Snax MagazineCurator

Brooklyn, New York, United States
Snax Magazine is an independently published magazine and showcase platform for under-exposed visual artists. Each release is centered on a theme that is represented and cultivated in limitless ways.

The showcases we produce features original works from the magazine. Our publication is available in print only because we want to disconnect our audience from digital platforms and strengthen the appreciation for real-life substance.

Often referred to as a creative escape, Snax magazine is a platform not only for artists, but all individuals to satisfy their creative hunger.



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Blair Murphy is a curator and writer based in New York City. Before moving to New York, she spent seven years in Washington, DC working for various arts organizations, including Washington Project for the Arts (WPA), DC Arts Center (DCAC), and Provisions Library. She was Program Director at WPA from 2011 to 2013 and a curator with Sparkplug, an artist collective sponsored by DCAC, from 2008 through 2011. She's currently the New York correspondent for Bmoreart and a contributor to M Daily. Her writing has also appeared recently on Brightest Young Things, Daily Serving, and her own blog, blairhasablog.blairmurphy.com.
Katherine Gressel is an independent curator and writer whose practice centers around public and site-specific art. Specific topics of interest include the aesthetics of participatory and socially-engaged art, the role of artists in envisioning and shaping notions of utopia and other urban planning topics, and the evaluation of public art. Katherine has curated group exhibitions in all media, for such organizations as No Longer Empty, the FIGMENT summer-long sculpture program on Governors Island, and the Brooklyn Historical Society.
As a curator I strive to create meaningful dialogues between artists and audiences, between artworks, and between the past and a continually evolving future. I am interested in projects that explore experimental approaches to the production and delivery of contemporary art and that create an environment that encourages critical discussion around issues relevant to current cultural theory and art practice.
I am thinking of the idea that, as the writer Vince Passaro put it, "every truth must be able to accommodate its own contradiction."

I am unstretching the paintings. And making books.

I have started to curate shows in order to better organize and understand my thoughts about painting/art, and to facilitate access to art being made by colleagues that I feel deserves a larger audience and closer look.

The terms of Nurture Art

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