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. Read More
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. Read More
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…
Tatiana Veneruso on how she became a curator:
The end of 2011 was the Occupy movement. And at the time I was working for this like corporate advertising agency and hating it so much... so I was definitely feeling the sentiment of that movement, and I thought, well how can I help? ... And so I thought, oh, I'll do an art show...but I'd never curated a show before, so I didn't know really how to go about that. Read More