Sugarcane & Cotton: In Conversation with Mark Wilson Jr.

Sugarcane & Cotton: In Conversation with Mark Wilson Jr.
By Brandon Wisecarver
Photos by King Nathan

On Monday, August 29th, 2022, I went out to Prospect Lefferts Gardens in Brooklyn to see an exhibition featuring our newest studio member, Mark Wilson Jr. I rarely get out of Manhattan anymore but Mark’s work is really something that should be seen in person. Although originally a painter his work has recently made a leap into the third dimension through the ancient art of mask making. His new assemblage masks, helmets, or whatever you wish to call them are teeming with life and tell their stories through creative use of everyday household objects. Gun holsters, nails, pipes, lighters, golf tees, sea shells and a myriad of other common items transform to become the visages of formidable warriors. They echo designs and visual tropes that have been with us since the very beginning of human civilization. It’s only after closer inspection that their contemporary origins begin to reveal themselves.

Curator (right) Kristen Walkes

When I arrived at the venue Mark hadn’t yet gotten there so I, naturally, rooted out the organizer to ask some basic questions about the show, entitled “Sugarcane and Cotton”. I finally tracked down curator Kristen Walkes (@sugarcane_and_cotton). After complimenting them for their selections (and the amazing catering from Mango Seed and Zurilee) I learned it was their first curatorial venture. The show’s concept is described as “a reimagining of a boundless world that grants freedom and liberation to the African Diaspora.” The other work present had a much more contemporary vibe allowing Mark’s masks to act as a sort of grounding root to the past shared by all peoples of African heritage.

Artist Mark Wilson Jr.

I’m outside on the phone when Mark arrives and I pull him aside for a quick interview about the show, the work, and his hopes for the future.

Brandon Wisecarver: So tell me a little bit about how you got hooked up with this group and new curator.

Mark Wilson Jr: I gave them a follow on Instagram and they ended up sharing my work. I submitted to the call for this show and after a phone call and studio visit she told me her mission and her statement and it aligned with my work, so I thought it was perfect.

BW: How did you start making art in the first place?

MWJ: So it’s funny… I was 24 and going to church. We had to buy the kids a gift and I went and bought an art kit but when I took it home I opened it to check it out. I started making art and I was like ‘wait, I like this… I think this is going to be a gift for me’. I felt bad but at the same time I felt liberated.

BW: How did you get from painting to creating these amazing masks?

MWJ: So I was a painter before going into collage while I was living in Washington and was inspired by totem poles.. I had all these leftover materials sitting around and made one mask and thought ‘Wait, this is kind of funny’ and I took funky pictures with them posing. I made a few more and people were really responding well to them so I started investigating how to involve others and make them functional and sturdier for fashion shows, music videos, and photo shoots.

BW: Do you still paint?

MWJ: I still do paint. I’ll do one month of mask making and one month of painting. It helps me keep fresh eyes on the work. Some people tell me they think I’ve found my calling in making masks and I should focus on that and not bother painting but.. I mean.. I enjoy doing it and it’s like therapy for me so I’ve never considered stopping.

BW: Did you goto school for art?

MWJ: No I didn’t and that’s why I can be almost ‘tip-toe-ish’ with selling the masks because there are still faults in them. I’m constantly trying to improve their structural integrity to enable them to be more durable.

BW: I love how universal these masks feel.. but the focus of this show in particular is the African Diaspora. How do you speak to that?

MWJ: I think I would be doing a disservice not to study and respect all cultures in an age where we can look anything up online and order a book for next day delivery. I am definitely trying to open myself to all global influences. I believe we are all connected and I really search for that. I think this show is special because of its focus on the future, what artists from the African Diaspora are up to now and the influences we have on each other. I made these using a base of modern plaster wrap in an effort to approximate similar clay based processes used by African artists of the past.

BW: I thought it was interesting the way Kristen poses the idea of a world ‘without limits’ for Black artists. Do you feel those limitations in the reception of your own work?

MWJ: Being here in New York, my masks are accepted but back home in Virginia they’re not. I would say when I go down south as a Black artist there are limits.. as in Black people there want something that’s very digestible and find my work scary or off-putting because it has nails sticking out of it, etc. I feel like moving to New York has freed me in a lot of ways and allowed me to express myself how I want.

BW: Do you ever feel hemmed in or limited by being identified specifically as a ‘Black artist’ or do you enjoy the sense of community that comes with it?

MWJ: I’m very happy that this work has a place where it feels like it was meant to be. Sometimes I do feel that as a Black artist it can feel like you’re selling your pain.

BW: Where would you like to see your work go next?

MWJ: I'm really into Sci-Fi and I’d like to explore how Black people can re-imagine their past through that lens. I have a book about Japanese samurai armor that I plan to use as a reference to create some full body suits. My main goal would be to be in a museum or really just anywhere that they can be taken care of and preserved. They can be a bit delicate and my apartment is getting pretty full up… and then there’s the cat.

Photo by King Nathan

I commiserate with Mark for a bit about beloved pets wreaking havoc on at-home art projects before letting him get back to the obligatory mingling. I’m one of just a handful of white people at this opening. One of them is wearing a Japanese kimono top and I ponder my own weeaboo tendencies. My eyes had lit up when Mark described his samurai armoring manual and it made me think about what makes us appreciate a culture in the first place. Obviously America’s history in relation to the African Diaspora is a dark one. We fueled the Atlantic slave trade responsible for most of it between the 16th and 19th century and the cultural ramifications of that are undeniably still felt today.

I worry that Kristen's vision of a world without limits for members of the African Diaspora is held back largely by the “othering” that stems from avoiding what makes us uncomfortable. That it is all too easy to celebrate a mysterious and far away culture like Japan while quietly dismissing a large swath of our own. Black people have made incredible contributions to our society in every field and have reached the highest office in the land. Yet, much of the art here still speaks to pain and a lack of inclusion. Why? Don’t answer that yet… Let’s listen.

Mark Wilson Jr. - Follow them on Instagram @markwilson.jr for more.

If art that speaks to race/racism makes you uncomfortable - remember the famous quote: “Art should comfort the disturbed and disturb the comfortable.” - Cesar A. Cruz

An Interview With Dean Millien

An Interview With Dean Millien
By Brandon Wisecarver
photos by Bree Chapin

I first met Dean at Con Artist Collective on Ludlow Street maybe 8 or so years ago. He was a favorite of founder Brian Shevlin and I could immediately see why. His body of work mainly consists of animal sculptures made entirely from tin foil, often life-sized. I have delivered 2 huge elephant heads to collectors in the past and everyone involved was completely floored by their scale and realism. I needed a Millien for myself. Dean is a special and all too rare kind of artist. His talent as a sculptor is undeniable yet he’s as humble a person as you’ll ever meet. His latest show title couldn’t be more fitting.

Dean Millien’s solo show “One In A Millien” is currently on display at the Summertime Gallery in Brooklyn (145 Ainslie St) until April 10th.

I hadn’t heard of Dean showing work since he made me a literal platypus in a party hat for my pop-up gallery project of the same name and was devastated that I had to miss the opening reception. So, I asked Bree Chapin to take pictures and to give him my love. The gallery looked packed with patrons. I recognized some of the pieces on the walls and around the central table - where sat the star of the show - a life size crocodile with its maw agape. Dean later tells me in our interview that he constructed it in 48 hours prior to the show’s opening. It took over 30 multi pack boxes of heavy duty tin foil to complete.

Brandon: Are you happy with the show?

Dean: “Absolutely, they let me do whatever I wanted. I painted the gallery walls black”

Brandon: I noticed! What’s up with that?

Dean: “You know me, I like that gothic stuff. I think the sculptures pop more when you spot-light them.”

Brandon: That croc is massive! What will your next subject for a sculpture be?

Dean: “I’m always going to be ‘that gorilla guy’ because I’m known for making life sized gorillas but what I really want to do is Bigfoot. I’ve always wanted to make Bigfoot. I would make him BIG though, that’s what I would do.”

Brandon: How big are we talking?

Dean: “As big as the room! Maybe even just his legs. I want to have him burst out of the building!”

Brandon: Haha! That’s awesome. I’m hyped for that one. (Dean’s enthusiasm is palpable and contagious) who are your biggest influences, artistically?

Dean: “Popeye, Tom and Jerry, The Pink Panther, Scooby Doo and Jabberjaw.”

Brandon: (laughing) I think you’ve surpassed them now! You’re like the Rodin of tin foil. Some of your work is very realistic and quite beautiful. How did you learn to do that?

Dean: “I learned the realistic stuff by hanging out with you guys at the old studio! I learned a lot from the other artists there.”

Brandon: How likely is it that people can meet you if they come out to see your show at Summertime?

Dean: “I’m here gallery sitting all month.”

Brandon: What are the gallery hours?

Dean: “...I don’t know actually” (Friday - Sunday 12pm to 6pm)

Brandon: Artist hours then, open when open and closed when closed?

Dean: “Haha, yeah I like that. I’ll be around in the afternoons and early evenings.”

…and you should go check this show out! Dean’s work has been featured by the New York Times, The New York Post, and Macy’s. Be careful, you might fall in love and have to carry home a life-sized crocodile. They are heavier than they look.

The Zine is Here to Stay - 0h10m1ke at Hekate Cafe

The Zine is Here to Stay
0h10m1ke x bSceneZine at Hekate Cafe & Elixir Lounge

by Brandon Wisecarver

It’s a cold Thursday night as I head out to Hekate Café & Elixir Lounge for the opening night of artist/curator 0h10m1ke’s x bSceneZine sticker and zine show in the East Village. It’s the kind of place that makes  the village unique. It’s part coffee shop, serving up cappuccinos and part metaphysical supplier with tinctures alongside tarot card readings, sigil design workshops, and something called a “dark moon ritual”. As I arrived I spotted 0h10m1ke standing out front in his signature hoodie and greeting people. The coffee house is completely packed and the only place on the street with a crowd outside.

0h10m1ke poses with his Zine

Inside, patrons are shuffling about, sipping on the non-alcoholic offerings and searching through a rack of free stickers and magazines, it’s stocked with self-published Zines from local artists. Before the proliferation of social media, if you wanted to express an opinion or share your artwork the fastest and cheapest way to do it was to create a Zine, shorthand for magazine. They were mostly printed on xerox machines and hand-stapled by the artists or writers themselves in small batches. This meant they were free from normal censorship and subsequently gained a reputation as the medium of choice for the fringe.

Inside Hekate Cafe at the opening of 0h10m1k3 x bSceneZine

Zines can trace part of their history back to the 1930’s and the “Science Correspondents Club” in Chicago (check out this great article on MentalFloss), yet here I am in 2022, at a witchy elixir bar, perusing offerings from the NYC street art underground. There is art on the walls but the crowd is too dense for me to make it to where most of the works are hung. I enjoyed reconnecting with some artists who I haven’t seen in a while and ultimately decided to grab a copy of Jon Mann’s Which one is it?, before slipping out to my nearby apartment.

Hekate Café & Elixir Lounge employees tend to drinks while patrons exchange street art stickers.

I decide to return later in the week when the place is less crowded and can have time to fully explore what 0h10m1ke has put together.. and you should too! The show will be up for several weeks, but if you want to meet the crew get over to Hekate tomorrow, Saturday the 26 (02/22) from 12pm-10pm.

Vanity Galleries - What Are They?

Vanity Galleries - What Are They?

By Brandon Wisecarver

Vanity Galleries are art institutions that exist primarily to provide a space for living artists to display their work for a fee. These fees can be exorbitantly high, ranging from hundreds or even thousands of dollars. Yet, their bad reputation stems primarily from the dissonance between what the artists participating in the show expect out of the arrangement and what they are able to deliver.

The Art World can be a rough place for the aspiring artist to make a living. Showing your work in the right type of gallery is important to establishing yourself. But how can you tell if an Art Gallery is reputable or just a Vanity Gallery that charges artists to show their work? And how can you spot a real “Art co-op” versus a Vanity Gallery?

Artists have long flocked to New York to take their shot at making a name for themselves. There is some disagreement about when New York City became the center of the Art World. Some point to the 1913 Armory Show, a seminal event bringing Avant Garde art to the United States for the first time. Others say Paris held the title firmly until it lost it after World War II and the rise of American cultural and economic ascendance. New York in the 1930’s saw a large influx of political refugees from Europe, which raised New York’s cosmopolitan profile even more as a center of cultural production. The Abstract Expressionist movement, in particular, is most often cited as moving the focus of influence away from Paris to New York. Contemporary art is far more global because of the nature of modern communications and commerce, even so New York still holds the record for total art-related establishments by a large margin.

This high concentration of hopeful young artists had led to the explosion of a specific kind of gallery establishment - the Vanity Gallery. Simply put, these galleries charge artists money to exhibit their work. They provide wall space and some light promotion but often take a high cut of any sales as well. While Vanity Galleries could be considered an outgrowth or mutation of the “artists cooperative” model, there are some important distinctions. An artist “co-op”, “artist-led initiative”, or “artist-run space” generally exercises tight control over their membership either by requiring portfolio review or even operating on an invite-only model. Another important difference is the scope of their efforts. A true artist-run initiative seeks to establish an on-going relationship with their members sharing costs and profits alike. The Vanity Gallery on the other hand, is a purely profit driven entity, and therefore is likely to show the work of anyone who will pay for the privilege and often have little interest in an artist continuing on with them beyond paying to show again. Being associated with a Vanity Gallery can actually hurt your reputation and do more harm than good.

The internet has provided new ways for Vanity Galleries to target artists as potential clients (or victims depending on your perspective). It doesn’t even have to be a physical gallery anymore. Online publications promising massive exposure now work on similar models. Instagram is rife with million-subscriber (mostly bots) accounts who will post your work for cash or crypto. If you’re reading this article you’ve probably already received comments on your posts urging you to “DM this to @_____!”. If you do, you’re likely to receive a price list in return. Look closer at their account. Does the account have hundreds of thousands or even millions of “followers” yet only averages around 30-40 likes per post? It’s a scam too many artists are still falling for. The good news is the internet can help if you know what to look for. 

A simple google search of “Is _____ reputable? can yield a lot! Searching “Is _____ a vanity gallery?” may also provide other useful insights. You can go further by looking up the names of the people connected to the gallery you are considering working with. Do they appear to have a presence in circles you want to establish yourself in? Do they have a significant online presence? Are there public records of lawsuits or complaints against them? Remember that many of these Vanity Galleries hire people whose only job is to target unknown artists. Don’t let mere flattery separate you from your hard earned cash. If it sounds too good to be true, it probably is. Consider that if they’re getting your money for the showing opportunity they have little incentive to work towards actually selling your work.

Application fees are another way Vanity Galleries make money off hopeful artists but are also a frequent feature of genuine opportunities. These fees are smaller, usually ranging from $15-55 and only get you in the door for consideration with no guarantee of acceptance. They are rarely refunded if you are not accepted. Similar rules apply when navigating these opportunities. Do your homework and see what others are saying about the gallery. Check out their website. Does it look like your work fits in with the kind they are likely to show? Is the curator well known? Contests and open calls can be a great way to get exposure and make new connections. However, they can also drain your pocketbook quickly! Be careful and apply with discretion.

To sum up, co-operative galleries and artist networks can be a very valuable resource but you should stay vigilant and be aware of the too-often predatory nature of paying to show your work. All said, renting space to show your work is not inherently a bad business decision if you understand that you must provide the art, labor, and promotion. In turn, you stand to reap 100% of the rewards. The bad reputation Vanity Galleries have built for themselves is generated primarily by the illusion of prestige. The press, fame, and buyers you will expect as a return on your investment are unlikely to materialize without some considerable effort on your part. Why pay a premium for that?