See You Next Thursday

See You Next Thursday™  (SYNT™) is a weekly Instagram-based art auction featuring the works of emerging artists. The platform provides the opportunity for artists to share and sell their work to a growing community of artists and collectors. SYNT directly supports independent artists who are in the process of establishing their career, while making art accessible and affordable for buyers. All featured work is submitted to SYNT for auction at a starting bid price of $100 USD. SYNT was founded by Calli Moore, an artist and curator based in New York, NY, and the project encapsulates Moore’s passion for connecting and cultivating a community of artists. SYNT has been featured in publications such as The Wall Street Journal, Monopol Magazine, and Artsy. The upcoming Auction features work by Terrence O'Connor and the proceeds will be donated to the BLM movement.

Interview with SYNT’s Calli Moore

Questions by Andreana Donahue

Hi Calli! When did you establish See You Next Thursday? Can you talk about your background as an artist and what initially inspired you to pursue this idea?
I established SYNT in late 2017/early 2018. The idea came to me after visiting several artist’s studios and realizing how much work they had in their studio that was “collecting dust” so to speak.  Being an artist myself and a very social person, I have accumulated a network of contacts in the art world, including many fellow artists, collectors, curators, dealers, writers, etc. So I thought to myself, I could use that network to connect the artist with the collector and move some of this work. It felt like a no-brainer to use Instagram, the number one social media platform used by artists, to engage both parties.

How do you usually find and develop relationships with artists you’re interested in? 
Instagram, going to openings, and word-of-mouth recommendations. It’s always organic. 

Do you feel your perspective as an artist has allowed you to provide meaningful experiences for the emerging artists you support? In what ways? 
Absolutely, I think I am more sensitive to their needs. SYNT has no hidden agenda; the goal is to promote and connect the artist it is featuring. It’s by the artist, for the artist.  

For each SYNT auction, bidding starts at $100 and continues for a week in Instagram’s comment section. The immediacy and inherent transparency seems to be an important element of this model. Can you talk more about this?
I chose to use the auction model to increase collector engagement. Bidding can be a really fun and stimulating experience. Keeping the collectors actively involved each week is key. From the artist’s standpoint, the level of transparency of the auction is not for everyone. I always stress to the artist that the final bidding number does not reflect the value of the piece up for auction. The exposure of participating in SYNT is the primary benefit because the connections and opportunities that follow can be extremely fruitful for artists long-term, far outweighing the immediate monetary gain of selling a piece in the auction. There are countless times artists have come to me after an auction saying things like, “so-and-so has collected 3-4 more paintings from me after winning a piece on SYNT,” or, “I have a show now because this curator found my work through SYNT.” I live for these moments. Nothing makes me happier than seeing amazing opportunities come to fruition for the artist because of SYNT.   

How do you cultivate your audience and foster connections? Why do you think collectors are drawn to your auction platform, as opposed to buying from more traditional brick-and-mortar spaces?
The audience has grown organically via word-of-mouth and the power of social media, coupled with my love of connecting with anyone and everyone. The press I’ve received over the years is always helpful, too. The people I have met through SYNT are truly amazing. For example, I’ve connected with Bill Shapiro, former editor-and-chief of LIFE Magazine, several investors, collectors from all over the world, and even some celebrities. I like to keep in touch with my collectors and get to know them personally. Some of them have even become close friends. I think they perhaps do not favor it more than the brick-and-mortar, but it does cater to the buyer’s demand for immediacy, convenience, and simplicity in the buying process.

Can you share some insight into your curatorial process? Have you noticed formal or conceptual similarities emerge over time across works you’ve selected?
I would say my curatorial process for SYNT definitely lends itself to be more graphic works that are 2D because the work is sold online only and I want the collector to have a good understanding of how the work looks in real life. I also only choose artwork I truly love and  believe in. 

Flora/Fauna at Josée Bienvenu and YIN/YANG at 0-0 LA both looked fantastic. Can you describe your distinct visions for these group exhibitions? How did you approach these projects differently? 
Thank you! Both shows were so much fun to curate and I am grateful to have had the opportunity. Both projects centered around connecting emerging artists with mid-career artists.  YIN/YANG was more focused around connecting East Coast artists with West Coast artists. I put a lot of time and thought into that show and even coordinated an after party so that everyone could spend time together and celebrate the success of the show. Flora/Fauna was a more serious show with the theme being focused around climate change. I had the opportunity to work with some fantastic mid-career artists for the first time such as Alex Prager and Paul Anthony Smith. Curatorial ideas come to me all the time and I constantly am thinking of artists I want to show together and what kind of dialogue would be created by doing so. I find curating shows helps me think more in depth about messages I want to share with the world and deeper dialogues I can create with the artists involved. The in-person experience and social aspect of the show is just as important to me as the show itself. It always circles back to connecting people. I guess you could say I am a true-born connector. I claim that role in the art world and realize its importance. 

The Magic Hour was realized as having both a physical exhibition and online auction component. How did this partnership with Artsy come about?
Yes, I felt it was time to bring the work together in a physical space alongside the auction. That show was incredibly challenging to pull off and I had a lot of help that I am extremely grateful for.  There were a lot of artists in that show that I felt it necessary they be exhibited in a physical space so that the collectors could see the work in-person. It was also a celebration of the success of SYNT over the year and yet another reason to bring artists together socially. The show received a lot of attention and garnered many new relationships for the artists involved.  

An upcoming auction features work by Terrence O'Connor and the proceeds will be donated to the Black Lives Matter movement. Can you share a bit about O’Connor’s work?
After taking a short break with SYNT due to COVID-19, I am excited to start the auction up again with Terrence’s work. He and I decided it would be a great idea to have the proceeds go to BLM, specifically The Equal Justice Initiative. After finding Terrence’s work through Instagram, I immediately set up a studio visit with him. He is an incredibly skilled painter and also a very talented digital artist. His work is largely autobiographical and he draws from memories and photos. I find his paintings to be incredibly poetic and objectively beautiful. 

What are some priorities that come up for you when thinking about collaboration or building a robust community of artists? 
The artists I choose to work with are artists I genuinely respect and in whom I see great talent and potential. My priority is always to use all the resources I have to connect these artists with the right people to further their careers. I am happiest when the community in which I am involved is thriving. I do not believe in jealousy or competition in the art world. We all gain from one another when we are all succeeding.   

What have you learned from SYNT so far? How do you anticipate it progressing or expanding in the future?
I have learned the power and importance of taking on a “service role” in the art world and the great satisfaction that comes from performing that role. I’ve spoken with investors before, but expanding SYNT has its own set of nuances and considerations. I think the size and simplicity of the SYNT model plays a significant role in its success and contributes to the magic of SYNT. I don’t want to change the model if it's not broken. However, during quarantine, I have had a lot of time to reflect and think about my role in the art world and what the forecast of my 10-year plan will be. In addition to SYNT, my curatorial projects, and being an artist, I am in the early stages of planning to build a community center or residency unlike any other that currently exists. It would be a 100% sustainable living residency that incorporates renewable energy and sustainable architecture.  Environmentalism has now become a huge passion of mine, as well.  

How do you navigate your time between SYNT and your own studio practice, as well as your role as Inventory Manager at Lehmann Maupin? How do these aspects of your life influence one another?
Great question. The balance has been a challenge. But first, let me stress how important I think it is for an artist to involve themselves in other roles of the art world if they feel inclined to do so.  I used to have an internal battle over my choice to work a 9-5 job, run an auction, curate shows, and be an artist. I felt deep down I had to choose one thing to be respected in the art world or taken seriously, and I was not allowed to do it all. I shed those insecurities when I realized all of the choices I have made, all of the experiences I have had, and the people I have met would have never happened had I chosen to only paint in New York. Working at Lehmann Maupin has connected me with several amazing mid-career artists and curators. It has also helped me to gain a deep understanding of how a gallery functions at a high level. I now understand what a gallery of that caliber looks for in an artist they want to represent. SYNT has connected me to so many phenomenal people as I mentioned earlier, and all of these things have been incredibly helpful for me personally and as an artist. All of these opportunities have provided different learning experiences and ways to cast my net a little wider in the art world. In 2019, I decided to move into a live/work space which has helped me tremendously as far as being able to maximize my time in the studio (which is conveniently my basement). I wake up early, I write down the goals I want to achieve each day and stick to that schedule no matter what. I believe having a busy schedule makes one more productive. 

What advice would you give to an artist starting their own initiative or passion project?
My advice is to just do it and don’t question it.  Don’t worry about what people will think of you and do not fear failure.  If your intentions are pure and good, it can only benefit you in the end.

Are there other artist-run projects or spaces you find inspiring or essential right now?
Well, obviously I am a huge fan of MAAKE Magazine. Hats off to you and congrats on all your success! I also love Drawer, founded by Corydon Cowansage, and Good Naked, an artist-run space just founded by Jacqueline Cedar. The more artist-run initiatives, the better.  

What’s coming up next for you and SYNT?
I am in a group exhibition titled “Zip City” curated by MAAKE Magazine (thank you for including me!) at Left Field Gallery in Los Osos, CA, opening August 1st. I will be focusing a lot of my energy this coming month in the studio as I have delved back into oils and have been moving in a new spiritual direction with my painting. I will also continue to work with new artists and host auctions on SYNT with the goal of incorporating more benefit auctions into the mix.