Here’s what painter Amy Sherald has always known about herself: She was born to be an artist.

In a new conversation with Colossal contributor Paulette Beete, Sherald says that she was born to bear witness to Black life, with painting becoming a “corrective” to the struggle story that’s often the only one told about Black communities.

Portraiture, for me, is having the opportunity to tell a story, to tell my story, to tell our story (as Black people), to have the portrait work in ways that are creating a counter-narrative, a corrective narrative, but then also a narrative that can carry us into our future selves. They have the capacity to be mirrors for today and also vessels to look through to see into the future.

Sherald discusses her early desire to work with her hands, why she prefers removing context and instead painting solid backgrounds, and how her practice offers a place of rest and hope in a heartbreaking world.

Read the conversation.

“They Call Me Redbone but I’d Rather Be Strawberry Shortcake” (2009), oil on canvas, 54 x 43 inches, National Museum of Women in the Arts

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Interview: Amy Sherald On Bearing Witness, Social Anxiety, and Finding Respite in Her Work appeared first on Colossal.

Stacked, spinning, and puzzled together, Karen Navarro’s vibrant portraits explore myriad facets of identity. Photography provides the foundation for the Houston-based artist’s practice, which often encompasses sculpture, text, and collage to examine ideas around self-representation, gender, race, and a sense of belonging. In two of her recent series, The Constructed Self and Neither Here Nor There, Navarro slices bold portraits into cubes or strips, then rearranges the pieces into shape-shifting patterns.

Born in Argentina, Navarro later immigrated to the United States, and in 2014, she discovered that she could trace her ancestry to the Mapuche culture. “I have always been interested in identity, but this piece of information shook my past understanding of who I was,” she says. The Constructed Self developed from an interest in the simultaneously personal and universal human experience of building and exuding a persona. She is also interested in how one’s perspective can alter what one sees.

Through fragmenting, layering, and reassembling, Navarro splices images with bright edges that draw attention to negative space, uneven surfaces, and intersections. She captures digital portraits of her sitters in front of solid backgrounds, emphasizing their direct gazes and garments. While she focuses on others, she sees the work as self-reflective and driven by “the need to celebrate diversity to reframe the representation of historically marginalized identities.”

“Untitled (rearranged)” (2021), from ‘The Constructed Self,’ archival inkjet print, wood, acrylic paint, and epoxy, 30 x 24 inches

Neither Here Nor There centers on first, second, and third-generation immigrants and reconfigures the images to visualize the endless process of forming one’s identity. “I’m attracted to the contradiction of creating work that is made out of a photograph but ceases to be one when I separate it into pieces and add other materials like wood, paint, and resin,” she says. “It’s no longer a photograph, but it doesn’t become a sculpture either…The hybridity of the final artwork conceptually embodies how I feel, that I don’t belong here or there.”

Navarro recently traveled to Argentina to photograph people reconnecting with their Indigenous heritage, and she plans to return to present an exhibition of the final works. To help fund the project, she will launch a series of prints on Indigenous Peoples Day (October 9). “The work is about reconnecting with my Indigenous identity and celebrating its beauty,” she tells Colossal. “For me, reconnecting with that part of my identity is a profound act of resilience, resistance, and reclamation.”

Find more of Navarro’s work on her website, and follow Instagram for updates about the print release and future projects.

“Untitled (perspective)” (2021), from ‘The Constructed Self,’ archival inkjet print, wood, acrylic paint, and epoxy, 35 x 28 x 3 inches

“Displaced” (2022), from ‘Neither Here Nor There,’ archival inkjet print, wood, acrylic paint, , and epoxy, 24.75 x 23 inches

“Rearranged ll,” (2021), from ‘The Constructed Self,’ archival inkjet print, wood, acrylic paint, and epoxy, 32 x 30.5 inches

Left: “Fractured” (2021), from ‘The Constructed Self,’ archival inkjet print, wood, acrylic paint, epoxy, and vinyl, 50 x 40 inches. Right: “Twisted” (2020), from ‘The Constructed Self,’ archival inkjet print, wood, epoxy, acrylic paint, and metal rope, 52 x 18 x 18 inches

“Puzzled” (2020), from ‘The Constructed Self,’ archival inkjet print, wood, acrylic paint, and epoxy, 50 x 36 inches

“Untitled (perspective ll)” (2021), from ‘The Constructed Self,’ archival inkjet print, wood, acrylic paint, and epoxy, 30 x 24 x 3 inches

“Twisted variation” (2021), from ‘The Constructed Self,’ archival inkjet print, wood, gesso, metal, acrylic paint, and epoxy, 24 x 24 x 15 inches

“Sliced” (2022), from ‘Neither Here Nor There,’ archival inkjet print, wood, acrylic paint, and epoxy, 27 x 27.5 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Karen Navarro Puzzles and Stacks Fragmented Portraits Into Explorations of Identity appeared first on Colossal.

Tucked in the cramped confines of a rectangular form, the lively and fantastical illustrations of Tel Aviv-based artist Ori Toor (previously) are suffused with chaotic energy. Set on solid backdrops, the works are a frenzied mishmash of overlapping mechanical components, cartoonish characters, and natural elements like flowers with faces or pill-shaped planets. Toor plays with scale and perspective in a way that creates several winding narrative paths throughout each piece, along with seemingly endless visual intrigue.

While the artist often works digitally, he shares that he’s returned to doodling in ink in his sketchbooks. “It’s something I used to do all the time but suddenly stopped a few years ago. It’s a lot of fun and takes off the pressure of posting everything you make—when it’s on the computer, it’s already one step away from Instagram—but still very challenging,” he says. “Things look different when you can’t use undo.”

Toor was recently commissioned to illustrate a map of the multiverse for the collector’s edition of A24’s award-winning Everything Everywhere All At Once, in addition to a soothing, black-and-white piece for WeTransfer’s new coloring book. He currently has a limited-edition print available through Massbase and a few other works on Society6. You can follow his latest illustrations on Behance and Instagram.

“GHFHJ”

“Inside the Flamingo Cloud”

“Plant Friends”

“Ride”

“Salads”

“Dogwalking Machine”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Whimsical Creatures, Mechanics, and Celestial Details Collide in Ori Toor’s Frenzied Illustrations appeared first on Colossal.

There’s a big DIY Art Market taking place at Copeland Park, Peckham at the end of next month.

The market champions a diverse community of artists, and publishers. providing an affordable platform for them to exhibit their work, engage with visitors, share experiences, opportunities, and sell their artwork.

When it comes to investing, many people first think of real estate purchases or brokerage accounts that manage stocks, bonds, and mutual funds. Of course, those are just a few ways to invest your money and turn a profit. Another (arguably more creative) way to enhance your wealth is by investing in art. But, what does a good investment in art actually mean?

“A good investment can mean different things to different people,” says Chairish Art Category Manager, Amanda Morse. “For some, it will mean profit. For others, a good investment in art purely means something they will still enjoy in 20 years. I operate more on the basis of the latter, with any increase in monetary value being a welcome addition.”

A good investment in art can also mean that the process of procuring it taught you a valuable lesson. “A good investment in art and design also means that in the journey of acquiring the piece, you have expanded your horizon about different kinds of designers and artists and have learned more about your own taste and aesthetics,” says Carina Villinger, Sotheby’s head of 20th century design.

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Keep reading to learn more about art as an investment, including how to start investing in your very own collection.

Art as a Financial Investment

Although art is often marketed as a consumer good in home decor, Morse points out that it can be considered an asset, too. “This means that even when the stock market is experiencing a decline, the art market will find stability in its buyers on the consumer front,” she explains. Purely from a home decor stance, she says that art is the best investment for your home. Where furniture will eventually show wear and tear, art often stays in pristine condition when hung on walls within the proper frames and behind UV-protective glass.

Overall, Villinger says art and design can be a stable long-term investment. “Tastes in the art market certainly change over time and there is no guarantee for the future, as with anything of value in general. That said, if you are buying works that are of great quality, chances are that they will retain their value,” Villinger says.

Of course, some pieces of art retain more value than others. “Typically, artworks that retain the most value are either by artists that were leaders within their artistic movement or exemplary pieces of that specific genre,” Morse says.

What Makes a Piece of Art a Good Investment?

If your idea of an investment-worthy piece of art is one that can usher in financial gains, there are a number of characteristics to look out for when bidding on and buying paintings, sculptures, drawings, and more.

“Once you have channeled your inner Marie Kondo and resolved that the artwork does in fact bring you joy, consider the following,” Morse says. “Does the composition feel balanced? How does the piece relate to the genre of art it’s within? Who is the artist and how have their pieces sold previously? Is there a signature or certificate of authenticity? These are all key questions that will help inform a worthy investment in a vintage or antique artwork.”

Villinger says it’s also important to consider the condition of the piece at the time of purchase. “It’s important to make sure any condition issues can be addressed satisfactorily by a qualified conservator, as this can impact long-term value,” she explains.

On that note, Villinger says that analyzing the materials used to create the work is worthwhile, as well. “There are some materials, such as certain plastics, that can deteriorate over time,” she explains, noting that those pieces may not be as investment-worthy.

Another factor that can contribute to a piece’s monetary worth is its provenance (ownership history) and exhibition history, Villinger adds. “Compelling provenance and interesting exhibition history can all add to the resale value of a piece,” she reveals.

Lastly, while many famous artists have a wide scope of pieces, Villinger says that concentrating on a key period of their work can pay off. “Concentrating on a period within the artist’s work that’s considered to be an important one can also help value retention,” she explains.

How to Invest in Art

First and foremost, Morse says to invest in what you love. “That is the only way to guarantee that it won’t be a bad investment,” she assures us. That said, if your main goal is to turn a profit, she says the best strategy is to diversify your collection as much as possible.

“As with any investment practice, diversification is the best way to minimize risk,” she shares. “When it comes to art, opt for pieces across a range of styles, time periods, and artists. And the added bonus? Diversifying your art collection will also bring added depth and flavor to your walls, so it’s a win-win.”

Before investing in any art, though, Villinger says to do your research. “Try to see and learn as much as possible before beginning your collecting journey,” she encourages. “Auction houses like Sotheby’s are a great first port of call and are very happy to talk to and educate new collectors and show them around their upcoming sales and share their thoughts about the artists and styles.”

Outside of auction houses, dealers and gallerists are other excellent resources, Villinger says. “Especially when many of them are exhibiting at big art and design fairs, which makes it easy to see a lot of art and design in one place,” she points out. Lastly, she says that perusing museum collections and artists’ monographs is a great approach for more in-depth research and reading.

Throughout your research, you may find that pieces by art legends like Picasso, Warhol, Van Gogh, Basquiat, and Koons have the highest price tags, however, Morse says not to overlook lesser known artists, as well, when diversifying your collection.

“The emerging art world provides a more lucrative landscape for investors given the lack of historical data,” Morse says. “I find this to be the most exciting type of art investing—there is a lower barrier to entry, potential for high reward, and the ability to make a difference in the budding artist’s career.”

Rebecca R. Norris is a full-time freelance writer living in the DC metro area. She writes for a variety of publications, primarily covering women’s interest topics. When she’s not writing, she can be found out and about with her Jack-Chi, Cash, sweating her way through an Orangetheory class, or taking it easy with family and friends 

Amid the Russian invasion, Ukraine has launched a new database that tracks art owned by Russian nationals under Western sanctions.

“Russian oligarchs, despite the sanctions imposed on them, can still easily hide and launder their money through art objects,” writes Ukraine’s National Agency on Corruption Prevention (NACP) in a statement. “Painting, sculptures, artistic jewelry—this is exactly what is used as a loophole to circumvent sanctions.”

Currently, the searchable list, part of the Ukrainian “War & Sanctions” project, contains some 300 art objects, according to the NACP. Entries note the work’s title, artist, price and current owner.

“The inclusion of famous works by artists as varied as Claude Monet, Damien Hirst and Auguste Rodin highlights the extraordinary wealth accumulated by those said to be supporting the Russian leadership,” writes the Guardian’s Daniel Boffey.

Other major entries in the database include a triptych by Francis Bacon (said to be owned by billionaire Roman Abramovich), René Magritte’s The Domain of Arnheim and several works by Mark Rothko.

“Each listing contains basic details about the given artwork, including who made it and when, as well as its estimated value and connection to sanctioned individuals,” reports Artnet’s Taylor Dafoe. “The portal also contains a system through which users can report other relevant artworks and owners.”

The database includes art currently owned by sanctioned Russians, as well as pieces they’ve bought or sold, since 2014. Information in the database is collected from open sources and can be changed or updated during the verification process, according to the NACP.

Per the NACP’s statement, the agency hopes the database will “make it easier for virtuous art market participants to carry out ‘sanctions’ checks and make it difficult for Russian oligarchs to sell such assets.” Art dealers and insurers often use resources like the Art Loss Register to perform similar investigations into a work’s provenance to ensure it hasn’t been marked as stolen, notes Business Insider’s Mia Jankowicz.

Art has played a key role throughout the war. As part of a larger effort to erase Ukraine’s cultural heritage, Russian forces have been looting, damaging and destroying a number of valuable Ukrainian artifacts and cultural institutions.

The United States, the United Kingdom and the European Union are among the world powers that have issued sanctions against Russia and Russian oligarchs. The individuals under sanctions include billionaires Petr Aven, Viatcheslav Kantor, Andrey Melnichenko and Arkady Rotenberg, all of whom are listed in the new art database, reports Artnet.

“From now on,” says the NACP, “everyone can easily monitor the circulation of art products that are bought or sold by sanctioned Russians.”

Beyond art, Ukraine’s allies have introduced sanctions targetting a number of Russian oligarchs’ assets. These policies are meant to “[promote] accountability for President Putin and those enabling Russian aggression,” as U.S. Secretary of State Antony Blinken said in a statement last year.

Pricing Your Work: Value + Art Market

How do I price my art? Kristen Brown, artist and founder/CEO of Rela, will provide some answers to this common question. In this virtual workshop, Kristen will present pricing formulas, context for market pricing and new approaches to value assessments.

August 15, 2023
5:30 – 6:30pm

Keiser University valedictorian Audrey Chouraqui Azoulay gained an appreciation for cinematic life and behind-the-scenes post-production efforts while growing up the daughter of a British film and television translator. Raised in Paris, France, she and her brother Ethan enjoyed watching black and white ‘old Hollywood’ and ‘film noir’ era films from the 1940s and 1950s throughout their childhood as their mother Vanessa translated them. The experience ignited the spark for young Audrey’s interest in film production. “Mom’s profession impacted more of the family culture than anything. As a film translator, she always had an eye for specific language contrasts, which we had a lot of fun practicing with her,” recalled Chouraqui Azoulay.

Chouraqui Azoulay who is fluent in French, English, and Spanish, shared that global travel has always played an integral role in her family’s lifestyle and offered ‘mind-opening’ experiences. “I have been around the world and loved every second of it,” said Chouraqui Azoulay who has visited about 20 countries from Cambodia to Cuba, Senegal, and the Dominican Republic. “One afternoon, while on vacation in the south of France, as I was telling my grandmother a story that I wanted to see on screens one day, she told me to just write it down. One year later, I filmed, edited, and produced it myself. I was fifteen. That’s when the passion for the whole process began,” she recalled. “I always knew that I didn’t want to translate. I was much more of a storyteller.”

Now graduating as Keiser University Flagship campus co-valedictorian along with Errolesha Thompson, Chouraqui Azoulay is looking forward to working professionally for a year before earning her master’s degree and then joining the cinematic world as a producer.

Thankful for the encouragement and guidance of Cinematic Art Professors Samantha Kountz and Jean Jacques as well as Marketing Professor Sunday Barbaro, she also shared appreciation for the person who started it all. “My mum has always been my biggest fan. I would go as far as to say that I do what I do thanks to her. She has been there since day one and I think she’s very proud of what I’ve accomplished so far. I also think she loves it when I have to add subtitles to my films and documentaries because that way, she can help me with it. She is truly the best and I couldn’t have asked for a better supporter in life,” she smiled.

Keiser University’s Bachelor of Arts degree in Cinematic Arts provides students with a solid foundation in cinematography, storytelling, and film production while incorporating business principles, as well as more advanced coursework and a strong general education program. An interdisciplinary approach enables students to demonstrate their artistic expertise and application of business knowledge to enhance their career opportunities.

Keiser University is a private, independent, non-profit university serving nearly 20,000 students at 21 Florida campuses, online, and two international sites. Co-founded in 1977 by Chancellor Arthur Keiser, Ph.D., and Evelyn Keiser, Keiser University currently offers more than 100 degrees from associate to the doctoral level. Keiser University is a designated Hispanic-Serving Institution, a member of the Hispanic Association of Colleges and Universities and was ranked No. 1 in the U.S. in providing Social Mobility by U.S. News and World Report in 2023.