This curiosity for a mélange of things is what fuels the photography he does. Even though he started taking pictures at 21-years-old, Seb has made a name for himself in London, Cambridge, and Bristol. This internationally published photographer continues to prove that it is never too late to start something new. Seb can attest to this. In his words, “None of us should peak at our 20s.”

All art takes time, and it’s about time for Seb Peters to take his place in front of the camera.

When I was the one who was supposed to create a safe space of openness and comfortability, Z took on the role for me instead—and she did so unknowingly. It’s just the way she is, and maybe that reflects her role as creator and educator, as she creates a space where the personal and social can intersect in a beautiful recognition of past trauma and the current reality. But, she lent me insight as to how one can live a life as a Black queer woman, amidst all this chaos and trauma, in an unapolagetic and truly honest way.

In the beginning, God created. In the present, Carter Moore creates—an act of emulating the Divine. The Colorado-raised photographer, writer, and marketing strategist based in Portland uses his art to bring light into the world and to initiate cultural renewal. This creative has a plethora of skills to bring to the table as a multidisciplinary artist, but what makes Carter’s presence refreshing is his ability to make words and images introspectively via careful self-examination.

The Black American narrative that Tanner had artistically brought to the public eye was being buried. That’s truly the importance of Black-owned galleries and art dealers: their expertise and inclusion lead us to the discovery and awareness of Black artists. They all capture and display the ongoing Black American narrative with their own personal context and style, giving the audience authentic representation.

As we’ve been spending more time indoors, being able to enjoy a sculpture garden sounds too good to be true. Yet, on February 16th, Sculpture Milwaukee announced that artists Theaster Gates and Michelle Grabnar would be co-curating this year’s outdoor exhibit. Since 2017, Sculpture Milwaukee has been reimagining West Wisconsin Ave. in downtown Milwaukee with sculpture exhibits focused on making culturally important artworks more accessible to the public.

In the beginning, God created. In the present, Carter Moore creates—an act of emulating the Divine. The Colorado-raised photographer, writer, and marketing strategist based in Portland uses his art to bring light into the world and to initiate cultural renewal. This creative has a plethora of skills to bring to the table as a multidisciplinary artist, but what makes Carter’s presence refreshing is his ability to make words and images introspectively via careful self-examination.

Somewhere between Wisconsin and Berlin, Odelia Toder and I found ourselves talking about the different places around the globe where we left traces of who we are. Although our immigrant backgrounds are different, as diasporic artists, we sought solace in our shared experience of struggling with the different facets of our psyche.

Art can be likened to an encounter with the Divine. In both forms, there is a confession of one’s true self and a creative expression of love for the Other. It is spiritual on all levels. This is especially true for Illinois-based artist, photographer, and writer Chelsea Ballinger, who was raised by her mother, an ordained pastor.

A conversation with Leuchtner gives the impression that she doesn’t dwell on things, a surprising twist, since artists do tend to be dwellers, don’t they? They dwell on the past, on death, on love. Feeling for its own sake falls by the wayside, and Leuchtner seems to have picked it up.

Adrian Octavius Walker is an American mixed-media artist currently working and living in Chicago, Illinois, from St. Louis, Missouri. His work is inspired by the Black body and the dynamics of the Black family—the story of us. The Black Gaze is brought forward. As we understand its strength, we allow ourselves to roll around in it, simmer in its intensity, and discover the joy of its inherent beauty.

A lot of my friends that are designers don’t get the exposure they deserve. As a creative, you don’t think about [writing] things, [but] people need to know your story. For me, my love for fashion was an evolution. It was always either songwriting or culinary arts, figuring out a way to design pieces that are timeless, but which you can use forever.

Walk in your space, take it up unapologetically, for it’s the path you’re supposed to travel down, to exist within and create something anew. That’s the energy Momodou N’jie, or “Mo” for short, builds for himself as an entrepreneur who shifts from experiential marketing to team building. Coming from African roots and a Minneapolis city upbringing, Mo navigates across boundaries and into a diverse set of spaces to build relationships with people and create momentous experiences.

This ambiguity is what makes photographer Juliet Cangelosi’s snapshot of a blank billboard during a trip to L.A so much more. She took the shot because she felt the scene of an empty white billboard in the colorful City of Angels was significant. In a place where dreams are made and stars are born, an emptiness remains.

It seems inevitable that Isamar Medina’s fascination with small things would become something bigger; what’s surprising is the pace at which it’s happened. The 26-year-old artist’s Slaps Show—a group show focused on selling affordable sticker art by artists from across the country—is approaching its third iteration in just over a year, and Medina says the amount of interest in the show from both artists and attendees has been shocking. For the June 2019 Slaps Show, Medina said people were lining up three hours before opening in the hopes of getting an original piece. It was quite a surprise for Medina, who started the show as a way to make visual art accessible and affordable to those who may feel shut out.

It’s been up and down. It was a huge part of my life, and I absolutely fell in love with it when I was 14. I was always shooting and editing. I think of it like a relationship you would have with a friend or a lover. There are times with photography where I’m absolutely obsessed with it, and I just want to shoot and create. There are other times I don’t pick up my camera for months, but I don’t really think too much of it. I don’t like forcing myself to be obsessed with it, because I think that it creates some disconnect with my work.

The water is boundless, an entity they find themselves wanting to get lost in. It’s a game of trust, one where they pray the aqua pura catches them before they succumb to dilapidated depths and glide over a classic element of creation. Life began here in the dominant form of earth. The waves exist as creator, preserver, and destroyer—it’s the unpredictable nature of its power that entices them as they dive in deeper, letting the current sweep them away.

Mirrors have always been a tool of magic for seeing into the future and getting a glimpse into fate. We see reflections as a vehicle for story telling from figures in Greek mythology like Narcissus to contemporary media such as Snow White. My work comes out of a need to photograph and a need to make.

Objects represented in miniature are fairly common—dollhouses, toys, and even art showcase narratives depicted on a small scale. Miniatures are an incredibly tactile art form and beg to be picked up and fiddled with. The miniature scenes created by Tammie Knight ignite that sense of excitement to explore while inviting one to place themselves inside the space. You can see yourself relaxing on the red velvet couch with a good book and sipping tea in “A Peek in the Victorian Parlor” or cooking in the extravagant kitchen in “The Busy Chef’s Kitchen.”

There's the political power on which we stand from and people who have done this before us. I think it's quite significant. There’s so many examples like the Suffragettes or Virginia Woolf, who had her own publishing house. I think [conventional printing restrictions] are freed up, we're saying if you want to use purple ink or if you want to use pink ink, we get to do that. And then there's another intersection there, which is the fact that we choose to print because it's the most personal, tactile form of distributing content.

It was toward the end of Karasz’s life in the 1960s and 70s that textile works began to enter fine art shows consistently, as a result of the craft movement, which pushed for the re-centering of fiber arts within the Western art canon. The movement has had meager success; textile artists that are now considered canonical eschewed traditional craft forms for the same reasons as the patriarchal exclusionists, favoring instead abstracted fiber forms. The number of accepted craft artists in fine art circles remain few, and they are predominately made up of white women.