{"id":4206,"date":"2022-02-09T11:21:18","date_gmt":"2022-02-09T16:21:18","guid":{"rendered":"https:\/\/web.colby.edu\/thelantern\/?p=4206"},"modified":"2022-02-09T11:22:54","modified_gmt":"2022-02-09T16:22:54","slug":"questions-and-answers-julia-arredondo","status":"publish","type":"post","link":"https:\/\/web.colby.edu\/thelantern\/2022\/02\/09\/questions-and-answers-julia-arredondo\/","title":{"rendered":"Questions and Answers: Interview with Julia Arredondo"},"content":{"rendered":"

Yan Xuan, the Colby Museum\u2019s Curatorial Intern for the 2021\u20132022 academic year, interviews artist Julia Arredondo,  Lunder Institute for American Art Resident Fellow. Xuan’s questions led Arredondo to respond with two sets of answers, a choice the artist expands on in her introduction to this Q&A. <\/em><\/p>\n

I am a Gemini and believe whole-heartedly that there are multiple iterations of myself. Astrologically, Gemini is the sign of the twins. In thinking about this, I find myself code switching depending on where I am and who I am surrounded by. This pair of answers serves to represent my varying moods, but also serves the multiple audiences who might view these responses differently. The longer responses are how I interpret the questions for academics and institutional liaisons digging for deeper meaning within my work. The shorter answers are for my younger audiences and for the folks who value the authenticity of quip over a long-winded reply.<\/p>\n

-Julia Arredondo<\/p>\n

\"\"<\/a>
Julia Arredondo, Gemini<\/em>, 2020. Photocopy, wax, glitter, jewelry hardware<\/figcaption><\/figure>\n

 <\/b><\/p>\n

Part 1:<\/strong><\/p>\n

    1. As a zine artist and the founder of Vice Versa Press, where do you usually go (either online or in person) to discover new zines or zine makers?<\/em><\/p>\n

Because I began making zines at a time when zine culture was not as visible online as it is today, many of my connections to new zines and zine makers happened (and still happens) in person. I used to travel a lot to sell at various zine fairs and small publishing events, which helped me meet new folks around the country. There was a really great network of independent publishers and we would sleep on each other’s couches and explore new cities together. This helped solidify zine culture as a safe space for radical thinking and cultural exploration. I don’t travel as much as I used to, but my practice of making connections to folks wherever I am is very much still informed by my time as a transient zine vendor. Having just co-organized the Elm City Small Press Fest with Fannie Ouyang, I’ve been introduced to a completely new group of independent publishers in the Maine region.<\/span><\/p>\n

\"\"<\/a>
Ouyang and Arredondo at the Elm City Small Press Fest, 2021<\/figcaption><\/figure>\n

     2. Are there any projects or art practices you started or halted in response to the challenges posed by the pandemic?<\/em><\/p>\n

Absolutely. I decided to close <\/span>Vice Versa Press<\/span><\/a> and another of my publishing entities, <\/span>Curandera Press<\/span><\/a>. The pandemic provided me with time to think critically about the sustainability of these projects and I decided to retire them in order to make room for future business endeavors. Plus, I think I just needed a break from selling artwork. Pandemic disrupted the supply chain for many of my materials and shipping became increasingly complicated. However, at the onset of the pandemic I had just launched a new media entity, <\/span>QTVC Live!<\/span><\/a> which was my graduate thesis project. QTVC Live! is a DIY Home Shopping Channel that I run via social media. Launched in January of 2020, QTVC Live! was able to flourish during the height of quarantine by providing entertainment and access to local Chicago artists.<\/span><\/p>\n

     3. What would you say is the greatest challenge of being an artist and an entrepreneur at the same time?<\/em><\/p>\n

Excellent question. The greatest challenge of being both artist and entrepreneur is making time to relax. I truly believe that artists are misrepresented as being flighty, scattered, non-professionals when in reality being an artist is a full-time practice. Combine that with navigating commerce and there’s barely enough time to sleep. And because I come from a working class background, I am not afforded the privileges of familial support or home ownership that might make this journey easier. It’s really quite challenging and I don’t feel I would identify as both if it weren’t completely necessary. <\/span><\/p>\n

\"\"<\/a>
Cards for Arredondo’s self-run businesses<\/figcaption><\/figure>\n

     4. When did you know you wanted to be an artist?<\/em><\/p>\n

I knew I wanted to be an artist when I was a kid. I was always drawing and exploring my creativity. My father helped solidify this vision when I was younger because he too wanted to be a professional artist. But as a dark-skinned, Mexican-American man growing up in the late 1970’s, the opportunities for him to follow that path just weren’t there. He fed his enthusiasm for arts, music and culture to me when I was growing up and much of what I do as an artist pays tribute to him. <\/span><\/p>\n

Part 2:<\/strong><\/p>\n

     1. As a zine artist and the founder of Vice Versa Press, where do you usually go (either online or in person) to discover new zines or zine makers?<\/em><\/p>\n

I find artists\/zine makers on Twitter and Instagram these days. I keep my eye out for new small press startups and indie brands. I love indie brands. I’m buying less zines these days, to be honest. Right now I’m buying hoodies. Artist-editioned hoodies.<\/span><\/p>\n

\"\"<\/a>
Julia Arredondo, Guide to Dating Gangsters Vol. 1<\/em> (zine), 2010<\/figcaption><\/figure>\n
\"\"<\/a>
Julia Arredondo, Spells to Kill Your Boss<\/em> (zine), 2020<\/figcaption><\/figure>\n

     2. Are there any projects or art practices you started or halted in response to the challenges posed by the pandemic?<\/em><\/p>\n

I halted Vice Versa Press and Curandera Press, and sold off a lot of the merchandise. I started QTVC Live! (DIY Home Shopping Channel) in January 2020 so that’s still happening. I briefly also co-ran COVIDtv at the very beginning of quar. COVIDtv was a Chicago-based showcase of artist-made Instagram Live content. It was so dope, but overwhelming also.<\/span><\/p>\n

\"\"<\/a><\/p>\n

Visit COVIDtv on Instagram<\/a><\/p>\n

     3. What would you say is the greatest challenge of being an artist and an entrepreneur at the same time?<\/em><\/p>\n

The biggest challenge is not being shouted out for being a badass betch<\/span><\/p>\n

\"\"<\/a>
Julia Arredondo, Self Employment<\/em>, 2017. Screenprint, adhesive sticker on paper<\/figcaption><\/figure>\n

     4. When did you know you wanted to be an artist?<\/em><\/p>\n

When I was a kid. There was never a doubt in my mind that I was an artist. Can’t explain it. Both sides of my family are made up of really talented, smart, and interesting people. Lots of visual artists, musicians, business people, articulators, organizers, comedians.<\/span><\/p>\n

\"\"<\/a><\/p>\n

Julia Arredondo<\/strong> (she\/they) is an artist entrepreneur who recently completed her master of fine arts at Columbia College Chicago. Originally from Corpus Christi, Texas, Arredondo is heavily influenced by the small, family-based businesses she grew up around. Formally trained in printmaking and specializing in artistic forms of independent publishing, she founded Vice Versa Press and Curandera Press. Her latest endeavor, QTVC Live!, a DIY shopping network for artists and underrepresented creatives, is currently in its second season of production in collaboration with the Cleveland Museum of Contemporary Art. Arredondo is a recent recipient of the Hyde Park Art Center\u2019s Artist Run Chicago Fund grant. She believes that open dialogue around creative finances is a much-needed form of class representation in the arts.<\/p>\n","protected":false},"excerpt":{"rendered":"

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