Swee(t)art issue # 7

Obi Kaufmann created Swee(t)art zine in the late summer of 2006 as a way to contribute to the Bay Area contemporary art scene as more than an artist. The first issue featured interviews with Lexa Walsh (whose photo graced the cover), Jeff Riley, and the artwork of Alex Rosmarin, Dan Nelson, and other tidbits. Obi inkjet printed every page (many in color) and hand-distributed the 100 or so copies to various galleries in Oakland and San Francisco.

The plan was to self-publish the zine, featuring new contributing art articles, interviews, and illustrations, on a monthly basis. The fact that this schedule was kept through issue #4 is amazing, particularly when you consider the fact that Obi designed, printed, collated, and distributed each copy by hand from his apartment in Oakland, all at his own cost.

The first six issues featured interviews and art by the likes of Brian Caraway, Bert Bergen, Travis Browne, Carl Auge, Junk Pirate, Val Britton, Zefrey Throwall, Bob Jew of Front Gallery, Ezra Li Eismont, Tiffany Black, Crystal Morey, Queequeg, Jessica Serran, and Alex Kopps.
All this plus articles on Boontling Gallery, Swarm, collector Todd Hodes, and many show reviews (both brief and full-sized) from contributing writers.

By issue #6 (March 2007) it was clear Swee(t)art had found it's voice and rhythm, focusing almost exclusively on the emerging artists of Oakland and the spaces that exhibit them. Each issue brought the individual artistic process to the forefront within the artist and curator interviews, a position further expressed with the fact that each full-color cover featured not an image of art, but of a snapshot of the artist. Issue #6 coincided with a Swee(t)art group show at Red Ink Studios in SF, curated by Obi.
It is also noteworthy that Swee(t)art has done a decent job of giving equal space to both women and men, which (sadly) is exceptional in the contemporary art scene.

Only Friday, July 13th, Swee(t)art #7 made its official debut (although preview copies have been circulating for a week or so) with a launch party and the Obi Kaufmann solo exhibition "Spaceship" at Cricket Engine Gallery in Oakland. Without a doubt, this is the best issue of Swee(t)art thus far.

About twice as thick (36 pages) with double the printing (300), issue #7 (the West Oakland issue) features what you come to expect: interviews, illustrations, show reviews, and other images. With the exception of the covers, the entire issue if black & white, which doesn't hurt the overall quality as much as you might think. Contributing writers Lexa Walsh and Theo Auer produced articles on Sarah Filley, John Abduljaami, and Desiree Holman. A show review for Casey Jex Smith and interviews with Scott Oliver, John Casey, Deth P. Sun, Bruce Beasley, and Adam Hatch of Lobot keep this issue bursting with reading material. Michael Mellon's big-rig illustration are interspersed throughout the zine and add some breathing room to all the text. The zine also comes with a die-cut, full-color John Casey sticker.

Obi wisely has settled into a more realistic quarterly publishing schedule, which should keep the quality up while still having relatively current content. Swee(t)art is now officially about "Oakland California Visual Art", which, in my opinion, it always should have been. The color cover features artwork rather than an artist snapshot (at least for this issue) which makes it much more appealing at a glance. And even though the size is bigger, the price remains $3.00.

The Lobot interview, where very intelligent answers are given to relevant questions for this West Oakland warehouse art space, is top of the list. John Casey's interview is intelligent (expect no less from that guy), and the Deth interview personifies the artist perfectly. It is also very, very refreshing to see interviews and articles with artists outside of the "hipster" classification, like legendary Oakland sculptor Bruce Beasley. I hope this trend continues.

But it's not all sugar and sunshine for Swee(t)art #7. This issues, like many critique compilations (this blog included), heaps nothing but praise on everybody involved. I can understand the apprehension at publicly criticizing the folks nice enough to become writing subjects, but this issue is clearly promotional without any counterpoint. Past issues of Swee(t)art have at least featured many short show reviews that were opinionated and critical. I also feel that the color space which is at a premium (only the inside-covers and back cover) was squandered. Space that could have been used for Deth P. Sun's or Adbuljaami's artwork (which both would have looked great in color) was used to promote the Cricket Engine show and Obi's involvement with the Nest Home Design gallery. While I don't think these "advertisements" are necessarily inappropriate to the zine, I think they would have not suffered from being in black and white.

Launching with the premier of issue #7 is the Swee(t)art website (in theory... it still lacks content in every area). I'm anticipating it will eventually feature past Swee(t)art interviews, bonus reviews and art, lots of links, art reception pictures, and upcoming events.

To get the latest issue of Swee(t)art, or to contribute to future issues, contact Obi at sweetartmagazine@hotmail.com.