28 - Virginia Griswold—Harnessing Materials with Memory to Convey the Ephemeral by Vivian Liddell

As a mold maker/caster I'm always thinking about sequences of objects and thinking about repetition of objects and the arrangement of things in a way that one object relates to another has been important to me for a long time, I think. So, I think objects all offer individually something to a conversation, but it's often as a collective. They come to be sort of greater than the sum of their parts in terms of conceptually what it could mean. So in this case the fragments are important I think to me in terms of communicating fragility—even sort of an ephemeral quality. There's maybe a question in these objects about if they're finished or if they've been broken. You know, the thing about clay—and actually glass is similar, textiles is similar—the material has a memory. It sort of has a sense of... it carries with it what's been done.

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27 - Brittainy Lauback—Photographer on Deck by Vivian Liddell

Brittainy Lauback on vacation cruises:

We're always trying to vacation from ourselves and we never can. You know? What I think is so kind of disturbing about the cruise in general is that you have this—you know, you're really stuck with all these people. You really do kind of start to have like a little bit of an existential crisis. Like, you know, like hell is other people and you're stuck on the ship with them. And I really felt that, but at the same time I have to say I also felt this overwhelming tenderness. And like I also really loved all these people, and everyone was genuinely open and trying to connect. You know, it's like kind of those stereotypes about the…you know, open, loudmouth American. There's something really lovely about that.

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26 - Rachel Reese—Making Connections through Curatorial Practice by Vivian Liddell

Rachel Reese on her first meeting with artist, Suzanne Jackson:

I was giving a lecture at the opening of the Nick Cave exhibition we had at the Jepson Center and in that lecture was talking about sort of the impetus for his soundsuits— which was a response to the Rodney King beatings in Los Angeles— he was in Chicago... And she came up to me after the lecture and introduced herself. “Hello. Hello, I'm Suzanne Jackson” And she was wearing these bracelets that she said "Your lecture reminded me. I wear these bracelets everyday" (and she does) "I got them in Watts just before the riots broke out in 1992.” And so that was our first conversation with one another, and I said I've been trying to get in touch with you! So we sort of both talk about that, like, serendipitous first meeting, but from that I went to her studio and—her house and studio—and was just blown away at the amount of work, the like experimental style of her work that she was making. I entered another world in her house, and it was very clear that she had been like head down making work for 10 years with no visibility.

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25 - Donna Mintz—Reflections on the Sublime through Storytelling and the Visual Arts by Vivian Liddell

Donna Mintz on her artwork:

They are glass plate negatives— from late 1800s to around 1910 or 12 are the dates that I’ve seen on them— that I got at a flea market in Chelsea New York, in lower Manhattan. … I bought the first one thinking “I don’t know but one day I’m going to do something with this” because It was a forest and I love the scene. And I put gold leaf on the back of them. And they end up being the one object in this whole exhibition that I think captures that exact idea I’m trying to capture—which is that a memory, a moment in time so finite and fleeting has been made permanent. First by the photographer by fixing this image…that was then maybe printed, maybe not. Who knows where the photograph is… cast off and I found 120 years later!? And made into what I think is a beautiful object that has the gravitas of an important memory. To me they’re not— because I don’t know even where they were made. But I’ll say, I just love them. 

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24 - Christina Renfer Vogel—Perceptual Painting as a contemporary culture bomb by Vivian Liddell

Christina Vogel on beauty in painting:

Mira Schor also just talks about pleasure, visual pleasure. And just thinking about like paintings that... I want to make paintings that are pleasurable.  Now, I think the thing that I have been thinking about... I don't think it's also completely unrelated to what's going on in the world. And I don't want anyone to think that I'm like just putting my head in the sand and then going to the studio and making these like beautiful paintings. In a lot of ways, I feel like these paintings which are about beauty and about embracing these like, overtly kind of feminine symbols— like flowers are just overtly feminine or have been associated with femininity—so embracing like and you know, wanting to make paintings that are beautiful and lush and like joyful even sometimes... I don't know that that has been respected historically and that has definitely been pushed into the category of paintings women make.

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23 - Katie Hargrave & Meredith Lynn—Driving Ideas on Public Space and the American Landscape by Vivian Liddell

Meredith Lynn on collaboration:

Actually something that I really appreciate about working with Katie is that—seeing her work through ideas and problems in her own work and knowing that when she calls me and says “I think that you need to reexamine this idea”—knowing that she is also pushing herself through those same challenging and difficult conversations in her own work and then knowing that I can be open and vulnerable to those criticisms that she’s bringing to me because I know that she’s also bringing that to her own work. I think that’s something that we all need to strive for… is to be willing to have your mind changed. Not about everything certainly— I think we have to have certain ethics and ideas that we hold fast to—but being willing to put up any of your ideas to scrutiny, I think is really important.

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22 - Corrina Sephora—Turning Midnight dreams into Reality by Vivian Liddell

Corrina Sephora on being persistent:

But I really wanted to work for this old blacksmith guy in Castleberry and he said I'd hire you IF I had this extra work— so come back next week. So, I'd go back every week and I'd say "Hi. I'm back. Do you have some work for me yet? … I'm kind of persistent pretty much and he said ... "Well, you know. Why don't you come back next week and we'll have some work for you." And he said he didn't think that I would ever go away. He thought he was better off just getting some more work and hiring me to come work with him 'cause I clearly wasn't going away. Right? Because I heard a "no" in there somewhere, but mostly I (heard), "Yeah, you're talented. You've got great skills. I'd love to teach you. You'd be helpful in the shop." … IF... I didn't hear that "no." So... I try not to be annoying with that persistence—but maybe it's annoying sometimes—but maybe it works out.

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21 - Living Melody Collective—Haylee Anne & Angela Bortone on the Collective: Working Together by Vivian Liddell

Haylee Anne on the Living Melody Collective’s process of making the mural for the Center for Civil and Human Rights:

A big part of this mural … was [calling out] redlining. The city of Atlanta has maps for every district and even more than that, every area of every district. And they categorize land by color— which is not uncommon for areas that are often trying to segregate without using the word segregation. So, you know, areas would be delineated in green if they were considered good, yellow if it was fair, black if was unusable, red if it was poor… and so we took those district maps and we also incorporated [them] into the mural. 

… The mural became this like kind of home base project…where everyone could kind of come and go work on the project, but also bring their kids and feel this sense of community and just not have to worry about that aspect of childcare.

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20 - Tommye McClure Scanlin—On Teaching, Learning & Tapestry by Vivian Liddell

Tommye McClure Scanlin on the relationship between her paintings and her tapestries:

I’m not trying to replicate this painting… but I’m trying to be inspired by it… or informed in some ways about the kinds of things that I saw when I made the painting. I’ve done several—I think it’s four pieces now, this is either the 4thor the 5th—where the background is essentially white, even though it’s not really white. It’s—you know—natural color and light gray and bleached white and thin threads and thick threads. But one of the things that one of my tapestry teachers pointed out is that if a weaver wants to place a shape in a field of white, the weaver has to make the field of white. You can’t—like a painter could paint a leaf on a white canvas and there would be the leaf—well I’m kind of getting a similar effect except I’m having to make the background as I’m making the positive.

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19 - Jenny Fine—Exploring White Identity in the Rural South through Photography and Performance by Vivian Liddell

Jenny Fine on her photographic series “The Saddest Day”:

They had invested all of their savings in becoming farmers…They had gotten a load of, I think they call them guilts… from some farmer…One of those pigs were sick and so it introduced …dysentery into all the pigs and they had to all be slaughtered on the same day …Basically it devastated my family. And so I was really interested in that narrative of my father and my uncle as young people having to slaughter 100 pigs or whatever all in the same day.

And that they often referred to that story as the saddest day. And so, we went to the farm to really kind of reenact that and that was just sort of the narrative I wanted to reenact. I wasn’t really sure what was gonna happen because I knew that no matter what you do— this performance for the camera— no matter how much you prepare, that you’re always at the mercy of the moment. 

And I was using my twin lens Mamiya camera— which you don’t look straight forward. You actually look down into the camera. And so I wasn’t actually facing this narrative —my family— straight on. We were in the landscape of the farm and I’m looking through this square viewfinder straight down. The landscape in a way became the stage. And as they were moving in and out of the frame they were coming on and off stage. And It became really this theatrical reenactment or attempt to reenact the saddest day.

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18 - Courtney Sanborn—Embroidering Contemporary Narratives with a nod to the Medieval by Vivian Liddell

Courtney Sanborn on medieval art and the iconography in her work:

Sanborn: Like I said, I love Medieval art. And I love the iconography. I love that in that period of art …there’s no words to describe evil. How do you describe something that’s evil or negative? There’s no words, but there are pictures. And so, the artists of that time made their demons out of—like there are these weird conglomerations—of like pigs, bats and like weird creatures that they had like deemed evil. Right? And so that’s how they portrayed the dark side of things. There’s always happy. There’s always sad. There’s evil. There’s good. There’s temptation. There’s like peace and like wholeness… and I love that they showed that. Cause I’ve found that no matter what narrative or whatever situation I’ve found myself in there’s always good.  There’s always bad. And they exist together… 

So, the demons in this embroidery are acting out the wedding rituals. She’s getting her nails done. She’s getting her hair done. And down here, this is the demon wedding. So this is the culmination of their day…which is happening at the same time as my day. 

Liddell: So there’s the flip—it’s like the yin-yang of weddings.

Sanborn: Yeah, yeah. So here’s this happy wedding that was happening… here’s the garden party. These are my friends. And then here’s the demon wedding that’s happening. 

Liddell: Do the demons have their friends here?

Sanborn: They don’t have friends. It’s just them.. 

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17 - Shanequa Gay—Breaking through the American Façade by Vivian Liddell

Shanequa Gay on starting her new body of work:

There was something Dr. Napoleon Wells—he is a professor/psychologist over at Columbia College in South Carolina—there was something he said. He was like in charge of facilitating my artist talk when I was in South Carolina and he said, “African-American women, black women, are the best to tell the American story.” Why? Because we are the ones who are the furthest on these fringes, on these edges. And so, It made me begin to think about… his why. We’re observers, you know, the ones who are … kind of at the edges and including our children. Right? And so, you very rarely hear our stories. You very rarely hear our information. And yet we’re the ones in spaces of service. … His understanding or his sharing of that— I was like, I’m African-American. So why am I a best story teller and why am I a good story teller? And what makes my narrative important? And why is my narrative just as American as a white male?

Our society tells us that it’s not. I’m hyphenated. I’m hyphenated in how I move here, in my space. And so, if mine is just as American with or without the African-American— what does that look like and what does that mean? Which is why I’m seeking out spirituality, because I don’t always know where my work comes from. I don’t always know where these ideas are coming from. But I do like to move on them.

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16 - Hannah Tarr—Focusing on Process over Product in the age of Instagram by Vivian Liddell

Hannah Tarr on how Instagram has affected her process:

I’ve deleted the app. I’ve like told myself I’m not allowed to go on it. It just makes me sad. …

I’ve found that I see other people’s works sneaking into mine and I see mine sneaking into others that follow me too much lately. And I’m wanting to kind of be more secretive and under wraps at least until I have enough that I feel like I’m ready to show, or I have the opportunity to show a bunch of work. And then it’s unleashed and it’s gonna wow everyone and be awesome… 

But it’s weird. I think I look at things differently. I measure up myself differently and my own work differently. I think about the product instead of the process a lot more. Because I’m just seeing these images; I’m seeing so many images. ... And I’m like “Oh this is good” and “I like this painting”…  But I don’t think about what it is that gives me the subtle joys. Why I love painting is surprising myself and making little jokes in my head and having fun with kind of what turns up. And Instead when I’m like “Oh my painting looks like this” or “it needs to be this”— I get too focused on the end result. And I think that that’s a product of looking at too much right now, but not in person…


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15 - Yvonne Studevan—Uncovering History and Increasing Representation through Painting by Vivian Liddell

Yvonne Studevan on how her family history relates to her artwork:

I could just feel my heart jump out of my chest. … I didn’t like speaking in front of a group when I was a kid. … I didn’t like writing reports. And I didn’t like history. You know, having to go back and study all those people. I was like who wants to remember “1492 somebody sailed the ocean blue”—you know, all those type things. It was not until I could relate the history to me that I really started developing my passion.

It’s like, when I watched movies about the Alamo as a child, I never knew that any people who were African Americans served in the Texas Revolution until I was contacted by somebody from Texas to say that, you know your ancestor was killed by Santa Anna and inherited 2040 acres of land and we need you to verify this. And I was like verify this?! I don’t know anything about this! And so, I started reading through all the wills—because Richard Allen had a will, and all of his children had wills. And I had copies of them. So, I read through my great-great-great grandmother’s will, and she said the property in Texas is to be sold for the education of my grandchildren. That was the thing that they needed. The stories are out there, and nobody knows about them. And I’m just like, well, I can tell the story orally and I can draw the pictures and let people know. I guess that’s my new passion in life.

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14 - Wanda Raimundi-Ortiz—Tapping into a Legacy of Body and Effort to Level the Playing Field by Vivian Liddell

Wanda Raimundi-Ortiz on the legacy of body and effort in her performance art:

So here I am at Skowhegan—all of a sudden—you can use your body to tell a story!? But I thought artists only drew on pad and paper? You’re not an artist if you’re not using, you know, canvas or paper. Wait a minute, you can do that? Awww shit! Here we go! And it felt like an avenue opened up… I was able to use my body to make other work.

When I was there I had a strange interaction with a woman—who ended up being, you know, I would consider her a friend—but this interaction around hand washing underwear and then hanging them in the shower. That’s something my mother taught us to do and then it ended up being like this weird class thing. And so then I started thinking. I started drawing connections— between the idea of washing your clothes by hand in the shower as a way to sort of always maintain kind of clean underwear because you don’t have much—to this connection to my mother. To her growing up without literacy. To her. To the stories that she told me about having to wash clothes in the river and having to go to the creek and gathering firewood. And cooking on stones... she grew up post-Depression Puerto Rico. Illiterate, in the hills, no money, poor. …All of a sudden, I was like ok-there’s a reason. The hand washing is bigger than just keeping a clean pair of panties. There’s a legacy. There’s a legacy of body and effort. … In some strange way, I’m trying to connect to this history, to this legacy.

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13 - Karen Tauches—Transforming the Commercial into the Sacred by Vivian Liddell

Karen Tauches on our relationship to our environment:

We’re no longer land-based people. We are spiritual. Like, we are virtual-based, now. We’re not making our culture based on where we live and the specific environment. We have a fantasy of what the nice environments are and all we have to do is project that on to where we live. We make images—that’s where windows come in, we have screens—and it doesn’t really matter what the environment’s really like. And that’s why development in the future would be so great for us. Because go to the moon— there’s absolutely no environment there. You build a white box, and you have projectors, and you just project whatever landscape you would like to live in. And you can see, we’re already kind of doing that inside our homes.

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12 - Zipporah Camille Thompson—To the Moon and Back, Searching through High and Low by Vivian Liddell

Zipporah Camille Thompson on collecting source imagery:

I’m not to the place yet where I’m actually going to take my own photographs of landscapes—that’s something that I want to start doing. But what I do, is I start to kind of collect these found images—be it Google images or other sources on the internet—of different landscapes, different surfaces of the moon and then those become sources…points by which I can then abstract. …

So some of these (idea boards) then get a title and then they’re reference points for shows. Some of them do not have titles, and they just exist as boards...idea boards. And the beauty of it not being online…when you make them physical, it’s like this small, kind of curated, specifically for this thing‑ that I can then reference every day without having to find my laptop. …

One image then might inform, like one texture with another texture. And because I use so many different textures and layers, I think that that’s especially important— for me to see the connections.

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11 - Amelia Briggs—Avoiding Symmetry, Thrifting Materials & Finding her own Voice as an Artist by Vivian Liddell

Amelia Briggs on Connecting with Viewers without Using Narrative:

These are simply very formal paintings. I have finally gotten to a point where I've just been able to own that in interviews or in conversations about my work. I used to try to like hide that or I would make up things that weren't necessarily true (laughs) because I would feel defensive about it. But I was finally just like, I need to be honest about that. Like these to me in a lot of ways are very formal; I'm not thinking about heavy issues necessarily when I'm making these. However, I will say then when you brought up narrative... I do think about that in my work. What am I trying to achieve with these paintings?

I really like to think of these objects that I'm making as something similar to like, you know, when you're shopping in a vintage store or something and you come across an old toy, or like baby blanket or something—maybe stained, it's like a beautiful object, it's just like kind of worn, it has all this history behind it—and this weird feeling of this connection to it, because maybe you recognize something about it from your own childhood. Or the color. Or it sparks this kind of nostalgia. But you don't know what that history is, and there's nothing clearly spelled out there. You know, there's not like a story with it...

I like to think of these as sparking some kind of recognition in the viewer.


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10 - Kelly Kristin Jones—A New(ish) Southerner Expands Ideas of Place Surrounding Civil War Markers by Vivian Liddell

Kelly Kristin Jones on her current series of “counter-memorials”:

I became really determined to find a way to make really beautiful, pastoral even, sorts of portraits—meditations of both persons and place, persons in place. . . . I think ultimately, it’s this interest in kind of flipping the script on urban landscape.

And this newer work takes into account a kind of cultural landscape, and memory and history. . . . For this show, all of the works—all of these “counter-memorials” is kind of what I call them—are at the site of Civil War historical markers that are all over the city. . . . The historical markers in Atlanta, in Georgia, absolutely talk about the Union soldiers, and there are some accountings of histories of federal troops, but Primarily it’s all from this Southern, Confederate perspective. And that’s what I find so interesting. 

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9 - Flora Rosefsky—From "A Mother who Likes to Draw" to Artist by Vivian Liddell

Flora Rosefsky on teaching:

I think education is key. And I love teaching. It’s coming up with the right lesson. Once you come up with the right art lesson, the teacher should not be interfering with that student. In fact, I usually work on my own piece.

I don’t look at their work until the end. The worse thing a teacher can do is put their hand on that person’s hand and say "Oh no no no no, put it that way..." Hummm. And they’re all different... Or "Oh no, this is the way you have to draw the circle." Oh, really? Or "No, the face has to be a certain color." Really?


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