SaveArtSpace: Your Community
The SaveArtSpace: Your Community open call for art took place from 2017 - 2019. During which, we installed artwork on ad space across America, in communities such as; Louisville, Golden, Detroit, Newark, Rochester, Agawam, and Boston.
See all selected Your Community artists below!
Brian J. Hoffman is a designer, illustrator, printmaker, and bass player in a punk rock band. He’s also the father to two young boys who he helps find poetic meaning in everyday life — through classic rock, timeless films, and tacos. Hoffman’s art is slightly surreal yet familiar because he likes to “screw with the beauty of things.” He describes his work as digital printmaking and the style as Low brow. Printmaking has taught him that imperfections can make all the difference in a piece. “You can have scratches and splotches and plate mistakes. It’s the imperfections that give the finished piece its character.” Most of his pieces are infused with humor and sarcasm. Images are mixed and manipulated to tell a story and illicit a reaction. Expectations are turned on their heads or heads are actually switched. While he doesn’t intend to be political, Hoffman does want to be provocative. “I want to get people feeling intrigued and reacting.” That’s why his pieces often take the viewer back to a time and place they may remember fondly. His work often incorporates vintage cartoon characters and iconic photographs. But the work isn’t meant to simply give viewers the warm and fuzzies. “I like to twist in some edgy piece of reality, a hint of darkness — a wink of subversive realism,” he explains.
My work is often a direct response to the craziness of everyday life. Ideas come to me from everywhere because I’m bombarded by a daily stream of media words and images that seep into my thoughts and come out in my work — both consciously and unconsciously. My art is inspired by sexuality, society, and the macabre. While it can be infused with pretty heavy topics at times, I try to keep it fun while still being a bit subversive.
Brian J. Hoffman is based in Boston. To see more of his work, visit www.brianjhoffman.com or follow him on Instagram @brianjayhoffman.
Amy Thompson Avishai is a photographer, educator, and consultant based in western Massachusetts. She was raised in Morocco, Jordan, Saudi Arabia and Belgium— experiences which heightened her cultural awareness and helped bring to the fore feelings of belonging and, at the same time, of being an outsider. Whether in a girls' dormitory in rural Morocco, a Mennonite community in southern Ohio, a temple in Cambodia, or of her own family in the United States, her photographs have a universal quality and reflect our common humanity. Amy has taught photography at The Massachusetts College of Art and Design (Boston), The Griffin Museum of Photography (Winchester, MA), and Endicott College (Beverly, MA). Her photographs have been published in newspapers, literary journals and magazines, including The News York Times and The Women's Review of Books (Wellesley College). Amy was also a featured photographer in National Geographic magazine. Her photos have been exhibited in group and solo shows in the US and Europe. Amy holds an M.A. in photography from the School of Visual Communication at Ohio University, and a B.A. in Humanities (French, English, and photojournalism) from Michigan State University. Awards include a Fulbright Fellowship, PhotoLucida’s Critical Mass - Top 50 Photographers, Julia Margaret Cameron Award, Prix de la Photographie (Paris, France), among others.
As I watch my two young children grow, I feel the loss of my own parents. My mother died just after my first born’s first birthday; my father, a couple of years ago. These photographs are from my ongoing project, Holding On, Letting Go, a contemplation about family, love and loss. After years as a photojournalist and documentarian, it feels natural to turn a camera, in this case a smartphone, towards my two young daughters and husband. I blend in with the other parents holding their phones. Found within our sleep-deprived chaotic lives, the moments of quiet hit me in the heart. They raise unanswerable questions, forcing me to embrace ambiguity.
You can connect with Amy on Instagram at @amy_thompson_avishai.
Nigel Maister is a South African born photographic artist, theatre director, writer and designer, and collector of photography living in Rochester in upstate New York. The series (tight. word. lit.) from which this image (drag) is excerpted draws on appropriated late analog snapshot photography and re-contextualizes it in imaginative narratives through juxtaposition and dialogue. The work has been exhibited locally in upstate New York, at the Cleveland Print Room, and was also selected as one of the top ten finalists in Klompching Gallery’s Fresh 2016.
This work explores narrative both implied and explicit; and narrative as imaginative action--in this case, of a past photographic action that, through this work, is brought into the present.
The raw material for tight. word. lit. is snapshot photography. These images, from the 1980's onwards--the last gasp of the analog snapshot--are overlooked in the current vogue for vernacular photography which fetishizes the snapshot as art object (albeit an inadvertent one). These "late" snapshots betray little of the charm that characterize the genre at its zenith. I was frequently drawn to images that might have been discarded by the picture-taker: those that are out of focus, inexpertly composed, blanched by a too-close flash, etc. In others, content or composition might be considered banal in their simplicity or apparent “artlessness”. And in yet other selections, the performative nature of the subject matter--divorced from its context and rendered enigmatic, perplexing, or disturbing--was my departure point. But in all these variants, the series re-contextualizes the nature and meaning of the snapshot--the object that serves as a commemorative artifact with a distinct function in the world. It discards that function and meaning and allows the image to transform and to evoke a potential narrative event far from the intent of the original maker.
Thus this work undermines the notion of the primacy of the individual image as a valuable artifact in and of itself, but looks at the combination of photographic artifacts in dialogue with each other for its worth. It is this that serves my goal: to rewrite these visual histories, making the viewer an active participant, forcing him/her to forge connections and create personal narratives that are compelling, mysterious and durable. The world portrayed in these works is decidedly not our world. I hope they speak to us viscerally on some other level. They are intended to present us with a "third reality": not a document of their time, nor a document of ours. These works are evocations of that interstitial space where past and present intersect and create an emotional, imaginative bridge into the subconscious which should feel immediate yet also prescient.
You can connect with Nigel on Instagram at @NigelMaister.
Kay Kenny received her BFA from Syracuse University, MA from Rutgers University, and MFA from Syracuse University (all in Visual Arts). Painter, photographer. Writes art criticism and articles on the visual arts for arts magazines. Photography teacher for over twenty-five years at New York University, and the International Center of Photography in New York City.
2016 NJSCA Artist Fellowship for Works on Paper. 2015 Arthur Griffin Legacy Award, Griffin Museum, 2009 Honorable Mention in FineArts Photography Lucie Awards. Three-time recipient of NJSCA fellowship award. Numerous one-person shows, most recently in Medellin, Columbia, Taipei,Taiwan, Lubbock, Texas and New York City. Curated several exhibits, including ''Memory & Loss", a five-person photo-based exhibit at the Mary Anthony Gallery in New York City. Her work is in several notable corporate, museum and private collections. Recent publications about her work include Photography’s Antiquarian Avant-Garde, by Lyle Rexer, Abrams Publishing, Light & Lens,Photography in the Digital Age, & Photographic Possibilities by Robert Hirsch, Focal Press as well as several other photography books. Photo Insider Magazine featured an interview with her about her work in their June issue 2001.
I have been photographing the rural night in the Northeast for over a decade. This image is part of a larger body of work, “Into the Night in the Middle of No Where”, a poetic tribute to the rural night. In the rural night, the boundaries between the wild and the domestic tend to blur into a potent swirl of mystery, familiarity and anticipated menace. My dreams are here as well as my nightmares.
A few years ago, I started spending time at night in the pasture with a flock of sheep. The farmer warned me to watch my butt and it took some time for the sheep to feel comfortable with me but unlike the foxes, coyotes, feral cats and raccoons that I often glimpsed in the dark, the sheep were content to stand still and graze. I thought them a fitting metaphor for my sleepless nights photographing the rural landscape.
Nicolette Battad is New York City born and Detroit based artist and illustrator. Her work is largely influenced by deep dreams and the unsettling visitors you meet there, dark heroines with striking garb and third eyes. She moonlights as a freelance artist whose work is featured on album artwork and skin. For Nicolette, creating art is a means to achieve a subjective balance away from her day job as a transmission engineer.
Nudi I was created after my recent discovery and fascination of Nudibranch. These sea cucumbers and jelly-like mollusks are whimsical, colorful, and carnivorous — Here, embodied by an equally colorful and carnivorous protector who’s hungry for some snacks and a fish taco.
You can connect with Nicolette on Instagram @ette.n.
Jessica Forrestal is a Denver-based artist. She holds an MFA in Fine Art from Pratt Institute in Brooklyn, New York. She has participated in group and solo shows in Brooklyn and the Denver area. Jessica recently concluded her summer-long artist residency at the Firehouse Art Center in Longmont, Colorado with a solo exhibition of her most recent work.
Banal objects drift unnoticeably in and out of American consumer culture. User manuals and deconstructed parts refer to the consumer ritual that promises functionality and life improvement. Mimicking the ways in which we encounter these objects, I construct large hand-drawn diagrams. Intensive labor and crafting is essential to my creative process as I challenge concepts of quality, disposability and time. Using this format of production, objects are reimagined and re-contextualized as artworks that challenge the economy of the art object.
You can connect with Jessica on Instagram @jessica.forrestal.
Ashley Brossart, a Louisville native, has exhibited work in numerous solo and group exhibitions including; “Painted Portraits: City/Self” – Carnegie Center in New Albany, Indiana (2012), ‘New Evolution’ – Gallery at the Brown Hotel Louisville, Ky (2013), ‘Displacement’ a group exhibition curated by Stacey Reason featuring Brossart’s city installation entitled ‘Sobro Portrait’ – Spalding University Huff Gallery Louisville, Ky (2014), The Mayor's Gallery at Louisville Metro Hall (2014) and ‘Terminating Vistas; The Sequence Series’ at Crafts Gallery Louisville, Ky (2015). In Summer 2015 she worked as assistant for Louisville Metro's Public Art Project 'Connect/Disconnect' located on the Downtown Louisville waterfront. Along with various exhibitions she has participated in live painting events around Louisville. Brossart’s murals can be found throughout Louisville including Kroger company locations in Louisville and Southern Indiana. In Fall 2017 she will be attending Pratt Institute for Graduate Studies.
Artist Statement: I created 'City Walk ii' to capture the fleeting moments of passing through an evolving city with the focus being Downtown Louisville.
You can connect with Ashley on Instagram @Orange_Peeled.