“One Question” with Margin Art Collective
Margin Gallery is a not for profit collective art gallery dedicated to nurturing artistic expression co-founded by Nima Taradji.
Margin is a member oriented community of artists helping each other expand their visions and create new work. The member artists represent a diversity of styles and media, yet they share a desire to explore new directions in their artwork.
Margin Gallery’s mission is to create a suportive environment where emerging artists feel comfortable experimenting and taking risks with their work.
Neoteric Art: Why did you feel the need to start Margin Art Collective and has it been a success so far?
Nima Taradji: From the time I was a child, I was brought up with the belief that there are no reasons for one to submit oneself to authority without a very good and compelling reason.
I worked for almost ten years in Los Angeles in the field of photography and during that time became discouraged by what I felt to be the desire by gallery owners and art and photo directors to not take a chance on new ideas. It appeared to me that the business side of the art business required introduction to those in charge by others in charge before one’s work was to be recognized—no matter its quality.
I further got discouraged by what I recognized to be a lack of diversity in the art that was being shown in the local galleries: I truly did not care to see for the 100th time the work of Moholinogy and/or Ansel Adams and/or Weston and/or Bresson etc etc etc… I had seen their works in books, museums, galleries… I simply did not care to see them again. Yet, because their work was sellable, as a gallery patron, I was condemned to see them over and over again.
All the while, all around me, I knew of and kept getting acquainted with young, smart, innovative photographers and artists who were waiters and clerks by day and artist at all other times. No one was showing any of their work or even wanted to take a chance on them because, it appeared to me, that in the world of art, what sells is good art. And no one buys new talent unless they are introduced by old… And not many have that opportunity.
At that point, along with some friends whose thought process closely matched mine, we started Hello Artichoke Cooperative Art Gallery. After renting a space we proceeded to show our work, free from any third party’s imposed idea that quality and sellability go hand in hand. Because we did not care about selling since we did not need to—our space and future shows did not depend on it—we dared to take chances, and experiment along with showing our work. And we did sell. A lot.
After a couple of years, I decided to go to law school and moved to Chicago. Hello Artichoke continued its journey another two or three years before, for reasons unknown to me, closed its doors. Following law school I began a carrier as an attorney here in the Chicago area and formed my own law firm. Ten years passed and I did not touch my cameras.
It was not until 2004 that I began thinking about forming another gallery. This time, however, I knew lawyers not artists and I longed for the company of artists. After thinking about the idea for months, I finally decided to get the project off the ground and ran notices on every bulletin board I could find that catered to artists.
The idea for Margin Gallery was the same as its predecessor. Margin Gallery is a sanctuary of sorts allowing emerging and established artists to show their work where the editor is no one but the artist. There are no restrictions on the type of art shown. And no restrictions on the editorial content of the art shown.
I recently came to experience firsthand editorial dictatorship randomly exercised by gallery owners. Margin Gallery Members decided to have a show at a local gallery called Ossia. After many discussions, in the last minute, Ossia owner notified us that nudity was not allowed! Because some of Margin Artists’ work contains nudity, they would then be excluded from the show. These artists would be excluded simply because of the moralistic, didactic and moralizing nature of the restriction based on nebulous reasons and justifications. Margin Gallery as a group then decided to forego participation and cooperation with Ossia.
This sort of myopic behavior would not happen in Margin Gallery. We do not cater to the prevailing morals, and daily trend and ideas of beauty. We cater to the whims of the artist. Margin is a gallery by the artists and for the artists. We do not moralize, preach and dictate what art is and/or should contain, mean, imply, stand for or signify. And experiencing this freedom is the reason why Margin exists.
Margin Gallery has been very successful in the past two years where it has operated in earnest and with full membership. The current members and information about them can be viewed at the Margin website. We are actively looking for emerging or established artists who want to take a chance on themselves and do what they do best.
Category: One Question 6 comments »
January 21st, 2009 at 8:54 am
I understand all the reasons for starting an art collective, co-op gallery, etc but I still think the whole idea has a “pay to play” feel to it. Also, I don’t think the rest of the art world is very keen on co-ops as far as reviews, museum collections, collectors, etc.
I would put my energy toward other venues: respectable galleries that get reveiwed and visited by real collectors, university galleries, musuems – -
January 22nd, 2009 at 6:28 pm
I like Nima’s statements. I think Margin Gallery is another way to show art and I enjoy being in an inclusive group. We all choose different ways to show. I also show in other galleries and put work in public venues. It is all good. People should be surrounded by art at all times.
January 22nd, 2009 at 10:06 pm
I do not know what you mean by “pay to play.” If it means paying a minimal amount ($20/month) in order to gain the freedom to show your work free of any and all restrictions imposed by anyone but you, then this is a “pay to play” situation. I submit to you that “respectable” galleries is a matter of opinion. You seem to be falling in the trap of herd mentality where you assume that necessarily attention from the mainstream is a good thing. It may be and in the other hand it may not be. You cannot make that assumption and History has shown that consistently that which initially is rejected by the Mainstream finds its way leading it… only then to lose its lead to the next initially rejected idea. With all due respect, respectable galleries can kiss my ass.
January 23rd, 2009 at 6:45 am
“With all due respect, respectable galleries can kiss my ass.”
Hello Nima…it’s great that you feel this way. I wish I did too. Like I said, I don’t think the rest of the artworld is keen on co-ops, art collectives, etc…I’m I wrong about this? (The “apartment galleries” in Chicago are getting some fanfare but these are not really co-ops.)
Maybe I am over thinking all this stuff concerning galleries, where to show, etc., but my decisions are based on what I see…or at least to what I “think” I see in the artworld
I wish ALL artists luck in their pursuit of showing and exhibiting and for building a career – -
January 23rd, 2009 at 8:31 am
Look-I don’t know whether you are over thinking this stuff or not and certainly you should make decisions that you perceive to be best for you. Your decisions are not at issue here–at least for me. The object of my comment, and the root of it stems from an apprehension to pander to anyone… and especially to the Mainstream. The Mainstream generally caters to the lowest common denominator and so I do not see any reason to participate in that process.
I do understand that it is easier and a better bet to take the road of least resistance (and it is only human to do so)–And I would of course respect that, so long as that approach is not reflected in the end product.
January 24th, 2009 at 1:05 pm
I have a problem with complacency. I’ve known artists that have joined co-ops and felt that they made it and are part of an art scene and on the same level as if they were at Mary Boone. There are artists that get into commercial galleries and are happy with a show every year and a half. I think it’s good for an artist to push him or herself not only in their work but in their careers as well.