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20 North Main St (also enter on 224 Benefit Street) Providence, RI 02903

Open today
10am–5pm

RISD
MUSEUM

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October 16, 2013

Office Hours: Judith Tolnick Champa on Making a Magazine

  • 10_16 OH Champa - MAKING A MAGAZINE

Cover of Art New England: Contemporary Art and Culture, November/December 2012. Cover Image: Christian Thompson, Black Gum #2, 2007. Promised gift of Will Owen and Harvey Wagner. Courtesy Hood Museum of Art, Dartmouth College. © Courtesy of the artist and Gallery Gabrielle Pizzi, Melbourne

10 am – 12 pm, Contemporary Art Gallery

Part of Locally Made’s One Room.

In Office Hours, artists, designers, experts, and brainiacs take the doors off of their offices and studios. Stop by for conversation or advice.

There are many factors that inevitably condition (or arrest) careful planning and executing of the increasingly rare, even precious “hard copy” object that is a magazine. Likewise with Art New England, from early conception through execution, variables occur and working with a team of people is necessary in this business, as any productive venture. I am eager to share experiences about Making a Magazine with visitors to One Room at the RISD Museum.Judith Tolnick Champa

Judith Tolnick Champa is a hybrid, conjoining contemporary art curating and editing. Currently Editor-in-Chief of Art New England magazine, the bi-monthly art magazine now 30+ years old; previously, she was director of curatorial affairs at Brown University’s David Winton Bell Gallery and director/curator of the former Fine Arts Center Galleries, University of Rhode Island, Kingston. She originally came to Providence for her MA in the History of Art at Brown University, and discovered there a passion for teaching with real objects, in lieu of their virtual representation. That required a talent for conception and installation but also writing. Her evolution towards curating a magazine, selecting a theme and then writers, editing the “content,” influencing the layout, has been a creative challenge. Like artmaking, the process is ongoing. She is always involved in the next iteration, anticipating and preparing for it, similar to any art gallery or museum programming sequence.