In the earliest days of our group’s meetings, we were all collectively clear that we wanted to feature and base our magazine around the arts, whether it be creative, musical, or humanities. We decided on newer up and coming artists, as we had an easier access to interviewing and speaking to them, as well as there being a gap in the market for it.
We visited two independent specialist magazine distributors in London to get inspiration for our layout and concepts. From what we saw, we knew we wanted our magazine aesthetic to be unconventional and artistically driven. I learnt a lot about what is in popular demand by the public, while also being risqué enough to engage ore niche artistic audiences. White space and varying accent colours were key features we wanted to include.
When first thinking of new and talented artists, my first thought was Jo Rosenthal. I have had online and personal correspondence with her for a few years, and her art was topical as well as being unique enough to contrast from my group’s feature ideas. Although she is largely an unknown name, she has done enough interviews in the past to know how to answer my questions informatively with key vocabulary that would suit the feature.
I first used Instagram messenger to contact her, as it was approachable and friendly and not too formal, to correlate with her online presence that doesn’t take itself too seriously. She was quick to agree, so my next step was to redirected to email and sent her professional, as well as genuine questions that would give email content more depth and personality.
Her questions were answered in full, so were easily converted into prose for my article. However, when I needed various quotes that she hadn’t touched on, I used statements from her artist profile that she had also sent me the link for. As well as this, I gained a deeper knowledge of her identity and nature through the handful of her previous interviews that are online.
Writing about her art was both easy and difficult in equal measures. I understood and liked the thinking behind her pieces, but as it was very conceptual and emotionally driven, my writing risked sounding pretentious and too flowery at times.
With this in mind, I’d made sure to keep my piece interesting and engaging, as well as allowing the language to dip into the creative spectrum. I had multiple people of different ages and social groups read through the piece once it was finished, and edited more than five times to perfect it as well as I could.