESE SCULPTURES INCLUDE DELICATE FLORA, FAUNA, AND THE FEMALE FORM, AND ARE CREATED THROUGH THE PROCESS OF FLAMEWORKING, HOT-SCULPTING AND GLASSBLOWING. THESE WORKS EXPLORE THE THEMES OF SELF-DISCOVERY, ESCAPISM AND FEMALE LONELINESS, AND THEIR SHEER SIZE AND INTRICACY CONSISTENTLY ELICIT DEEP EXAMINATION FROM LIVE AND VIRTUAL AUDIENCES ALIKE. COWAN LIVES AND WORKS IN PHILADELPHIA WHERE SHE RECEIVED AN MFA IN CERAMICS/GLASS FROM TYLER SCHOOL OF ART AND ARCHITECTURE OF TEMPLE UNIVERSITY. SHE WAS THE RECIPIENT OF THE 2014 RAKOW COMMISSION FROM THE CORNING MUSEUM OF GLASS AND HER WORK CAN BE FOUND IN THE PERMANENT COLLECTION OF THE MUSEUM OF ART AND DESIGN IN NEW YORK, THE TOLEDO MUSEUM OF ART, AND THE RISD MUSEUM. HERE, WE SPEAK WITH COWAN ABOUT THE PATH TO BECOMING A PROFESSIONAL ARTIST, HER CHOICE IN MEDIUM, HER FAVORITE PIECES, AND MORE.

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When did you first know you wanted to be a professional artist? I was always drawn to art and new that I wanted to have a creative profession. I don’t think it was until a few years after graduate school that I realized making my living as an artist was a possibility. What draws you to glass as a medium? I was always drawn to glass even as a little girl. I knew I wanted to be a glassmaker from a young age. But glass has kept my intrigued all of these years because it is constantly challenging. No matter how long you have worked with this material it will constantly surprise and challenge you. Glass has a mind of its own and figuring out how to coerce it is a game that is constantly changing. Have you had any influential mentors or are you mostly guided by your own intuition? I have had a lot of mentors for the technical way I work with glass. I primarily use a type of material called soft glass which is not the most common kind of glass for flameworkers anymore. I learned my technique from a few Venetian maestro glassmakers such as Lucio Bubacco, Emilio Santini and Gianni Toso. Even though my work doesn’t really look like theirs, I learned my style of glassmaking and many of my technical skills from their style of working with the material.

my themes are based around self-discovery, escapism, love and loneliness. The figurines become recurring symbols in the evolving narrative and simultaneously pay homage to the history of US glassmaking.

What are some of the meanings and backstories behind the color selections in your pieces? What are some key themes your work explores? Many of my pieces are simple an exploration and celebration of the old colors that I use. I think of these pieces more as paintings. But I also do a series of pieces that utilize characters. These pieces take on the form of grottos, theaters or dioramas. For these pieces I collect and save special figurines and animals which tell each story. A lot of

Have you had to adapt your process due to the pandemic? If so, in what ways? I feel very fortunate that in October of 2019 I bought a building in Philadelphia which was once a corner deli. I have converted the space to be a studio on the first floor and a living space above. The beginning of the pandemic I hunkered down and finished the renovations on the studio. Now I am totally self-contained and just walk downstairs to work. So, it hasn’t changed my process too much but obviously the daily stress of this situation and uncertainty of the future has had an effect on everyone’s situation

What do you think are some of your most powerful pieces? What went into their creation? The most challenging in recent years was “Dance of the Pacific Coast Highway at Sunset.” This is the largest diorama style piece I have attempted to create so far. It takes the form of a theater and features two ballerinas dancing on a stage in front of a mountain, ocean and sunset. Pieces this scale are challenging for a few reasons but primarily because I physically cannot move them by myself. I primarily work alone in the studio, so having to call a friend to come over just to rotate or move the piece around is a hassle. This piece debuted at my show “Salacia” which opened in May of 2019 at Heller Gallery in NYC. A friend who came to the show saw this piece and said, “I can tell that you fought with this piece and you won.” This is exactly how I felt. It was a hard piece to make physically, technically and conceptually. I was trying to convey the ideas of joy, independence, awe of nature but then also with the underlying focus on highlighting the historic glass pieces.

What are some future goals for your career and body of work? I feel like I have really hit a stride with my work in the last few years. I am excited about the stories I am telling with my work and looking forward to where those stories are going. I have new ideas that I am ready to explore within the boundaries of my own style. I just want to constantly progress and push the work forward. Who are some other artists you admire, past and present? I am a real admirer of a few female painters lately who I feel inspire my style and work. Gertrude 86

Abercrombie, Agnes Pelton, Hilma af Klint and Agnes Martin are all very inspirational to me. I also really love the sculpture of Eva Hesse. What do you think is your most important piece of advice for emerging artists? What are some key lessons have you provided to your students? I have a very disciplined approach to making work and I think that the key to longevity is consistency. The importance of a consistent and constant studio practice is something that I try to stress to my students. It is very hard to move forward and progress with your work if you put it aside for too long.

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Prada @prada Hologram City @hologramcityla Marina Leight @marinaleightatelier Windsor Smith @windsorsmith

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Patty Carroll has reimagined the traditional domestic experience through her humorous-yet-contemplative photography. The burdening expectations of perfection in the homemaker are reflected back on the viewer in a colorful, impactful way that explores darker themes through powerful bursts of alluring color. Her slapstick imagery depicts the chaos and turmoil often entwined with a life spent as the primary caretaker of both home and family (dishes flying, a washing machine spilling over, a dressing table overflowing with jewelry while a human skull reflects back from the mirror). As an established artist since the 1970s, as well as an author and educator, Carroll has exhibited internationally and has been featured in Huffington Post, The Cut, Ain’t Bad Magazine, and BJP in Britain. She is currently Artist in Residence at Studios Inc. in Kansas City, Missouri. Here we spoke with Carroll about the strength in building a home, the impetus for her work, her latest book Domestic Demise, and more pattycarroll.com | instagram.com/pattyphotosnaps/ 121

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Tell us about your new book, Domestic Demise. What was the process behind it and what are the key themes of the series? The new book is the latest part of the Anonymous Women series. The project has morphed over the years from the first part: a single head and torso with domestic objects obscuring the woman’s identity (Heads,) to the second part with the woman engulfed in drapery (Draped,) onto the third part 122

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where I introduced a plethora of household objects (Reconstructed,) and finally in the last of the series, the objects take over and the Anonymous Woman is crushed by her own possessions, leading to her demise (Domestic Demise.) Although I began this long before the pandemic lockdown, my pictures mimic the crushing and claustrophobic experience of constantly being home, which is often humorous yet, sadly dreadful. The lone figure represents so

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many people who feel isolated, exhausted, frustrated and generally at wit’s end during these difficult times. There was a previous book, called Anonymous Women, published by Daylight Press in 2016. It had a variety of images from the first 3 parts of the ongoing series. By the end on 2019, I had ramped up my production with the Demise part and was thinking about another book. Just then, Aint-Bad books did a call for projects and awarded

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me the book! I was ready with the images and had a wonderful essay that had been written by Bruce Thorn in response to an exhibit of the work. The book is sequenced from brighter, more humorous images of the woman in her domestic dilemmas to darker, more somber images toward the end. The book was released in early 2020, just before the lockdown, so it has not had much love, attention, or book signings! However, I hope it delights any who see it. 123

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Your work explores the relationship between women and domesticity. How would you describe your view of domestic work and its impact on women’s lives? I think women find their strength from creating a home. Perhaps it is the natural nesting instinct in us. Of course, it is more complicated than that, but here is an example. My niece is an important executive at a big corporation in Seattle. She also has a husband who runs his own financial company. They have 3 kids, 2 dogs, a house, and now a small farm in Oregon. She and her husband are both exMarine Captains. The last time I visited, all she wanted to do was find a new dining room table, so off we went for a full day visiting every furniture and home store we could find. Aside from it being fun, it was so satisfying to her to make her home a place of pride and comfort. A place that is the nucleus of the family activities and relationships. Style and comfort were paramount in the search, but I think all women get great satisfaction in creating a space for family and friends. Having said that, I am not sure anyone really enjoys vacuuming or cleaning toilets, but they are all part of domestic bliss and banality. Most housework is done by women. A new, more enlightened generation of men have stepped up to help out, but it still generally remains in the female domain. For me, it is just what I do. I see a dirty surface and clean it. I am not sure I can step away from the instinct or role to take on household chores. There have been many studies done that fortunately or unfortunately reveal the gender divide in heterosexual house responsibilities showing male is responsible for outside, the female controls/arranges and cleans the inside. It does not seem to be dependent on outside jobs for women. Perhaps we are all still wired into traditional roles and division of work. I, for one, can wield a hammer and drill as good as any of the guys around me, but can they load the dishwasher with any order to it? Does it matter? My longer, more complicated version of my photosgraphs about women and home follows: My photographs are of interior spaces. They are also metaphors for the interior lives of women. The

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amazing Anias Nin (a favorite writer of mine) celebrated the psychological interior life. While she spoke of her own experiences, dreams and their magical meshing, I believe she wrote what most people can only glimpse. Her writing, among other sources, is inspirational to these photographs. While she tells of her experiences as a woman and her loves, my pictures are more about the banal reality we are often avoiding, yet in which we are caught. It is how we substitute everyday objects and make them into obsessions; how the house represents our inner longings for perfection or elegance; how a kitchen is the comfortable base of existence; how we use matching drapery and chairs, or a set of dishes to provide continuity and tradition. While my pictures show what a white woman of a certain age in the USA might experience, I can only hope that women in other cultures can relate to the subject. The objects and spaces of our homes may be different, but I believe that women often have similar experiences, needs and instincts, no matter their age, culture, color or socio-economic status. Tell us about your home and studio. What are some ways that you curate your surrounding space? Curate is a wonderful word and only applies to my home! In the studio, where we are always struggling with too much stuff to be used in the photographs, it is more of a logistical problem of storage and accessibility. In my studio where we make these pictures, the space is limited as it is only a storefront. However, I have a large garage that is the prop room with shelves and bins of accumulated fabrics and objects. I do take things to Salvation Army quite often, but not enough! As for my home, it is a different story. The impetus for this project started when we bought a 1950’s MCM ranch house in Indiana, about an hour outside of Chicago. I had to have this house because it still had the original pink kitchen from 1952. The house became a lifelong mission to restore it to its archetypical glory. It is like the house we never had when I grew up, but always wanted. So, 125

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it became a dream come true. I now have vintage pink dishes, appliances, etc. for the kitchen, and Haywood Wakefield furniture in other rooms. I began by going to flea markets, antique stores, estate sales etc. to find the “right stuff” to fill the house. It also became the source for many objects in the pictures. I am particularly fond of crazy lamps from the 1950’s. My house is not too full, and each thing has to fit. We just did a picture called Panther, and all of the décor came from my basement. It was the easiest picture I ever made! Addendum! Since I split my time between Chicago and Kansas City, it was an opportunity for more house curation. So, we bought a mid-century house in Kansas City and my husband, who got on board with my taste for all things vintage, went for it, and now we have duplicate dining room sets etc. He is often thrilled when I bring home a vintage lamp that fits into the décor. It is also an ongoing venture that is fun in the pursuit. Where do you source the elements of your photographs, from drapery to mannequins, purses, wax fruit and more? Actually everywhere. I think I have turned into a professional shopper. I go to thrift stores and antique malls as much as I go to Target. My assistant is very good at finding things on Craigslist, and Amazon is also very helpful. I have a couple of friends who used to own a couture drapery shop, and I would also borrow from them. They recently went out of business and gave me quite a bit of fabric and drapery. What are some things you do to encourage yourself in the studio when you feel doubt or discouragement? There is a wonderful book called, “The Artist’s Way.” I read it years ago and found the advice on how to proceed very helpful. I think it is still relevant if I am feeling lost or disillusioned about work. Her advice boils down to 2 things to get back on track. One is to write 3 pages of anything first thing in the morning, to get out the gunk in your head. It 126

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actually helps a lot to sort out feelings, ideas and dreams. The second thing is to take yourself on an artist’s date by going to a place that you enjoy and gives you pleasure and input. I seem to do that on a regular basis. Whenever I have nothing to do, I will hit an antique store and see what is there. I do other things too, but this is the best! How does your background in graphic design inform your work? Actually, I think that my design background is key to this work. After I get the idea for an image, it is all up to the issues of color, shape, and linear movement; therefore, the design of the image. Often there are a lot of elements to consider and place, so we can fiddle with the final image quite a bit before it all comes together. We make the initial composition (sometimes preceded by a rough sketch) and take a picture of it. Then we look at it on the computer and start moving things around in the set. We might do it 10-30 times before it is finalized. It gets frustrating at some point, but eventually it comes together. You have decades of experience in higher education and were a professor of photography at School of the Arts Institute of Chicago. What were some key pieces of advice you’ve given to students on how to shape a career and highlight their work to the public? This is an interesting question because the students now are much savvier at promoting themselves than any of us ever were. In some ways, older artists are learning from the younger ones about career advancement. The onslaught of social media has made everyone and everyone’s art available in the public sphere. Students also know to apply for everything. Having said that, my advice has been to: 1. Not put things out there until they are ready 2. Don’t give up 3. Believe in yourself and be true to yourself. Dig deep into your psyche and not others. 4. It takes time to make a career, don’t rush it!

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You’ve said that some of your inspirations are vintage movies and magazines; what are a few that impacted you the most? Just about every film noir I have ever seen, which is a lot. I admire the dramatic lighting as well as the dark stories told in them. I think I can recite the lines to every Hitchcock movie also. Everyone’s favorite, Rear Window is top of the list, with Dial M for Murder and Vertigo in the running. In them, I like the subtlety and implied nastiness. On the other hand, I also love colorful musicals that have surreal sidelines to them, as in Singing in the Rain. I just re-watched White Christmas and was again astounded at the use of brilliant color. Of course, in all of them, glamour is rampant, necessary and dazzling, which I find sadly lacking in today’s world. How would you describe the arts community in Kansas City? It is vibrant and specific. The artists in KC are often graduates of the Kansas City Art Institute, which is a terrific school. There is a couple of powerful strains of work that are developed there. Abstraction is rampant and great in both painting and other forms. Ceramics are alive and important, and graphic design is exciting. I know I am talking about kinds of work, but from what I observe in the community, there are streams of work that continue to resonate. The museums are first rate, and the city has made great strides in promoting art. Like all places, more can be done, but it is a very interesting and energetic community. 131

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What are some future goals? What would you like to see in 2021? I don’t think we will ever go back to what we considered “normal.” Mostly I am glad 2020 is ending with hope. We will have a new president and hopefully a vaccine that will be available to everyone, so we can feel safe again. The collective anxiety that we are all still experiencing is so destructive, that it is hard to even imagine what the next year will bring. I think we have been bombarded with chaos and fear for several years and perhaps we all want some relief. I have never been good at goals or hope for the future, so I cannot answer this as well as I want, but I would like to see some healing, less anger, and less division in our country. While we have been locked down, I am not sure we have been soul searching. We have just been trying to get through the day. Now I hope we can all take a breath and trust again- in ourselves and our country. I am still unable to make a clear path or goal because it has been such a difficult time for me also. For 2020, after other travel for exhibitions, then heading to Houston for SPE to launch the book, then onto England, where I had pieces in a big show in York, we returned the day everything shut down. I was very sick for at least a month after that and unable to get out of bed. Finally, I was feeling better, but woke up with a huge pain in my stomach and had my appendix out that day. After recovering from that, I had an abscessed tooth and had to have oral surgery to remove a molar. Just this week, I had another oral surgery for the implant. I know others have had it worse, but it did seem like I could not get well! So my hope for next year is to be healthy, calm and just make some work that will bring some joy! 132

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Betty & Veronica: As a pair, Betty & Veronica, Veronica, formed the female part of

Photographer : Liz Bretz / @lizbretz

the classic love triangle of Archie’s Comics. Comics Originally

Betty : Dot Varnas / @daaaaaarija

described as “best best friends and worst enemies” enemies we decided to flip ip the script, kick the boy to the curb, curb and celebrate Betty & Veronica’s best-friendness.

Veronica : Ana Estela / @theanaestela Stylist : Orchid Satellite / @orchidsatellite MUA : Megan Sutherland / @meg_tronic Hair : Ana Estela / @theanaestela Photo Assist : Rhea Aldridge / @rhea_aldridge

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Articles inside

Betty and Veronica

Patty Carroll

Life on Ice

Rob Woodcox

Yannis Guibinga

B.Akerlund

Amber Cowan

Sabiyha Prince

Ashley Longshore

Alondra Excene