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We are currently transcribing our first Coffee with Artists segment starting with @yacine_tilala ! We had an awesome conversation at @bakersandbaristas . Before we jump in, this is what you need to know about Yacine! “Yacine Fall is an interdisciplinary performance artist. Her work explores identity, politics, history and the body. Through performance, painting, and sculpture she speaks to the body’s object-hood and it’s entanglement with the environment.” Artwork: “Strung”, Jute rope steel ceramic sphere, 10 mins, 2017 Thanks Yacine! Are you based in the DMV? Do you want to be our next Coffee with Artists interview? Drop a comment or send a DM!

We’re back with the end of @vivaillajams ‘s takeover! It was phenomenal. Here is Jamilla’s response to the question, When did you decide to pursue Art? “I’ve known since sixth grade that art was going to be my profession but when I officially decided that I really needed to take that goal seriously, was in junior year of high school. I was at Wilson Senior High School and was taking an “art class” and sculpture class for the first time in high school. It was then I realized I wasn’t getting the training I needed to produce a strong portfolio of work for college so I told my mom I wanted to transfer to Duke Ellington School of the Arts.” Do you want to read more? Link in the Bio to the full interview! Stay posted for the next takeover! It’s coming sooner than you think! • • • • • • #artstudio #curators #artcollectors #art #artistsoninstagram #artistsofinstagram #artpractice #wip #hyperallergic #artsy #nyart #studio9788 #oiloncanvas #jamillaokuboart #internationalart #dcart #acreativedc #jamillaokubo #huffpostart #curators #millennials #acryliconcanvas #fashion #designers #artistplatform #artstudio #artistinterview #digitalart

Still feeling amazing from our chat with curator Deidre Darden @chocolatechipcheetah We asked the big question! How do curators make money? This is only part of what she had to say! How do Curators make money? “Curators can make money from sales during exhibitions or you may receive payment from the gallery/organization that your curating for.” Do you wanna know more about Deirdre and read our quick interview? The link is in the bio! 📷: courtesy of Deirdre Darden

We had a Quick Interview with Deirdre Darden! This is what she had to say about her path and breaking into the curatorial scene. Studio: When did you start curating? DD: December 2014 curated my first show with Black Artists of DC (BADC) at District of Columbia Arts Center ( DCAC). Small show of their youngest members at the time. Studio: What is your advice for people who want to be Curators? DD: Do it! I feel a little too early in my life to give out career advice but I believe in following your heart and passion. Curating is a delicate mix of organizing, managing and controlling the context of the exhibit on top of the research and development of your theme. Selecting the art is often the easy part and sometimes the least work. Curators, in my experiences, either with a gallery or venues suppprt, or alone, do a lot behind the scenes. If you want to curate, start with your peers, fine tune your voice and go after opportunities. There are a lot of artists out there, we need more curators. Studio: How do Curators make money? DD: Curators can make money from sales during exhibitions or you may receive payment from the gallery/organization that your curating for. I work as an independent curator so I make practically no money from that practice except for sales. As an young professional I do have other jobs in the arts that help float my curating. Ideally a curator works full time with a gallery, museum or institution and then they’re on salary. But while I work towards that I also work to manage an artists studio, consultant on art acquisitions and collections and odd jobs. Studio: What show changed how you think about curation? DD: My sophomoric show, Pressure Points, elevated my curatorial voice and changed my point of view on myself and my practice. I had great artists, great gallery and felt confident in my theme. My most recent exhibit, We Got Next, changed my actual practice the most of any show I’ve done. This is because of the amount non creative work that still fell under my responsibilities as curator. That show allowed me to grow and conquer new territory as a curator that will help my craft for any future opportunities. I also learned to delegate and the value of hiring a great team. Studio: What are your current or next projects we can look for? DD: Next up I have Art on the Vine (@artonthevinemv) a contemporary art fair in Martha’s Vineyard of artists from the African Disapora. It’s an annual event that I’ve worked on as a curator and sales member for the last two years. The team is amazing and the fair is the best work-vacation ever. Thank you Deirdre!

As we come to the end of Carol Antezana ‘s takeover, we asked her a few questions about her practice, how to break into Photography and what it takes! Check out the whole interview below!

Studio: Why did you decide to pursue photography? CA:As a child I always knew I wanted to pursue the arts as a career. I just didn’t know how I could make that happen until I took my first photography course in high school. I knew I had found my “calling” and with the support of my photography teacher I was able to decide on pursuing photography by going to art school. Studio: Are there any significant life experiences or texts that have inform the theories behind your work? CA:I would consider my work to be a direct response of life experiences I have personally gone through and/or someone close to me has experienced that affected me. For example, I am currently working on a body of work called Dyspnea that is a response to a death in my family. My uncle passed away from cancer last year and I had a big need to make work about it to mourn and to create my own form of memorial for him. Death has always been a big theme in my work. You can clearly see that in Requiem which is a series inspired by Post Mortem Photography itself and in Lamentation which is about the death of a child in utero. Studio: For the series, Requiem you quote the book Roland Barthes, and reference post mortem photography, are there any other cultural signifiers we can find in the work? CA: Since my work is inspired by my personal life you can see many cultural signifiers besides Post Mortem Photography that deal with my identity. I reference my indigenous ancestry, political views and religious beliefs. In Lamentation I reference Madonna and Child, the abortion debate and what it means to be a first-generation american of immigrant parents. Studio: What are five tips you have for artists that would like to be fine art photographers? CA: If you are going to pursue photography (or any art career) you have to be willing to work hard and put yourself out there because it’s not going to be easy. Stay inspired. Go to museums, write, draw, read, impromptu shooting etc. Be friends with other photographers/artists. Branch out. Don’t be afraid to step out of the photography world. Try new things. Don’t limit yourself because you don’t have the funds. There are resources out there and you can get creative by DIY. Studio: How are you making your living and maintaining your practice? CA: I am contract photographer that does newborn photography. I get to practice my skill everyday and genuinely makes me happy because I get to work with newborns. I also do freelance photography and looking into possibly opening my own studio/business in the future.

Our Next Artist Takeover is Carol Antezana!(@carol_antezana) We are excited to see her studio practice for the next 2 days! This is what you need to know. - Carol Antezana is a fine art photographer who was born and raised in Virginia but is of Bolivian descent. She works deeply with the themes of birth, death and loss. Her work Lamentation was part of her Senior Thesis Exhibition called NEXT at the Corcoran School of Arts and Design. STUDIO: Do you only think of yourself as a photographer or do you have multiple interests/descriptors in the art field? (i.e printmaker, curator) CA:I consider myself an artist who practices photography, painting, writing and curating. My main area of practice is photography but painting and writing is also a part of my process for creating work. I also think all photographers are naturally curators because we are constantly having to make decisions while editing in post production and putting together a body of work that fits both conceptually and visually. Thank you Carol! - Follow us @studio9788 on Instagram to see more of Carol Antezana! Image: “Fetus”, Digital 2016 For more on Carol, Follow her @carol_antezana and www.carolantezana.com Hey Photographers! Let’s Network! Tag your favorite photographers in the comments!

Are you looking for an interesting Art Career Read? Check out this Title, “Art/Work: Everything You Need To Know And Do As You Pursue Your Art Career” Amazon Summary: In this revised and updated edition, Bhandari and Melber show artists how to tackle a host of new challenges. How do you diversify income streams to sustain a healthy art practice? How can you find an alternative to the gallery system? How do you review a license agreement? What are digital marketing best practices? Also included are new quotes from over thirty arts professionals, updated commission legal templates, organizational tips, tax information, and advice for artists who don’t make objects. An important resource for gallerists, dealers, art consultants, artist-oriented organizations, and artists alike, Art/Work is the resource that all creative entrepreneurs in the art world turn to for advice. https://www.amazon.com/Art-Work-Revised-Updated-Everything/dp/1501146165#productDescription_secondary_view_div_1529964303876 #artworld #artreads #nowreading #amazonbooks #amazon #art #reading #learning #growthmindset #growth #artwork #arttheory #artwriter #bookstagram #books

#art #productdescription_secondary_view_div_1529964303876 #nowreading #artwork #artreads #books #growth #growthmindset #artworld #amazon #reading #learning #artwriter #bookstagram #amazonbooks #arttheory

There is a ton of controversy about exorbitant grad school prices! Well we got a resource for ya! Here is a list of fully funded and partially funded MFAs. https://themfayears.com/fully-funded-programs/

Looking for great interviews with poignant advice on being an artist? Our personal favorite is in the link below! https://www.theguardian.com/artanddesign/2015/nov/15/rachel-jones-interview-there-was-nothing-else-i-was-good-at

Today, we are in conversation with the arts writer Angela N. Carroll.

“Angela N. Carroll is an artist-archivist; a purveyor and investigator of art history and culture in Washington DC, Maryland and Virginia. Angela is a contributing contemporary visual art, performance and film criticism writer for BmoreArt Magazine, Arts.Black, Sugarcane Magazine, and Umber Magazine. She received her MFA in Digital Arts and New Media from the University of California at Santa Cruz and currently teaches within the Film and Moving Image program at Stevenson University in Baltimore Maryland.”

We ask her three questions about her practice and try to get a better understanding of her journey to Arts writer!

Studio: How did you become an arts writer?

ANC: Scholars like Kellie Jones, Manthia Diawara, Adam Pendleton and so many others had a profound influence on me and my practice as an art writer archivist. Baldwin’s essay The Devil Finds Work was also transformative. He critiques the devaluation of Black representation in American Cinema and the residual impacts of supremacist imagery on American culture. I often consider his work when i write about contemporary Black artists. The archive is an immortal griot. That which is archived becomes history. Whatever is left out is relegated to the margins of our cultural memories. The archive has great importance. I hope my art criticism contributes to the revision of art archives. Studio: What is your advice to anyone who would like to become an art writer?

ANC: Study art history. Study history. Read essays written by artists. Read essays/books about artists. Watch and attend artist lectures. Live in galleries, museums, pop up art spaces, community art venues. Read something thought-provoking everyday that has nothing to do with art. Don't be afraid to write about an artist that inspires you. We need more diversity in art coverage. Be willing to explore, study and review artists who have been omitted from art archives (women, people of color, LGBTQ and Others).

Studio: In what publications can we find your work?

ANC: BmoreArt Journal (print and online), Sugarcane Magazine, Umber Magazine, Arts.Black, DC Theatre Scene, As of Now, CUE Art Foundation Exhibition Catalog - Peter Williams: With So Little To Be Sure Of Curated by Larry Ossei-Mensah and on Angelancarroll.com, IG @Angela_n_carroll

Studio: Thank you Angela! This was amazing! I am excited for your next moves.

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