Questions From The Studio – A Conversation with DJ Carey

Questions From The Studio – A Conversation with DJ Carey

DJ Carey and I connected last November for The Art Issue of Connecticut Cottages & Gardens. She was gracious enough to give me some insight into the ups and downs of being the editorial director of a top design magazine.    Gary Komarin: How did you arrive at Connecticut Cottages & Gardens? DJ Carey: In 2004 I was a field scout for Meredith and a stylist working in Connecticut and knew many CT architects who recommended me to Newel Turner, Editorial Director at Cottages & Gardens, for the position of Editor in chief for the soon to be launched Connecticut Cottages & Gardens. Gary Komarin: Were you born with an editorial state of mind? In other words, do you have the organizational gene? Do you need that as editorial director? DJ Carey: I didn’t ever dream or think about being in publishing I literally fell into it! After college, with a degree in anthropology and geography and looking for a job, there was nothing in my field. So my mother, a college professor, suggested I go to Katherine Gibbs and learn how to type and get my foot in the door. After a two-month course at Katherine Gibbs I was sent on an interview at Condé Nast for an entry-level job and the rest is history! I am very organized, which comes in handy when I am putting together an issue or a photo shoot, but I do have to thank both of my parents who gave me skills that I use every day in my position – my mother being the anthropologist taught me to pull back and observe and...
On Being on the Cover of Connecticut Cottages & Gardens Magazine

On Being on the Cover of Connecticut Cottages & Gardens Magazine

In November of last year I was invited to be on the cover of Connecticut Cottages & Gardens Magazine for The Art Issue. They were doing a special issue on Artists in Connecticut and one fall morning I got a call from the Editor in Chief. They asked me if they could come to do a photo shoot at my studio in Roxbury. I replied: Delighted! When the ‘crew’ arrived they began to snap photo after photo seconds after getting out of their vehicles. As an Artist who is often in motion – I move around the Painting quite a bit while working (as the canvas typically begins on the floor of the studio, laying flat so I can freely swing the brush, liberated from ideas about up and down, left and right) – it was appropriate that the photographer took pictures while i was walking the property and moving around the studio. The final shots selected showed me lifting a large red painting from the floor and a second shot, which became the cover shot, was intriguing as well. The cover shot showed me using a special long handled brush, pushing paint across the surface of large dirty white painting. Some thought it was a broom I was using to sweep up, but in fact it was a long handled brush designed to have greater reach across the surface of a larger painting. Plus, its length allows for the kind of playful and unexpected ‘accidents’ that occur when liquid paint (mixed to the consistency of melted Ice Cream) swishes and sloshes on the new weave of fresh cotton duck canvas. When the cover appeared,...