We’re excited to introduce you to the always interesting and insightful Aneesa Shami Zizzo. We hope you’ll enjoy our conversation with Aneesa below.
Aneesa, thanks for taking the time to share your stories with us today It’s always helpful to hear about times when someone’s had to take a risk – how did they think through the decision, why did they take the risk, and what ended up happening. We’d love to hear about a risk you’ve taken.
My husband and I decided to open our own studio in 2019, so we found a run-down unit near our apartment to pour some love into. It had been abandoned mid-reno and was completely bare—the entire space was ripped down to just studs and subflooring! The ability to build something literally from scratch was exactly what we wanted. We worked with a contractor to fix up the space (adding electric and drywall, to start), trading TI for several months of rent with the property manager’s blessing. All of the cosmetic renovations we completed ourselves, spending hours painting the gallery white, adding track lighting, and picking out and installing the (right) flooring. Our investment in this property was a huge calculated risk, using personal funds to renovate a short-term leased space, but we believed in our vision to create a place where people could gather and share their work.
Our opening date was just days before L.A. shut down for the COVID-19 pandemic in February 2020. We began our first year with a solo exhibition of my own work, celebrating with family and friends, but soon had to quickly close our doors. The pandemic and all of its unknowns completely derailed our initial vision, forcing us to put many ideas on hold. Starting a new business venture while simultaneously navigating the pandemic was difficult, but we took our first two years slowly. We focused on interacting with our community primarily online or by appointment, collaborating with local artists and curators to create programming. We held open hours by appointment, selecting only three projects a year to exhibit in our gallery while we gained our footing. And slowly, as the world adjusted to life with COVID, we began to incorporate more in person programs, like opening receptions and artist talks. Our exhibition calendar filled up and more folks attended our events, many of whom live locally in Palms, Mar Vista or Culver City neighborhoods. While the road seemed winding and uncertain at the time, our journey over the last few years have led us to exactly where we envisioned our business to be: an unconventional gallery on the westside with a growing reputation.
Aneesa, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?
As working artists, we prioritized a large studio space for ourselves when renovating our current location; over two thirds of our space is studio, still sporting the raw subfloor, un-mudded drywall and plastic-covered ceiling. It allows us to take risks creatively without worrying about damaging clean floors and white walls. We have enough room to pick up and work on several projects at a time, either personal or business-focused, learning how to juggle everything as we go. The heart of our business lies in this shared space, and has become the foundation from which all other projects flow.
Visitors enter our space through the white-walled gallery showroom with rotating feature exhibitions. Currently, we are showing a solo exhibition of work by L.A.-based artist, Ben Cuevas (they/them), titled Non-Binary Code, on view through January 2024. This exhibition features large scale, handknit wall hangings and an interactive installation exploring gender identity through coded meaning. Recently, we’ve begun to focus solely on featuring underrepresented art, specifically from fiber, craft, and social practice artists. Ben was able to use our front space to complete their latest body of work for a few weeks before their solo exhibition opened, which has given us the idea to create a residency-based program that hosts local artists for a number of months with a culminating exhibition of their work.
Once inside the gallery, folks can enter our studio space through a set of double doors on the back wall, which is always in a state of change and chaos as we tackle new ideas and projects. Having both the clean space and the working studio side by side has helped us develop our identity as an artist-run project space. Our services and programs reflect this symbiosis, offering workshops, collaborative exhibitions with fellow artists, and even a few performances for our community.
When the pandemic was at its height and many of our programs were forced online, we developed production services that simplified our ability to share Zoom-based artist talks via live streaming on YouTube. These services have become another income stream for us, and we’ve worked with local organizations to produce live streams of their panel discussions and other programs. Recent projects include producing many of Zocalo Public Square’s programming, including: “How Is Art A Weapon In War?” at The Music Center here in L.A., “What Kind of Monuments Do We Deserve?” at the Two Mississippi Museums in Jackson, MS and “Why Isn’t Remembering Enough to Repair?” at the National Civil Rights Museum in Memphis, TN. Our client list is steadily expanding, and we are always looking for new folks to work with.
Our business identity primarily stems from our physical space in the Palms neighborhood of L.A. By keeping our attention on our local community, we’ve been able to hone in on specific services and enriching programs for our patrons. As artists first, and entrepreneurs second, we aim to create a fulfilling place for folks to gather and share ideas. This way of working is reflected in every project we commit ourselves to, whether online or in person, and we hope to inspire other folks to pursue their creative vocations.
What do you think is the goal or mission that drives your creative journey?
I am really passionate about creating a more inclusive art community, both for artists and patrons. There is so much gatekeeping in the art world, especially in larger cities like here in L.A., and it’s a huge turnoff for me. I really love art, and am driven to share that love with others, which is why accessibility in the arts is so important to me. I think everyone should feel confident in their ability to experience art and be creative, which fuels Studio 203’s mission to provide a platform for folks to gather and learn more about local artists.
Have any books or other resources had a big impact on you?
There are so many important resources to reference, but my top three include:
“Getting Your Sh*t Together: The Ultimate Business Manual For Every Practicing Artist,” by Karen Atkinson & GYST-Ink
So much important information in this textbook! It breaks down all aspects of being a business-owner-as-artist, all the way down to keeping artwork inventory and how to write a cover letter to suggested budget sheets and how one defines “fame.”
“Art & Fear: Observations on the Perils (and Rewards) of Artmaking,” by David Bayles and Ted Orland
I’ve read this book nearly every year since my high school art teacher handed it to me in 2010. It is always humbling to know others have the same fears that I do when making art.
“Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art,” by Michael Shnayerson
More of a look at what I don’t want to be as a gallerist, and who I don’t want to work with as an artist. This book has inspired me to continue on my own path and create an art world I’d like to see, rather than what it is currently.
Contact Info:
- Website: www.thestudio203.org
- Instagram: @thestudio203
- Youtube: https://www.youtube.com/channel/UCkp8wUEqDBEPfPbKCheBEUA
- Other: https://www.youtube.com/channel/UCJmBIKSW3UaDuMNQ3RG-Tcw
Image Credits
Main photo is by Marianna Jamadi, all other photos: Stacey Meineke