Material Metamorphosis – An Interview with Alex Ebstein

Art, community, and curation inspire Ebstein’s unique Baltimore-based practice

Alex Ebstein discusses her journey from publishing to founding galleries, using unconventional materials, and navigating the art world. She reflects on community, inspiration, and balancing her roles as artist and curator.

Amid the vibrant intersection of contemporary art and alternative spaces, artist and curator Alex Ebstein has crafted a distinct, tactile voice that challenges traditional expectations. Her approach to mixed media—often featuring unexpected materials like yoga mats and gym equipment—transforms everyday objects into thoughtful explorations of wellness culture, self-help, and modern aesthetics. Based in Baltimore, Ebstein has cultivated a dynamic presence in the art world, both through her innovative work and her role as a curator, fostering platforms for other emerging artists. Her exhibitions have graced renowned venues from New York to Rome, and her eye for creative detail shines equally in her own art and her curated projects.

Alex Ebstein’s work revitalizes contemporary art through daring material choices and profound thematic exploration, making her a captivating, boundary-pushing artist.

In this exclusive interview with WOWwArt Magazine, Ebstein shares her journey from turning down a promising media career to diving headfirst into the Baltimore art scene. We explore her experience founding galleries such as Nudashank and Resort, her insights into blending artistic and curatorial practices, and the ways in which her roles as artist, curator, and arts advocate harmonize. Ebstein’s work embodies a balance of intensity and playfulness, making her an essential figure in the contemporary art landscape and an inspiring force for future generations.

How did turning down the Condé Nast contract influence your decision to pursue a career in art rather than a more traditional media path?

I always wanted to be an artist, but had some initial aspirations to work in art publications and enjoyed the pressure and group effort of completing a magazine by the deadline. I was incredibly fortunate to be recommended for an internship as an art assistant fill-in for Lucky Magazine, working with creative, inspiring women on that team. I wanted to stay where I was, but the jobs available at the time were floaters with LONG contracts, and I couldn’t imagine being a new person every month. I had friends in Baltimore from attending undergrad there and knew that the scene felt stable, exciting, and affordable. I moved back and started an art blog to reacquaint myself with galleries, studios, and artists in the city. For many years I balanced my studio work with freelance writing for Baltimore City Paper, BmoreArt, and a few national publications. I think having multiple creative outlets and a love of the extreme pressures of press deadlines helped develop my desire to work collaboratively.

What inspired you to start Nudashank, and how did running that gallery in Baltimore impact your development as an artist and curator?

Curating and starting a gallery were very natural next steps for me in a post-2008, smaller-city art scene. My gallery partner and I were concerned about the fragility of the ecosystem – galleries that were beloved were closing, and most opportunities for emerging artists were in spaces that were not entirely dedicated to art. We decided to turn our 900ft² room in a live-work warehouse space into a 100ft² bedroom and an 800ft² gallery. We wanted to have a space where art came first and to focus on strong shows that were well-curated and installed, documented and shared broadly via social media platforms. Running a gallery felt like an important, reciprocal relationship with the community I had been living in and enjoying – a way to contribute and create opportunities for other artists. It developed my eye, and my confidence in conducting studio visits, organizing exhibitions, and championing the work of my peers. I think it also helped me to hone my own voice and studio interests, while still being able to engage with work across different media and ideas.

How has your role as both an artist and curator shaped your approach to creating and showcasing art?

Running a space and curating increased my ambition with installation, and allowed me to develop a mutual sense of trust with my collaborators, be it in the role of curator or artist. I like the tensions and unexpected outcomes of another person’s reading of my own work, or what happens when I offer a new context for work that I am curating. I think they contribute to one another and strengthen each area.

In what ways has social media helped you promote your galleries and connect with the wider art community?

Nudashank was an early adopter of sharing images on social media platforms (Instagram did not yet exist in 2009), and utilizing free platforms to build a broad audience. It helped establish the small DIY gallery (and the two other spaces I ran, Phoebe and Resort) as a place worth following and provided a deceptive appearance of professionalism, even though we were learning on our feet. In the age of Instagram, I have a more cautious relationship with social media – I really value the experience of viewing art in person and have been making work that feels harder to fully appreciate in photos alone. So, in many ways, social media has provided opportunities and connections while also creating a feeling of distance or abbreviation.

What was the transition like from working in publishing to focusing on your studio practice and curatorial work?

I have never not had a day job, or many, many gig jobs stacked up to 40+ hours to pay the bills, taking pressure off of my studio work – even though my studio practice and curatorial work have made up a significant part of my income for more than a decade. I was a full-time curator for Goucher College between 2018 and early 2023, which was an exciting and rewarding position, and eventually led to my current role running the Rubys Artist Grants – yet another way to work with artists and support their practices.

How do you stay inspired and motivated in both your artistic practice and your curatorial endeavours?

I am inspired by my peers and learning new skills, being comfortable in the awkward stages of being a beginner. I love to talk to artists about their practice, their ingenuity, and their goals. I am kind of a cheerleader at heart, I get energy from being in the community and celebrating successes. I admire so many people I have worked with, and others I still hope to work with, and the possibility of new projects keeps me active. I also love the ideas, comedy, and purposefulness in my own research and making, and learning from imperfections and mistakes – I find humour and motivation in the struggle.

EDITOR’S HIGHLIGHTS