AUTUMN STUDIOS

We caught up with Holden from Autumn Studios to talk a little bit about what it means to run a gallery in Toronto, and what we can expect to see from Autumn Studios in 2016. 

 

Can you say a little about what Autumn means to you, and why you started it?

Running or being part of an artist space was always something I've wanted to do and I was lucky enough to have friends around me that felt it could really become something. Autumn started as four people, the time and energy they put in to help make it a reality is something I'm super grateful for. Autumn has been my day-to-day for the last 16 months so to me it means everything. Having the opportunity to put on shows for some of my favourite artists and being able to interact with new people on a daily basis isn't something I take for granted.

 

Do you find that all the different spaces you've occupied as a gallery (and now a publication) have shifted the type of works you're interested in showing? Do you think the "Roncesvalles Autumn" and the "Dupont Autumn" and Autumn Quarterly are all separate in some way? Or does the space not impact it?

The Roncesvalles location was a great beginning place and helped me form a better idea of how I wanted to run a gallery. Moving to the Dupont location granted me the freedom I wish I had on Roncesvalles. I wouldn't say that my interests changed but being on my own made it easier for me to put on the types of show I had in mind for Autumn since it's inception.

Sinking Into You, 2016, Mickey Mackenna, Autumn Gallery

 

What originally attracted you to creating a publication for Autumn? Have your initial thoughts about self-publishing changed since the first edition?

My parents were a big influence on me - they used to make zines & comics. The idea to give Autumn a publication was always there but took me a while to execute it properly. The first issue was on newsprint and featured one artist; the second issue centered on The Fourth Autumn group show and was printed in a traditional magazine style. Neither of these formats really did it for me, issue 3 and onward will be comprised of three artist books packaged together.

 

In a similar vein - have you found yourself more sensitive to works that occupy spaces both on the wall, as well as in books? Has running both a publication and a gallery shifted the way you think about installation/ graphic design?

In my mind I don't see the difference between a well curated artist book or a gallery show. Each one is a total representation of the artist. The newest issue of the quarterly, which features Sydney Allen-Ash, Jalil Bokhari & Curtis Randolph, is something I'm really excited about. Working closely to bring together unique photo books for each artist while still keeping a general aesthetic across all three is the same to me as an artist occupying a gallery space. The walls or the book, the framework is there.

 

I know that Autumn has been a space for both "parties" and "openings" (not that those are always different things) - do you think there's a big crossover between these cultures?

Yeah there definitely is. In the past I've done "crossover" events at Autumn with musicians & artists, I think the key is being able to represent all artists in a way that doesn't let one detract from another. Going to an "opening" to find out that the art has been shoved in the back corner is something that happens too often.

 

What do you think the most important moment in your career so far has been? What do you think it will be in the future?

Making the decision to close autumn... getting the chance to reassess what I want out of it and how I want the gallery to be represented in the future is the most important thing to me right now.

 

Keep up to date on the cool tings that Holden's bringing to you through Autumn in these places:

www.autumnstudios.net

@autumnstudios

@corpraves