ME: Margaret, I consider this to be a “Post Cindy” show of photography. You’ve worked a long time as an assistant to Cindy Sherman, and you’re also an artist and gallery owner along with your husband, 奥利弗, 47号运河. 辛迪对你的工作有什么影响?你觉得她对艾勒·帕萨雷兹或米歇尔·阿贝尔斯的工作有什么影响吗, 你展出的两位艺术家?
ML: 首先,我要感谢辛迪和她那一代的其他艺术家,他们努力让摄影在媒介特异性之外得到认可. In breaking down the boundaries of artist vs. 摄影师, she and others paved the way for artists to continue pushing to make the medium more fluid, 在扩大受众的同时. In moving away from the traditional values and rules of photography, 像我和米歇尔·阿贝尔斯这样的艺术家从仅仅追求技术上的卓越中解脱出来,而是专注于图像与图像之间的紧张关系. object in an increasingly digital landscape. 另一方面,艾丽, 已经接受并擅长摄影的更多技术方面,并在不失去其主题的亲密关系的情况下做到这一点. Though Cindy is known for only photographing herself, she is a master of emoting and thus creates portraits full of humanity, which Elle achieves while photographing others. 镜头后面的人和镜头前面的人之间有一种非常特殊的关系. 这幅肖像似乎是为了讲述被拍照者的故事,但通过他们的凝视,我们可以了解到很多关于摄影师的信息.
ME: 你有两件作品参展. I love both of them—very colorful, whimsical, and humorous. Tell us about your working process and how this series came about.
ML: 这些小照片是在我从经营艺术家经营的空间过渡到画廊之前或早期阶段拍摄的. 奇思妙想和幽默真的很重要,因为这两者都是与我们在47运河代表的艺术家合作,合作背后的目的是提醒我们自己为什么要继续这个画廊项目, which was to prioritize meaningful and playful exchanges. 我很紧张,成为一名经销商会改变我的人际关系的性质,希望这一系列照片能帮助我和我的艺术家们记住我们共同的价值观和我们不分等级的对话. 我会邀请一名艺术家进入我的工作室,让他们在我协助设置的同时领导整个过程, 相机, 灯等. It was an exercise in helping an artist actualize their vision on a small scale. It is an on-going series that I’ve tried to keep up with artists as they enter our program, as a way of building trust and deepening our understanding of each other.
ME: I see a relationship in your works with those of Elad Lasry and Saul Fletcher. All are small in scale and all are staged and then photographed. Do you feel the connection with these works or any others in the show?
ML: 我真的被那些无生命的物体在亲密的范围内呈现生命和情感的作品所吸引. It’s not narrative that I am looking for but something more immaterial, 一种特定的感觉,它打破了逻辑,将我们与我们自己和我们可能仍然未知的欲望的更深部分联系起来. In looking at Elad Lassry’s work over the years, I’ve felt his works leave me feeling both elated and manipulated. 这种紧张感使我感兴趣。. 我对罗伊·埃瑟里奇的作品也有这种感觉,我对这些做法很感兴趣,因为我质疑自己为什么这么容易被他们的视觉语言所吸引,因为它与消费主义和广告有关. 索尔·弗莱彻的作品我不太熟悉,但我的第一反应是我看到了一些真实的东西, 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 because the image itself is so grand and obviously human-scale. To capture that particular moment in “snapshot” scale perhaps makes me like it more. But to return to my love of photos of inanimate objects, 糟糕情况5, Lucas Blalock, might be my favorite work in this show. 我不知道该用什么语言来形容这份工作带给我的感受,但这就是我为什么如此喜欢这份工作的原因. I’ve always felt somewhat reassured by your “eye” and how you go about collecting works. There is an ease and flow and nothing feels belabored or overthought. 你觉得你和音乐的联系吗, 特别是爵士乐, has something to do with how you see and understand art?
ME: Yes, jazz opened up my eyes in so many ways. After spending many years on a steady diet of rock music, I entered a new world in terms of sophistication, 质量与诚信. 我很容易看出其中的区别,于是我努力研究历史,学习这个领域内不同的风格和流派. 艺术也是如此. 有太多的东西在那里,你需要学会如何嗅出冒牌货,找到质量. 这是通过与机构的对话,通过踏足街头、发现新事物来实现的. 那么多伟大的音乐在遥远的城市周围的地下室俱乐部播放,没有指导就不容易进入那里, not to mention the fact that newer forms of music take a while to get used to. 你必须培养对它的鉴赏力. Once you have a good set of ears it’s much easier to develop a good set of eyes. You are a trained musician so it’s easy for you to understand. 当我们挂起展览的时候,我用了辛和治的照片,灵长类动物拿着一把手枪作为主角. It hit you when you first entered the building. Many members of the faculty objected to seeing this image in a school. They felt that it was a reminder of school shootings. We decided to move it to the very back of the show and replaced it with the Rachel Harrison. 有趣的是,当一件艺术品从画廊的白色立方体中取出,并在不同的环境中展出,比如买足彩app平台. 它也会让你意识到艺术的力量是多么强大,它能带来什么样的情感, something that people like us who surround ourselves within the art world can lose sight of. 你的想法?
ML: 在过去的几年里,我一直在重新审视自己对艺术的理解,以及为什么我要为艺术创造蓬勃发展的空间. 当我刚开始的时候, the audience for my work and the work of the artists we show at the gallery was quite small. 随着我们的观众越来越多, 我意识到扩大对话的责任,其中一部分是认识到环境的变化,花时间倾听,同时保护艺术自由交流的空间. 没有一种正确的方式适用于所有领域,因为艺术有时确实具有这种力量和力量, 我认为在公共空间展示作品之前,从众多来源寻求反馈是至关重要的. 我们不可能总是做对, 但这不应该妨碍我们与他人一起努力加深我们的理解,因为归根结底, 艺术旨在激发我们的想象力,并有能力为一个更有同情心的世界做出贡献. It is listening and learning that allows us to, as you say sniff out imposters and find quality, 这也是帮助我们进化的东西,这样我们就可以继续看得更清楚,这样我们就可以继续发现新的东西. 你收藏很久了. 你是否经常回顾或反思这些年来的过程,看看事情是如何变化的?
ME: I reflect back on the times constantly whenever I stare at my collection, which is every waking hour when I’m at home. Each object is a reminder of the time in my life when I purchased it. From the earliest days of my marriage all the way up to last week. That being said, my method of collecting remains consistent. 总是在寻找新的东西,总是试图找到能够增强和增加我们所建立的深度的作品. The current show at Riverview features some terrific young artists that I’m excited about. 艾尔·帕姆瑞兹和托玛西·杰克逊, 举两个例子, 他们是大胆的政治思想家,像莎伦·洛克哈特和瑞秋·哈里森一样,以令人信服的方式表达自己的信仰, who we’ve been collecting from our earliest days. 我们之前提到的Heji Shin,让我想起了我们一直在收集的Roe Etheridge. Both are fashion 摄影师s who take off and spin the art form in different directions. The more things change the more they remain the same. 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.