woensdag, januari 27, 2016

Jason Schmidt: Artists #2


Ilya and Emilia Kabakov
, Mattituck, New York, 2010.


Ilya and Emilia Kabakov
, Mattituck, New York, 2013.

"... Paris.1987.
I am thinking that I did see a lot of artists working in their studios,
Even Ilya when I was very young.
But it was the first time in my life watching someone doing installation.
Ilya was by himself, I was there just visiting him.
The room was vibrating with nervous energy, anxiety, uncertainty.
I was afraid to move, to say something...
Now we are in 2012.
Working together for all those years. A lot of experience.
After all, more than 300 installations are done,
And I don't even want to know how many exhibitions.
Always together, sharing work, happy and difficult moments.
I am not afraid anymore, I know how everything works, we are a small team: Ilya and I.
And I am still fascinated by the same energy, the same fears, and the abundance of fantasy I did see at our very first professional encounter."


Jorge Pardo, Los Angeles, California, 2009.

"In the studio, posing for a photograph, a lot of work...I think I weigh 10 lbs. less now."


Marcel Dzama
, Brooklyn, New York, 2013.


Mark Grotjahn, Los Angeles, California, 2005.


Mike and Doug Starn
, New York, 2009.

"Our work has always played with scale and the perceptions of where we all, as individuals, stand in the world. Here we are standing in Big Bambú, which is made from 2,000 bamboo poles lashed together with nearly sixteen miles of nylon rope. It was assembled at our studio, the former Tallix foundry in Beacon, New York, by a team of about eight rock climbers over a period of ten weeks. There is no external scaffolding involved; the piece grows out of itself as if it were a living organism. Later this spring, we will start to walk the piece across the foundry floor and back again by removing poles from the original mass and reattaching them at the front. Big Bambú is always finished and is never finished."


Monica Bonvicini
, Berlin, Germany, 2009.

"I and a lot of crates just moved into my studio in Wedding, Berlin. To spare me the sight of a storage situation, I hung as a curtain a large print, which was produced for a show in Hong Kong. I am sitting on a very heavy crate containing the swings from my installation NEVER AGAIN. The crate was so heavy that I just left it where the transport company dropped it off. I soon realized that the size of the print and the quotation were sort of making male studio visitors uncomfortable. Crates are actually really nice objects and comfortable to sit on. I like to be around my works, even if they are in crates."


Olaf Breuning
, New York, 2007.

"My studio and me. I've had this place for a few months, and I am very happy about it. For most of my career, I worked at home. I didn't know then how much better it was to work dressed in real clothes rather than pajamas. The works in this photograph are made out of found objects from Chinatown. They're part of a body of work entitled Chinatown Objects. Like Man Ray in old times, I go to a store (Pearl River), buy something already existing, and add other objects to it. The fact that all the materials are "Made in China" seems normal these days, but, as an artist who always tries to be timeless in time, I find them perfect contemporary materials to work with. I take what I get and that is what I get."

You can't really see me in the photo. I'm sitting in the dark storage room. The photographer did a very good job of hiding me.... I like that photo. Really, I do, no joke...." (bron en foto's; Jason Schmidt)

Honderden kunstenaarsportretten van Jason Schmidt zijn te zien bij de bron (hk).

> Ilya and Emilia Kabakov
> Jorge Pardo
> Doug & Mike Starn
> Monica Bonvicini
> Olaf Breuning

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