In June we launched an art CSA, which sold out in just two days. Six photographers were commissioned to make an image in an edition of 50, and we sold 50 shares for $350 each. Shareholders receive an original, signed and numbered photograph from each of the six commissioned photographers. A few weeks ago we shipped the first two photographs to shareholders.
The photograph above, Reliquary by Heather Evans Smith, was in the first shipment. We asked Heather to give her thoughts about being involved with the CSA and to explain her piece in the interview below.
1. Had you heard of an art CSA before? What were your impressions of the idea?
I had never heard of a CSA in an art context. I was immediately drawn to the idea as an artist and beginning collector. I often come in contact with people who are interested in collecting but don't have the finances or know where to begin finding the right art for them. The Crusade for Art CSA is a wonderful way to affordably start a collection and introduce oneself to six very different photographers.
2. What about the program made you interested in being one of the participating artists?
I am honored to be included in the same program with the other five photographers. The idea of having 50 new collectors of my work is appealing. I also want to, if even in a small way, help introduce a new generation to collecting.
3. How has your experience been so far, and what else do you hope will come as a result of participating?
So far the response has been positive. My hope is that more collectors will become familiar with my work and that the CSA shareholders will continue collecting as a result of the program.
4. Please tell us about the piece you created and how it fits within your larger body of work?
My CSA image, Reliquary, depicts religious type acts we perform with our children. Whether it be collecting those first locks of hair, teeth, or scribbles, they are treated as archival relics, symbols of a time that is all too fleeting. This image is part of my series Seen Not Heard.
Seen Not Heard takes its title from the Old English adage “To Be Seen and Not Heard”, a term often used in reference to the desired behavior of children. These images are silent, but they create a voluble visual narrative on the relationship between parent and child. They explore cycles that are passed down through generations and the tension between tradition and forging a newer, and perhaps stronger, path. As strong as the bond between mother and daughter is, there also exists a distance inherent between two different individuals.