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Crusade Conversations


Collector Scoop: Jessi Bowman

Collector Scoop is a blog series of interviews and features on emerging and established art collectors. Today, we are happy to share a conversation with Jessi Bowman of Houston Center for Photography about how her collection got started.

Can you share your background with us and how you got into collecting art? Do you remember the first piece of art that you bought?

My grandma is a mixed media artist and my aunt is a poet, so my family has always been very involved in the arts. My love for photography started out very early. When I was a kid I was constantly taking pictures. I had this Barbie toy camera, then I upgraded to disposables, then to a 35mm and finally to a DSLR. I eventually got my degree in Art History from the University of Houston and minored in photography.

I don’t ever remember consciously starting to collect, nor do I remember the first work that I bought, but I’ve always been a bit of a pack rat. I guess I started with McDonald’s Happy Meal toys and refined my taste from there!

The only thing I really remember was the excitement of supporting my friends or my family. To this day my grandma’s work still covers my walls. I do however remember the first “big girl” piece I collected, Untamed by Lori Vrba from Catherine Couturier gallery here in Houston… I am still paying it off.    

Lori Vrba  ,  Untamed , from  The Moth Wing Diaries

Lori Vrba, Untamed, from The Moth Wing Diaries

How do you think that collecting contributes to the artistic community?

Being a patron of someone’s work is almost more important than being an artist yourself. It’s kind of a tricky thing for artists to acknowledge sometimes. Obviously if you have the drive to create art you should do it no matter what and I think it’s crucial not to think about whether or not your art will sell while you’re making it, but I think people really underestimate how important it is for someone to buy your work. You can go on and on about art being for art’s sake, and that’s true, but art is a conversation between the person making it and the person experiencing it. If an artist doesn’t get anything in return, how are they supposed to keep making more? I don’t set a goal for myself, but I like to buy as often as I can. I have a list of artists that I would like to collect from and I’m kind of trying to go down that right now.

Has your affiliation with the Houston Center for Photography lead you to discover new artists that you have (or have considered) collecting from?

Oh all the time! There are tons of people whose work I’ve wanted nothing more than to put on my walls. I have been lucky enough to collect from a couple of people this last year, one of whom (Kristin Diemer) I purchased after sitting in on a review of her work.  

Tita Bowman (Jessi Bowman's grandmother),  Untitled .

Tita Bowman (Jessi Bowman's grandmother), Untitled.

What are your favorite resources for discovering new artists?

Funny enough, Instagram is one of my favorites. We get a lot of submissions to HCP which has brought many artists to my attention, but nothing beats falling down the rabbit hole of Instagram. I have collected at least four works from people I have found on Instagram.

From personal collection of Jessi Bowman

From personal collection of Jessi Bowman

Do you have any advice for emerging or aspiring art collectors?

I know it’s a cliché, but it’s a cliché for a reason: collect what you like. Why spend the money on it if you aren’t going to hang it on your walls? Even if you’re buying for the monetary value, it’s hard to sell work to someone if you don’t like it yourself.

Also, don’t get discouraged and think you have to be rich to collect. There are so many talented artists in all different styles at all points in their careers whose work is affordable. I have never made much money. As an artist myself, I’ve worked out many trades and payment plans for my own work as well as for the purchase of other people’s. You don’t need as much money as you would think to collect.

Are you an emerging or established art collector and interested in being featured? Email Rachael at



Collector Scoop: Colony Little

Collector Scoop is a blog series of interviews and features on emerging and established art collectors. Today, we are happy to share a conversation with Colony Little of Culture Shock Art about how her collection got started.

Can you share your background with us and how you got into collecting art? Do you remember the first piece of art that you bought?

I created Culture Shock Art in 2010 as a passion project and a creative outlet from my career as an underwriter for an insurance company.  At the time I was drawn to street art I’d discover during my commute to downtown Los Angeles and I came across this incredible JR mural from his Wrinkles of the City series.  I had no idea who created the piece, so my quest to learn more about the artist/photographer led me to his TED Talk and I ended up writing about him on the blog.  JR’s career trajectory and the work he’s created to visually capture the stories of thousands of people around the world was fascinating to witness.  I ended up buying one of his early lithographs in 2011.  Since then I’ve collected art that is best described as eclectic.  My husband and I collect illustrations, graphic art, vinyl records (I love Blue Note covers), photography and low brow art. We have three pieces of art floating around here inspired by the show Arrested Development. I love them simply because they make me laugh!  

Image from personal collection of Colony Little (Left to Right) Graham Erwin,  I am a Monster!  2012 ; Ralph Ziman,  Mbara Bara , 2014

Image from personal collection of Colony Little
(Left to Right) Graham Erwin, I am a Monster! 2012 ; Ralph Ziman, Mbara Bara, 2014

How do you think that collecting contributes to the artistic community?

Patrons are the fuel that keep artistic communities running.  I’m inspired by creative collectives of artists, writers, designers, musicians and collectors that build synergies to support one another. During the past 5 years, L.A. has seen an artistic evolution taking place among creatives that drove the growth of the Arts District.  This in turn has resulted in a huge uptick in gallery openings there.  In my early years of writing and collecting I found the gallery system exclusive and limiting, but now those barriers to access are slowly disappearing as technology and media encourage galleries to create more open and (somewhat) democratic spaces for building communities.  Additionally, artist-run spaces are cultivating stronger bonds among artists, the community and future collectors. For example, I love what’s happening in Leimert Park--the Hammer Museum has partnered with artist Mark Bradford at Art + Practice and I’m also inspired by Michelle Papillion’s groundbreaking work at Papillion.   

Your career as an arts writer has allowed you the opportunity to discover many established and emerging artists. Has there been a situation where your career lead you to collecting art from a new artist or a similar experience?

When I worked in the insurance industry roughly 1/3 of the business my company produced came from high net worth individuals, and many of them were collectors of fine art.  This afforded me opportunities to interact with collectors, artists and galleries at fairs.  In the early years of Culture Shock Art I would use the blog to research and write about artists that I collected or wanted to collect.  Now that I’m writing exclusively, my wish list of art to collect has grown but my bank account hasn’t!  With that said, there is fantastic art that can be had at any price point. I’m amazed at the growth rate of art purchased on-line in the past few years.  Also, events like L.A.’s Incognito at the old Santa Monica Museum of Art (now known as the ICA and is moving downtown) are a good example of leveling the playing field between emerging and established collectors. 

Incognito was a fundraising event disguised as a fun artistic experiment--hundreds of works of art donated by emerging and well known artists were placed on display, each piece priced the same.  The catch was that the identity of the artist was hidden, so you could potentially walk away with an Ed Ruscha, John Baldessari or Catherine Opie if you were lucky.  At the end of the day there was no wrong choice because you were ideally basing your decision on instinct and love for the piece.  That’s how we came to own a work by Rena Small.  It is one of my favorite photographs because my husband chose it and he was not familiar with her work at all.  Years later we were at the Norton Simon museum and he came across one of her photos of Basquiatthat was part of her “Artists Hands” series in 1985.  Moments of serendipity lead us to beautiful discoveries!

Rena Small,  Untitled , 2012

Rena Small, Untitled, 2012

What are your favorite resources for discovering new artists?

Hands down Instagram! You can find me @cultureshockart

It has been an amazing platform to virtually interact with artists while getting a behind the scenes look into their lives and their process.  Many of the relationships I’ve cultivated through Instagram have turned into friendships and great collaborations.  Years later I'm still obsessed with Instagram because it is a convergence of all the things I love (art, coffee, handbags, records, photography and dogs). To satisfy my wanderlust, I’ll follow someone like photographer Rick Poon and for creative inspiration I love fashion designers like Duro Olowu and Reuben Reul.  Kim Drew @museummammy curates amazing work by black artists on her blog Black Contemporary Art.  My queen of kawai is Hana Kim @supahcute who introduced me to some amazing work by Martin Hsu (@martinhsuart) and for a shot of pure colorful joy, I love the photography of Kimberly Genevieve (@kimgenevieve).  Another great resource for collectors is One Art Nation.  They have a very informative video series on topics ranging from the art market to protecting your collection.  

Yoichi Kawamura,  Untitled , 2012

Yoichi Kawamura, Untitled, 2012

Do you have any advice for emerging or aspiring art collectors?

Collectors are largely driven by status, investment or love for the art.  Always stick with love and your instincts! One of the goals of my blog is to make art accessible for my readers because many close friends and family struggle with contemporary art and feel that it is intimidating.  It doesn’t have to be this way.  Whether I’m in a museum, gallery, art fair or a studio I don’t try to make sense of everything I see.  I simply trust my gut and ask questions.  What are you drawn to?  What does the piece remind you of?  Does the work make you happy, sad, angry, confused? Allow yourself to go with those simple questions and keep asking why.  If I find myself thinking about a piece days after I’ve seen it, I know I am onto an artist or work that I want to learn about and explore more deeply.   

Learn more about Colony Little and Culture Shock Art
Are you an emerging or established art collector and interested in being featured? Email Rachael at



Behold: Ruben Natal-San Miguel

In collaboration with Slate's photo blog, Behold, we are extending the conversation with some of their featured photographers and curators.

Ruben Natal-San Miguel might be one of the hardest working people out there. The trained architect turned to photography after the September 11 attacks in New York City. “The world became more of the moment,” Natal-San Miguel said to Slate in a 2013 story. “Photography became a passion to collect as an art media and for me (a medium) to communicate all the activities, the costumes and traditions of everyday life.” Using mostly a bicycle to get around his beloved New York City, Natal-San Miguel’s photographs of the people he encounters are intimate, sometimes alluring, other times provocative, and always overflowing with emotion. He has also curated a number of shots including the current one on view at Station Independent Projects in New York titled “WE:AMEricans” that asks (and answers) the question: what does it mean to be an American? We caught up with Natal-San Miguel before he left for Boston and the Griffin Museum; he has work included in The Peter Urban Legacy Exhibition.

You will find some extra Q&A below and can read the original Slate interview here.

Ruben Natal-San Miguel,  AMEricano (selfie) , 2013, Rockaway, Queens. Image Source:  Slate

Ruben Natal-San Miguel, AMEricano (selfie), 2013, Rockaway, Queens. Image Source: Slate

You work as both a photographer and a curator. Talk a bit about wearing both hats.
It can be quite challenging. The amount of time that you spend curating takes away from working on your personal work, which, it is sort of taking off. It is a tough act to balance but, there is a great learning curve that can be applied to your own personal work while curating.

I am fortunate enough that every single curated show I have been the creative director of so, it gives me the freedom to create the concept theme, select the works, and create installations with it .
What do you feel are some of the major changes in the art world these days?
I think that artists need to be very careful in selecting from the opportunities listed out there. There are a ton of competitions, call for entries etc, etc out there now (which it is a positive thing) but, most of then have turn into fundraising events for institutions which are considered non-profit. Yet, the artists are subjected to spending tons of money just enter and and participate with no guarantees. I only charged $25.00 per five entry photos, kept the exhibition's print size small (so printing and framing will be affordable and more accessible) and even referred a very affordable master printer to keep costs down for artists. To print, frame and ship a print with return label (besides entry andorganization membership fees) can be extremely expensive for most artists. Something needs to be done about it.

The art dealers and galleries are at times more conservative and afraid to take chances on new work, so when I curate exhibitions, I try to bring and combine selected new work with more established big names. In doing this, the dialogue between both has a great learning curve and more impact. It also inspires and motivates newer talent to do their best to have great image quality on the wall. The established artists benefit also because they tend to resonate well with the press, fan following/audience, reviews and any type of show coverage. It is a Win -Win.
How would you like to change things in the art world?

It is very important to give a voice to new talent.
                                     Hope Will Never Be Silent.
                                                            -Harvey Milk
You are a prolific photographer. How has your work evolved over the years and where do you want to take it?
After more than a decade photographing the five Boroughs of NYC non-stop, I am approaching communities in nearby states to see how they mirror each other in terms of gentrification, street life, and sense of community.

The good news is that my work is reaching and getting museum attention. I am currently on display at the Alice Austen Museum on their First Triennial of Photography , The Griffin Museum of Photography, The African American Museum of Philadelphia ( 10/1/16-1/30/17)  and the Boston Museum of Fine Arts. I also just recently just taught a photo seminar based on the Rashaad Newsome exhibition at the Studio Museum of Harlem where the work was shot live and displayed.



While You Were Out: Keeping up with .LDOC

It's been an exciting summer so far for Crusade for Art with the unveiling of our newest Engagement Grant recipient and the recent success of former winners. We decided to check in with 2015 Crusade Engagement winners Danielle and Joseph Wilcox to get caught up with the current happenings of their program LDOC.

LDOC boc, Chicago, IL. Image Source:  LDOC Blog

LDOC boc, Chicago, IL. Image Source: LDOC Blog

Since its inception and winning of last year's Crusade for Art Engagement Grant, LDOC has received a variety of recognition in various forms, as well as flourished as a platform for artists and writers to publish work for an audience outside of their typical circles. We have printed and distributed ten issues featuring twenty different individuals who have also received opportunities as a result of LDOC, including representation contacts, additional features of their work, and collaboration opportunities. In addition to our print version of LDOC, we publish each issue on the Issuu website which has already received hundreds of views.
Image Source:  LDOC Facebook Page

Image Source: LDOC Facebook Page

Our main goal when starting LDOC was to get photography and writing into the hands of Chicagoans who might not typically encounter either on their daily commute. This we have overwhelmingly accomplished. With the help of our LDOC newspaper boxes, and the volunteership of our photographers and writers through person-to-person distribution, LDOC has made its way into new homes and unexpected hands.
It has been a rewarding experience seeing the excited faces of commuters who have become regular readers of LDOC and hearing stories of success from our contributors. We look forward to the continued collaboration with artists and the evolution of LDOC as a publication and organization, and we are grateful to Crusade for Art for their financial support and confidence in the project.

- Joseph and Danielle Wilcox

Learn more about LDOC at their website
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Collector Scoop: Joshua Farr

Collector Scoop is a series of interviews and features on emerging and established art collectors. Today, we had a conversation with Vermont Center for Photography gallery director Joshua Farr about how he got into collecting art.

Can you share your background with us and how you got into collecting art? Do you remember the first piece of art that you bought?

I feel almost as though I've sort of stumbled into collecting photographs. You could say it's a side-effect of my job!

Backing up a little bit... I attended the NH Institute of Art for my BFA in Photography, graduating in 2011. My time there certainly helped build a foundation of understanding of both the technical aspects of photography as well as my exposure to many historic and contemporary artists. Since 2011, I have been working as the Gallery Director at the Vermont Center for Photography in Brattleboro, VT. The last 5 years of working at VCP has really exposed me to a whole new world of arts management and curatorial endeavors. The process of jurying exhibitions and seeking new work for our gallery walls each month inevitably exposes me to a diverse array of work.

I can't recall which was the first piece I actually bought, but perhaps the one piece which most inspired me to start actively collecting work is a large portrait given to me by photographer Siri Kaur of a young female wrestler titled "Kristie". (*Photo attached*) This piece holds both a stunning glow of color, creating such a technically beautiful print, as well as a beautiful capture of her subject. The combination of the color, the subjects stark expression, and the simplicity of composition triggered an emotional response in me.


Siri Kaur ,  Kristie , 2007

Siri Kaur, Kristie, 2007

How do you think that collecting contributes to the artistic community?

Collecting artwork seems to me to be a win-win scenario on many levels. When an individual walks into a gallery and decides to purchase a piece they want to take home with them, they are not only supporting the artist financially, they are also supporting the gallery or institution that is hosting the exhibition (which, one would hope, would then support said gallery's ongoing efforts of sharing additional fine works in the future) - and of course, the buyer is also benefiting via a beautiful new piece to add to their home or place of business.

I happen to live in a town with boundless enthusiasm for the arts - which is crucial - but I often see artists struggle because I feel like there is not enough of a buyer-population. I often find myself grappling with the general principles of how many artists price their work simply because I see the time, energy, materials and thought put into the creation of ones work, which can give merit to some of the prices you see work listed at today - however, I feel like it is important for artwork to be accessible by individuals of all financial abilities and for the arts market to not become an elitist or exclusive community.

Do you feel that the notion of collecting art can be intimidating or inaccessible to the general public? If so, how do you think that barrier can be lowered?

As I mentioned in my previous response, I do feel like collecting artwork frequently comes across as intimidating or inaccessible to the general public! Particularly for younger individuals who many not have the means to walk into a gallery and buy a piece off the wall. I'm not sure I have any immediate suggestions or thoughts as to how to actively seek to lower that barrier, but I will say that the majority of folks I have chatted with or spent time with who consider themselves to be collectors have simply decided to make collecting a priority for themselves. I feel like many things as far as our day to day lifestyle and financial abilities come down to priorities. Would you rather purchase a $5 latte every morning for a year, or that that nearly $2000/yr and invest it in artwork? With that said, I do realize that no matter what your priorities are, there are still going to be financial limitations for some of us, myself included. I feel like this is where creative trade & bartering skills can come into play! I've done numerous print swaps with professors, friends, and other artists whose work I admire and I feel like this can be a very non-intimidating approach to getting the ball rolling. You don't (and shouldn't) need to be wealthy to be a collector.

What are your favorite resources for discovering new artists?

I would have to say that one of my largest sources of exposure to new artists has been the juried exhibitions we have hosted at the Vermont Center for Photography. Often times, these calls for entry bring together hundreds of photographers from around the globe, each submitting a sampling of their work for consideration for the exhibit - and even if their work is not selected overall for the show, I do keep a running list of photographers whose work I've come across who I would like to follow up with at some point in the future or at least make mental note to keep tabs on their work. I have been known to find myself tumbling through artists websites after seeing a sampling of their work as a submission for a juried show and wanting to see more. Invariably, their sites have links to other friends sites, and I very quickly get sucked deep into the corners of the world-wide web!

In addition to juried shows, there's always social media (Facebook & Instagram primarily). We are living in an increasingly digital era and it's nearly impossible for me to scroll 3'' through my Facebook or Instagram feed without stumbling upon either a new artist who I wasn't previously familiar with, or new work by someone whom I was already familiar with.

Joshua Farr's home  - image provided by Joshua Farr

Joshua Farr's home - image provided by Joshua Farr

Do you have any advice for emerging or aspiring art collectors?

I would simply encourage any aspiring collectors to collect what they love. Collect work that moves you emotionally. I can't always explain what it is about every single piece that I own that keeps me coming back to it, but I know that every single piece that I own has triggered some level of raw emotional response from me. Personally, I never acquire or hold onto work because of it's monetary value (or potential future value) - doing so would feel too removed for me - removed from the beauty of the image as simply image - or idea, rather than as an object or possession.

Learn more about Joshua Farr and the Vermont Center for Photography.

Are you an emerging or established art collector and interested in being featured? Email Rachael at




Zines - A Culture of Affordable Sharing and Collecting

A zine (abbreviation of magazine or fanzine) is a small circulation publication, often self-published and reproduced via photocopier. They are becoming more and more popular in photography and are a very Crusader-ly way to share work (meaning they are accessible and affordable). The FOCAL POINT Q1.16 photographers (Rachael Banks, Nathan Pearce, Jordan Swartz) are all involved in the zine scene, and so we had a chat about it.


Can you give us a little background/history of zine culture - how and why zines became a popular way to share content and where you think the trend is heading?

Jordan: From personal experience/ knowledge/ research, zines first gained traction in punk culture. While existing previously in art and literary circles, punk culture brought it into a larger mass production and allowed for people to spread/ share ideas. Production was cheap (often being able to be stolen) and easy to give to others. Photography and related arts saw a resurgence in zines in the early 2000's again for the reasons of cheap production and ease of sharing. While book publishers often require large sums of money to print with, as well as larger bodies of work requiring more time and ultimately again more money, zines allow artists to get smaller amounts of information into the world and circumvent the antiquated methods of big name publishers. 

Where the culture is heading is interesting because a sort of beautiful part of zines are that the makers/ publishers/ printers are often impermanent, and the ones that do stick around usually move on to larger production trends of hardcover books and larger projects. In turn, this leads to a continuing batch of new blood and ideas and content. 


Do you create different work for zine projects than you put out into the world as your ongoing fine art projects? And/or do you use the zine as a way to “test” new images?

Nathan: Sometimes a zine can be a sort of sketchbook for me. Perhaps for a project I am unsure of or a project I really like but am unsure of the final direction that it will go in. I can then experiment with an edit and see how it goes.

two of Nathan Pearce's images in his section of the split zine with Rachael Banks

two of Nathan Pearce's images in his section of the split zine with Rachael Banks

For instance, the work I used for my split zine with Rachael (All Night Long volume 10) was from a project that wasn't complete. I had the general idea and had made a lot of work for it including rephotographing some family photos, but I couldn't make it feel like a complete project. I had no desire to show it online or exhibit it, but I experimented with an edit and made a split zine. I'm not sure it would have been interesting anywhere else, but I think it was in an appropriate place as half of a split zine. It also helped that the project was about family and place, and that went well with Rachael's work.

In projects that are more fully formed and well defined, I may use work that didn't quite make the final edit but I still like alongside pictures that are more central to the project. In this way a zine can still be unique even if I am going to use the work and re-edit it for a book later. For me, zines are the perfect place to experiment. 

Rachael: I've never considered making work strictly just for zines. Usually what ends up happening is that I have a smaller selection of images or stand alone images that I am excited about but they don't necessarily fit in with the rest of my work. For my ongoing series Between Home and Here, I always end up having a lot of images that I consider outtakes. It's not that they are bad images but they might not fit in with my larger series of work in terms of theme or they look too repetitive next to an image that fits the series better.

I definitely also utilize zines as a way to put my work out in the world and see how people react to images, without going completely broke. In the past, it hasn't been uncommon for me to use images from a series in both a fine art and DIY zine context. It's really important to me that my art is accessible and affordable for everyone. I don't think my work only has to or needs to function in a "higher" fine art community. The work I make is about family and home. We all have a family and/or home in some way, so I don't see why my work can't be available to anyone.

Jordan: Zines are and have long been a part of my working process, because I don't make work in the traditional body sense. I'm just always photographing, and if the photos work together, then they go together. Zines allow me to be democratic about my editorial process and have old and new images share space and be given equal opportunity. Text is also a large part of my work and works great in the pages of a zine. 


How large is the zine market?

Rachael: The zine market is huge! I have no idea how many are possibly being made, but I see them everywhere, and I think even more zines are being put out than before now that self-publishing is a rising trend among artists . Around September of 2015, I attended the Dallas Zine Party (Founder: Randy Guthmiller) and experienced it as a really great opportunity to meet new artists from and around the Dallas (but also Houston and maybe Austin) area. This was a really valuable experience for me, because in my time living in Texas, I found that when I'm not teaching or making my own work in a different state that my knowledge of Dallas artists is a little more limited than I would like for it to be. The zine party was a great resource for me in terms of expanding my knowledge and appreciation for local artists.

Jordan: I have no idea how many zines are produced every year, but I'd say in the millions. It's a huge part of our culture now and has also very much spread to mainstream, where fashion magazines will now include smaller editorials in a stand-alone zine that's placed inside the magazine.

Nathan: There are thousand of zine makers out there, and lots of zine fests are popping up. The crowd of photo zine makers (and buyers, sellers, etc.) is much smaller. I have attended several zine fests in the last few years, and it's pretty common for there to only be 2-3 people selling photo zines out of the hundreds of other zines. They are gaining traction though.

I think a lot of people who aren't initially familiar with more traditional zine culture come to be interested in making and consuming photo zines through their interest in photobooks. Because of that, I think there are more photo zines at art and photobook fairs and photobook stores than places that specialize in zines. There are exceptions though like the 8-ball zine fair where you are likely to find lots of photo stuff. Despite photo zines being just a small fraction of both zine and photobook scenes, I find both of those crowds to be full of very positive people so the reception for photo zine releases is usually great.

Selection of zines published by Empty Stretch, the imprint co-founded by Jordan Swartz

Selection of zines published by Empty Stretch, the imprint co-founded by Jordan Swartz

Through those crowds I have found a lot of people who buy zines we put out through Same Coin Press. Some are photographers but many more aren't. I think the fact that they are affordable plays a big part in their popularity. Not only because it’s a very small financial commitment to pick one up, but also because people don't feel precious about them after buying them. I'm sure lots of folks collect them and place them next to their signed first edition photobooks, but there seems to be an equal amount who buy them and leave them on the back of their toilet in their crappy apartment. I'm sure there are lots of people who fall in between those two as well. For some people I really think it's some of the first art they have purchased.  Folks that either aren't able to buy a print for hundreds of dollars or those who can afford it but haven't yet made that commitment can own the work of a photographer they love for $10 or less. What they are getting is something really cool, and because it is likely made in a very small print run it's instantly collectible. It's like gateway art collecting I suppose. People are building low-rent photography collections. I know I am. 

How do people get their zines out there?

Jordan: I think a lot of getting your zine out there is sort of knowing where you see yourself. The first thing I say to people when they ask where their zine should go is, “Where do you get your zines from? How do you find out about new work?” Depending on how many you have made or the preciousness of your own zine, sell them at record stores, leave them on the bus, send them to photographers or other artists whose work you enjoy. I used to slip my zines inside photobooks or novels that I was a fan of so someone who also enjoys that work may find mine. 

Rachael:  In terms of how zines get out in the world, people do a wide mix of things. Personally, I get my own zines distributed through self-promotion and social media. I will also sometimes send free zines to editors/artists/friends who I specifically want to see my work. When I was first introduced to zines, it was when I was a teenager at punk shows and at independent book stores/community centers. 



FOCAL POINT Q3.14 Interview: Charlotte Strode

FOCAL POINT surveys the landscape of emerging photographers and selects three talented, driven, and noteworthy artists to highlight each quarter.  Each FOCAL POINT photographer receives mentoring from Crusade for Art to think about their work, their target audience, and how to best engage them.  In this interview series, every FOCAL POINT photographer gets asked the same three questions, and their answers become a jumping off point for the mentorship.

Describe the arc of your photography career so far. (How you got to where you are now, pivotal experiences/accomplishments/ influences, etc.)

My photography career has slowly progressed through a series of small unintentional life experiences and intentional small steps. I have been exposed to photography for as long as I can remember, but didn't pursue photography until my mid-20's. My father was a two-time Pulitzer Prize winning photographer and worked in the field throughout his life; my mother also worked as a photographer, living in New York as a young woman to assist Ernst Haas and later working as a newspaper photographer (my parents actually met at a photojournalism workshop my father was teaching at the University of Missouri). 

I grew up completely surrounded. Some of my earliest memories were in my dad's darkroom - I can close my eyes and almost smell the processing chemicals as I helped him change the filters or dodge and burn his prints. I wasn't really interested in learning but I learned by osmosis, whether cataloging slide film to earn some spending money or listening to my parents explain why a certain scene in everyday life was photographically brilliant. At Christmas when I was 22, my father gave me his old Nikon F's that he used in Vietnam - he was dying of cancer at the time and it was such a weighted gift, like he was passing me something of himself that he knew I would cherish. That's when I started shooting.  

After college, I contacted a photojournalism professor who I had met during my last semester of school - he recognized my last name and told me that my dad had been his lifelong mentor. The connection was serendipitous, and he felt an opportunity to pass along what he had learned. I'm grateful that he gave me the gift of spending Sundays together to help me learn photography. Also, during this time I worked at an advertising agency and was lucky to be surrounded by creative and generous friends who fielded my endless curiosity and believed in my talent. It was at this point that I knew photography was really something for me. It excited me and connected me to things that I believe in, giving me grounding in ways that nothing else did.  

In my mid-20's I moved to NYC to assist fashion photographers which really clarified what role I wanted photography to play in my life. For me, it needs to be something that's pure, honest, and uncluttered by a pressure to make money. Since then, I shoot what inspires me, interests me, challenges me. I participated in a Flash Powder Retreat which greatly clarified my work, path, and goals moving forward, as well as connected me with friends who I continue to learn from.

If you were exactly where you wanted to be in your fine art photography career, what would that look like?

I'm honestly just so humbled to be where I am and want to keep making work that connects with people. The fine-art world is one piece of my larger life, and the most important thing for me is that it continues to foster my growth and offers me the chance to get my work out to a larger audience. Recently, photo essays of my work in the south were published in Oxford American and The Bitter Southerner, and I got hundreds of comments and emails from people telling me how much my work meant to them, or how it inspired them to call home or plan a visit. That's really the greatest gift I could ask for... for my work to connect with people in some way. 

In an ideal world, getting a gallery show of a cohesive body of work would be the greatest accomplishment. I think about how incredible it would be to know that one my photographs is hanging in someone's home, who will look at it and always feel something. I do feel like I'm finally in a more focused place, and I hope to channel this and continue to grow my work in a way that will someday lead me here.

What are your goals for 2014?

To keep moving forward, to work on it every day. I would like to be able to find a balance between my photography, my day-job, and all the demands of living in NYC. I need to somehow carve out more space to explore, grow, create, and be inspired. That's my current struggle.  

Smaller goals are to become skilled at color printing so that I can enjoy the "object making" aspect of photography. I would like to apply for more portfolio reviews.  And I would like to continue to foster the relationships I've made in the photographic community, and to make new relationships with people who's work I admire. I've learned that these relationships are paramount.



Crusade Conversations: Phil Toledano (October 10, 2012)

Phil Toledano


I was born in 1968 in London, to a French Moroccan mother and an American father.

I have a BA in English literature. My art education came from my father, who was a full time artist.

It would be fair to say that I learned by osmosis.

I consider myself a conceptual artist: Everything starts with an idea, and the idea determines the execution.

Consequently, my work varies in medium, from photography to installation, sculpture and painting. The themes of my work are primarily socio-political, although lately I’ve strayed into the deeply personal.

Crusade Conversations is an interview series and resource for artists, curators, collectors and people who care about the beautiful things in their world. 



Crusade Conversations: Aline Smithson (July 18, 2012)

Aline Smithson

After a career as a New York Fashion Editor and working along side the greats of fashion photography, Aline Smithson discovered the family Rolleiflex and never looked back. Now represented by galleries in the U.S. and Europe and published throughout the world, Aline continues to create her award-winning photography with humor, compassion, and a 50-year-old camera.

She has exhibited widely including solo shows at the Griffin Museum of Photography, the Center of Fine Art Photography, the Fort Collins Museum of Contemporary Art, the Lishui Festival in China, the Tagomago Gallery in Barcelona and Paris, and the Wallspace Gallery in Seattle and Santa Barbara. In addition, her work is held in a number of museum collections. Her photographs have been featured in publications including PDN (cover), the PDN Photo Annual, Communication Arts Photo Annual, Eyemazing, Soura, Visura, Fraction, Artworks, Lenswork Extended, Shots, Pozytyw, and Silvershotz magazines.

In 2012, Aline received the Rising Star Award through the Griffin Museum of Photography for her contributions to the photographic community. She also was awarded Honorable Mention for Excellence in Teaching through CENTER for 2012. Aline founded and writes the blogzine, Lenscratch, that celebrates a different contemporary photographer each day and offers opportunity for exhibition. She has been the Gallery Editor for Light Leaks Magazine, is a contributing writer forDiffusion, Too Much Chocolate, Lucida, and F Stop Magazines, has written book reviews for photoeye, and has provided the forwards for artist’s books by Tom Chambers, Flash Forward 12, Robert Rutoed, amongst others.

Aline has curated and juried exhibitions for a number of galleries, organizations, and on-line magazines. She was an overall juror in 2012 for Review Santa Fe, a juror for Critical Mass from 2009-2013, and a reviewer at many photo festivals across the United States. Though she was nominated for The Excellence in Photographic Teaching Award from 2008- 2012 and was nominated for The Santa Fe Prize in Photography in 2009 by Center, she considers her children her greatest achievement. Aline is also a founding member of the Six Shooters collective.

Crusade Conversations is an interview series and resource for artists, curators, collectors and people who care about the beautiful things in their world. 



Around the Block with Brian Ulrich

A question that fascinates me is this - What is it about a photograph (or any piece of art, really) that makes it stick with you?  For any given artist, collector, or art lover, what qualities take an image to that next level for you? On the tour we started asking people who have a reputation in the photography field this question and recording their answers - sometimes while they were driving Lady Blue around the block.  Fred Bidwell was our guinea pig, and he rocked it (because he's just like that).

When I was in Richmond in June, I had an awesome studio visit with Brian Ulrich.  His brain is just on fire.  He agreed to drive Lady Blue around the block, and was even gracious enough to do it twice when I thought the audio may not have recorded on the first go-round.  

In this series we ask noted photographers, collectors, writers and curators this question: "What are the qualities that make an image really stick with you?" And we ask while they are driving Lady Blue around the block. (Or if the drive is not an option, we have an adorable miniature to be involved in her place.)

This "Around the Block" features photographer Brian Ulrich. Brian Ulrich was born 1971 in Northport, NY. His photographs portraying contemporary consumer culture reside in major museum collections such as the Art Institute of Chicago, the Cleveland Museum of Art, the Museum of Fine Arts Houston, the Museum of Contemporary Art San Diego, and the Museum of Contemporary Photography. Ulrich earned his MFA in photography at Columbia College Chicago and a BFA in photography at the University of Akron. He is an Assistant Professor at Virginia Commonwealth University in the Photography and Film department.



Around the Block with Fred Bidwell

One of the highlights of the Cleveland stop - probably of the entire tour - was the morning spent with Fred Bidwell at Transformer Station.  Fred and his wife Laura (who regrettably I did not meet but hope to in the very near future) are contemporary photography collectors who have taken their love of photography, philanthropy, and their community to a whole new level. In February, Transformer Station - the renovated transformer substation in the Ohio City section of Cleveland, created to house and exhibit the Bidwells collection as well as exhibits by the Cleveland Museum of Art - opened to the public.  The Bidwells created Transformer Station as a public-private venture to work closely with the Museum to "serve as a laboratory, think tank and place for the Museum to uncover new opportunities, take risks and explore new ideas and new media."  Love, love.  LOVE!  The whole facility will be turned over to the museum in time, along with half of the collection (the other half to go to the Akron Museum of Art).

It was an honor to meet Fred in Cleveland and get a tour of the Todd Hido exhibition, Excerpts from Silver Meadows.  The work was completed, in part, thanks to the patronage of the Bidwells, and to be able to see the photographs executed and displayed entirely as the artist envisioned them was a real treat.  They are hung salon style and often erratically - chronological but only in as much as this conceptual body of work has a timeline.  There is a giant, luscious book that accompanies the show (published by Nazreali Press), that is well worth the shelf space.  Another fascinating highlight was seeing the room they had Todd curate from the Bidwells collection.

Fred was lovely enough to let me pepper him with questions - Why did they start collecting? (when they got married, to have things on their walls, and took off from there) What type of work does he collect? (contemporary photography, mostly emerging and mid-career, mostly color) What excites him the most? (helping artists create work, among other things).  He is a lovely person and an inspirational, force of nature.

And a sport.  Because he agreed to be the guinea pig for our new "Around the Block" video series, where we ask noted photographers, collectors, writers and curators this question: "What are the qualities that make an image really stick with you?"  And we ask while they are driving Lady Blue around the block.  Here's Fred, deftly driving and answering at the same time:

In this series we ask noted photographers, collectors, writers and curators this question: "What are the qualities that make an image really stick with you?" And we ask while they are driving Lady Blue around the block. (Or if the drive is not an option, we have an adorable miniature to be involved in her place.)