Serving Up Snax Magazine

Snax Magazine launch at Dylan Gallery. Photo courtesy of Ashley Butler.

If you’ve ever fallen so madly in love with an exhibition that you’ve wished you could wrap all the pieces up and carry them around with you always, then Snax Magazine might be designed with you in mind. With next to no text and photo spreads of work centered around a specific theme for each issue, flipping through the new collaborative art magazine gives you the gallery experience on-the-go.

Snax Magazine was conceived by Ashley Butler in a Eureka-moment set to 3am, Brooklyn-time. While successful in her work with an advertising agency, Butler’s pent-up creative energy was bursting for an outlet. As Butler herself attests, the mission of the magazine evolved around that insomniac experience. Her late-night decision to raid her subconscious instead of the fridge led to a fascination with the idea of hunger – the kind that can’t be satisfied with sandwiches and ice cream, but with passions and dreams.

“I wanted [the magazine] to relate to people having to take a break or to feed or satisfy creative hunger,” Butler said, “just a little taste of your passion and pursuing something outside of your daily life.”

After reaching out to a few friends who shared Butler’s need to create, the first issue took shape as artists began submitting their work – and their input. Relying primarily on word of mouth and the support of connections within the art community, Butler aimed for a limited edition print.

“I didn’t want  money to be a huge factor and prevent me from putting it out,” Butler explained. “I think when you have a good idea or a vision and people believe it, they’re willing to support and help you get it done. ”

Butler hopes to stay away from the tendency of arts magazines to become catch-all cultural publications. For this reason, as well as a desire to stay away from influencing subscribers’ interpretations of the work, the magazine will remain primarily visual. In addition, Butler hopes that Snax will inspire community and communication among the artists involved.

“I want individuals to have an idea and want to collaborate with somebody,” Butler said.

The first issue of Snax brought together artists of various ages and mediums to tackle the subject “Perceptions of Perfection.” While the April 28 launch at Dylan Gallery in Northern Liberties brought the artwork together in real-space, the magazine preserves the momentary art-treat for anyone wishing to purchase a copy.

Currently, Snax Magazine is accepting submissions for the next issue, focusing on the theme of “Strength.” To submit, send an email to info@snaxmagazine.com by August 15.

Colleen Brand
Colleen Brand
Gerry Tuten’s paintings are deep encounters with the natural world. She paints woods, water, and sky with a physical vigor that reflects her spirited engagement with the environment and her urgent pursuit of personal expression.
Gerry Tuten
Gerry Tuten

Gerry Tuten’s paintings are deep encounters with the natural world. She paints woods, water, and sky with a physical vigor…

Gerry Tuten’s paintings are deep encounters with the natural world. She paints woods, water, and sky with a physical vigor that reflects her spirited engagement with the environment and her urgent pursuit…

Gerry Tuten’s paintings are deep encounters with the natural world. She paints woods, water, and sky with a physical vigor that reflects her spirited engagement with the environment and her urgent pursuit of personal expression.…

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural lines describe the play of light and wind across the water, while softer marks add life to the slow movement of rain laden clouds. Areas of sky, water, and land are knit together with brushstrokes to represent their seamless interaction under the common conditions of weather and time. In my acid etched tin pieces, areas of watery marks are left visible to suggest the underlying layers of the landscape. I  do not strive to recreate the particulars of  places that inspire me, but rather the timelessness of the elements of light, weather, and geometries that inform them. My work is not about how the landscape looks as much as about how the landscape makes me feel. I try to create an image that allows the viewer to engage with it in such a way as to invite similar introspection.
Kirby Fredendall
Kirby Fredendall

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural…

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural lines describe the play of light and wind across the water, while softer marks…

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural lines describe the play of light and wind across the water, while softer marks add life to the…

Han Wang
Han Wang
Carla J Fisher uses thread and throwaways to symbolize how even the tired, used, and totally spent can experience new life. Through free motion machine embroidery, she seeks the viewer’s visceral response of surprise as they realize the sculptured material is simply thread.
Carla J Fisher
Carla J Fisher

Carla J Fisher uses thread and throwaways to symbolize how even the tired, used, and totally spent can experience new life.…

Carla J Fisher uses thread and throwaways to symbolize how even the tired, used, and totally spent can experience new life. Through free motion machine embroidery, she seeks the viewer’s visceral response…

Carla J Fisher uses thread and throwaways to symbolize how even the tired, used, and totally spent can experience new life. Through free motion machine embroidery, she seeks the viewer’s visceral response of surprise as they…

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