Claire Milbrath created Editorial Magazine because there simply wasn’t anywhere for her to show her paintings. What resulted was a channel that happened to broadcast much more than her own work: one that showcases creativity from all across North America, regardless of previous fame or recognition. For the upcoming issue, Claire’s sister, fellow artist Darby Milbrath, was commissioned to make 100 original “centrefold” drawings inspired by the Page 6 centrefolds featured in old smut magazines. These drawings will be inserted in the first 100 copies of issue 14 as a special gift. Read along as Claire answers a few questions about Editorial and her love for painting, and check out the selection of exclusive images of supplemental artwork that doesn’t appear in the magazine’s latest issue.
Tell us a little bit about yourself: Where do you live? What do you do these days?
I live in Montreal in an apartment with my friends Madeline and Olivia; Olivia is the editor of the Editorial. These days I work on the Editorial full-time, in my spare time I like to paint.
Editorial Mag is very inspired by the New York scene.
How often do you come to New York? How do you stay in sync with the NY creative scene?
I don’t go to New York very often, maybe once a year. The Internet connects me with the people there; it’s the perfect tool for a creative hermit. I sometimes forget I don’t know these people IRL.
“I like showing female artists who make work that isn’t about sex or femininity.”
Are fashion and painting your main passions? Is that why you created Editorial Mag?
Painting is my main passion. One day I hope to be a full-time painter. Fashion I’m not crazy about, but I’m interested in that world. The main reason I started the magazine was for art—there wasn’t anywhere for me to show my artwork. That seemed the case for a lot of upcoming creatives in Montreal at the time. I think I chose to use the fashion-magazine medium because it’s funny to try to mimic. It was amusing to borrow the self-serious, commercial tropes of fashion magazines (I actually stole Vogue Magazine’s font for the first few covers) and use them to raise awareness about underground art and artists. The Editorial has grown into itself since then, but I think of it still as an art magazine with a side of playful fashion.
Is issue 14 centered around a thematic brief or creative vision?
No, I don’t work in themes really. It’s more about what draws me in visually at the time.
“We want to be an international, unpretentious platform for hard-working and talented artists, regardless of any previous fame or recognition.”
How did you choose the featured artists for issue 14? How would you describe the common aesthetics underlying this issue?
I wanted to work with Jamian [Juliano-Villani] on the cover, because we had featured her a few years ago, in an early Editorial. At that point she was getting ready for her first solo show, and I didn’t know much about her, I actually thought she was a male artist. She’s grown so much since then and I wanted to revisit her work. I like showing female artists who make work that isn’t about sex/femininity. I’m getting a little tired of females getting recognition only for making female-centric work. Aside from that, the magazine always has a touch of homoeroticism, probably informed by my own art, so I’m really excited about Benjamin Barron and Marcus Cuffie’s suggestive school-boys fashion shoot.
What would you say your magazine mission/statement is? What do you want to achieve ultimately with it?
To be an international, unpretentious platform for hard-working and talented artists, regardless of any previous fame or recognition. I think the Editorial is a “Human magazine,” made by humans for humans. Whatever that means!