ME: 玛格丽特,我认为这是“后辛迪”的摄影展. 你做辛迪·谢尔曼的助理已经很久了, 你和你丈夫都是艺术家兼画廊老板, 奥利弗, 47号运河. How has Cindy influenced your practice and do you feel her influence in the work of Elle Pérez or Michele Abeles, 你展出的两位艺术家?
ML: I would start by acknowledging Cindy and other artists of her generation for working to have photography be recognized outside of medium specificity. 打破了艺术家与艺术家之间的界限. 摄影师, 她和其他人为艺术家们继续推动媒介的流动性铺平了道路, 在扩大受众的同时. 背离了传统的摄影价值观和规则, artists like myself and Michele Abeles were freed from trying to achieve technical excellence only and to focus on the tensions between image vs. 目标在一个日益数字化的景观. 另一方面,艾丽, has embraced and excelled in the more technical aspects of photography and does so without losing the intimacy of their subjects. 虽然辛迪以只给自己拍照而闻名, 她是一位情感大师,因此创作了充满人性的肖像, Elle在拍摄别人的时候达到了什么效果. There is a very special relationship between the person behind the 相机 and the person in front of the 相机. It might seem as though the portrait exists to tell the story of the sitter but there is a lot that can be gleaned about the 摄影师 through their gaze.
ME: 你有两件作品参展. 这两部我都喜欢——色彩丰富、异想天开、幽默. 告诉我们你的工作过程和这个系列是如何产生的.
ML: Those small photos were made right before or in the early stages of my transition from running an artist’s run space to a gallery. The whimsy and humor are really important since both are collaborations with artists we represent at 47 Canal and the intention behind the collaborations was to remind ourselves why we were going ahead with the gallery project, 哪一个优先考虑有意义和有趣的交流. I was nervous that becoming a dealer would change the nature of my relationships and hoped this photo series would help me and my artists remember our shared values and our non-hierarchical conversations. I would invite an artist into my studio and allow them to lead the process while I facilitated set-up, 相机, 灯等. 这是一个帮助艺术家在小范围内实现他们的愿景的练习. 这是一个正在进行的系列,当艺术家进入我们的项目时,我一直试图跟上他们的步伐, 作为一种建立信任和加深彼此了解的方式.
ME: 我在你的作品中看到了与埃拉德·拉斯里和索尔·弗莱彻的关系. 所有这些都是小规模的,都是舞台表演,然后拍照. 你是否觉得与这些作品或展览中的其他作品有联系?
ML: I’m really attracted to work where inanimate objects take on life and emotion within an intimate scale. 我追求的不是叙事,而是一些非物质的东西, a certain feeling that cuts through logic and connects us to deeper parts of ourselves and our desires that may still remain unknown. 看看拉德·拉斯里这些年的作品, 我觉得他的作品让我既兴奋又被操纵. 这种紧张感使我感兴趣。. I’ve felt this way about Roe Etheridge’s work as well and am intrigued by these practices as I’m left questioning myself for being so easily attracted to their visual language as it relates to consumerism and advertising. Saul Fletcher’s work I am not familiar with but my initial reaction is that I am looking at something authentic, 没有界限的创造力. 让我吃惊的是,一件作品像 无题#155(蛇) 只有6.25 x 7英寸,因为图像本身是如此宏伟,显然是人性化的. 用“快照”的尺度捕捉那个特殊的时刻,也许会让我更喜欢它. 但回到我对无生命物体照片的热爱, 糟糕情况5卢卡斯·巴洛克可能是我最喜欢的作品了. I’m not sure I have words for how the work makes me feel and this is how I know I like it so much. 我一直对你的“眼光”和你收藏作品的方式感到些许放心. 这是一种轻松和流畅的感觉,没有什么让人感到费力或过度思考. 你觉得你和音乐的联系吗, 特别是爵士乐, 与你如何看待和理解艺术有关吗?
ME: 是的,爵士乐在很多方面开阔了我的眼界. 多年来,我一直沉迷于摇滚乐, 我进入了一个复杂的新世界, 质量与诚信. It was so easy to see the difference and I worked hard researching the history and learning about different styles and genres within the field. 艺术也是如此. There is so much out there and you need to learn how to sniff out the imposters and to find quality. That is done through dialogue with institutions and by pounding the pavement and discovering the new. So much great music is being played in far off basement clubs around town and getting in there is not easy without guidance, 更不用说新形式的音乐需要一段时间来适应. 你必须培养对它的鉴赏力. 一旦你有了一双好的耳朵,那么培养一双好的眼睛就容易多了. 你是一个训练有素的音乐家,所以你很容易理解. When we hung the show I had the Heji Shin photo of the primate holding a handgun as the lead piece. 你刚进大楼的时候就被击中了. 许多教师反对在学校里看到这幅画. 他们觉得这是对校园枪击事件的提醒. 我们决定把它移到节目的最后面用瑞秋·哈里森代替. Interesting what happens when an artwork is taken out of the white cube of a gallery and shown in a different setting such as the 河景 School. It also makes you realize how powerful art is and the kind of emotions that it can bring out, 这是我们这些置身于艺术世界的人可能会忽视的. 你的想法?
ML: I’ve spent the last couple of years re-examining my understanding of Art and why I work to create spaces for it to thrive. 当我刚开始的时候, 我的作品和我们在画廊展出的艺术家的作品的观众非常少. 随着我们的观众越来越多, I realized the responsibility that comes with an expanded conversation and part of this was recognizing contextual shifts and taking the time to listen while protecting space for art to communicate freely. There is no one right way that applies across the board and because Art does communicate at times with such power and force, I think it is vital to seek feedback from a multitude of sources before exhibiting work in public spaces. 我们不可能总是做对, but this should not stand in the way of working with others to deepen our understanding because when it comes down to it, Art is meant to spark our imaginations and has the capacity to contribute to a more empathic world. 倾听和学习使我们能够, 就像你说的,找出冒牌货,找到质量, and it is also what helps us to evolve so that we can continue to see with clarity so that we can continue to discover the new. 你收藏很久了. Do you often look back or reflect upon the process over the years and see how things have shifted?
ME: 每当我盯着我的收藏品时,我就会不断地回顾过去, 也就是我在家的每一个醒着的时间. 每件物品都是我生命中购买它的时刻的提醒. 从我结婚初期一直到上周. 话虽如此,我的收集方法始终如一. Always searching for the new and always trying to find works that will enhance and add depth to what we’ve built. 目前在河景城举办的展览有一些非常棒的年轻艺术家,我很为他们感到兴奋. 艾尔·帕姆瑞兹和托玛西·杰克逊, 举两个例子, fit right into our mission: bold political thinkers who express their beliefs in a compelling way much like Sharon Lockhart and Rachel Harrison, 我们从一开始就在收集谁. Heji Shin, who we mentioned earlier, reminds me of Roe Etheridge who we’ve been collecting forever. 两人都是时尚摄影师,他们将艺术形式推向了不同的方向. 事物变化越多,它们就越保持不变. 也许这是结束的好地方. 谢谢你抽出时间来. 我很期待和你一起走秀.