donderdag, januari 28, 2016

Jason Schmidt: Artists #4


Sam Taylor-Wood, London, U.K., 2003.

"I'm pole-dancing in my studio. I had it installed when I moved in, and I reckon that if all else fails, there is always the option of a career change...."


Susan Rothenberg
, Galisteo, New Mexico, 2008.

"In my studio. Smoking, look tired, hate being photographed. Unresolved marionette parts in painting. My beloved dog, Mink. New Mexico light."


Tauba Auerbach, 2009.


Thomas Scheibitz
, Berlin, Germany, 2009.

"The studio situation in this photo is overloaded in a number of respects. On a few days throughout the year I'll put together a kind of Schaulager, a combination of storage and display where different elements are stacked up against one another—large versus small, old versus new, etc. This stops the working process from becoming like an exhibition situation that will later be presented in, say, a gallery. Everything is assembled in a kind of deliberate disorder—one thing illuminates the other. This also provides the best solution when a portrait is taken in the studio, because I don't like to have half-finished or discarded elements in the background. In fact I'd rather not be photographed in the studio at all.
My studio used to be a garage. I originally rented it for just a few weeks so that I could do trial setups of a large sculpture for Venice. Those few weeks have since turned into more than six years, but I still have to deal with the fact that the building's scheduled demolition might happen at any moment. In the end, the temporary nature of this situation has really benefitted the way I work, because it stops you from becoming too entrenched and keeps you on the move. But it has also shown me that a garage-sized space is ideal for a studio. There isn't much daylight—only when the doors are open. Instead I have movable lighting units, ceiling lights, and a few (but important) dimmable lamps. A wall we recently built divides the space into a painting studio and a sculpture studio. The rest will remain flexible until the building is eventually demolished."


Vik Muniz
, Rio de Janeiro, Brazil, 2011.

"Pereira Maquinas is the biggest junkyard in Rio and also our studio for the Pictures of Junk series. Junk is a very interesting material to work with because it is in a between stage, where the original function is gone and is about to be transformed into something else. Transformation is the stuff of art, when an idea transforms itself into matter."


Wade Guyton, New York, 2000.

"This is an unfinished sculpture in the studio. It's made of gold-, smoke- and bronze-mirrored acrylic, and solid-black Plexiglas. The strips are joined at the seams and form something like a screen with irregular angles and sizes. The photograph makes it appear environmental—as if I were surrounded by mirrors in a room. But actually the opposite is true: It is a discreet object that stands as a sculpture within a room. The surrounding room becomes absorbed in the object, multiplying the space perceptually. The different colors of the mirrors distort and at times impair the sculpture's reflectivity, complicating both the reflected surface and the viewer's relationship to the piece. I've built a few of these objects—one at Gavin Brown's Enterprise, one in London at Delfina— and they all function differently. As the viewer walks around the object, it's shape transforms, expanding and contracting along with the reflected architectural space.
A lot of my work is concerned with this expansion and contraction of space—perceptually and physi- cally. I take a lot of photographs and am interested in how a photograph condenses physical space and flattens objects. Often the sculptures I make reflect that phenomenon in their construction. This photograph in particular completes a cycle of contracting and expanding, resulting in a rather abstract and confusing representation of space, although this "effect" is not the only goal.
The sculpture—like much of my work—owes a lot to Minimalism and the use of rectilinear forms. But the pieces are, as one friend called them, "non-minimal." They are complicated and multifaceted, and they emphatically reject any notion of purity. They come directly from the world. There is a cheapness and a decadence to this piece...sort of pathetically glamorous—certainly committed to its shiny surface, but at the same time taped together, collapsible, provisional, and temporary."


Wolfgang Tillmans, London, U.K., 2006.

"This is the favorite window in my studio. I took a portrait of a friend sitting here the day before this portrait was taken. I was happy when Jason accepted my invitation to use the same spot. Windows have a central place in my work. They are the interface between private and public, inner and outer. The objects placed on a windowsill are charged by and negotiate this relationship." (bron en foto's; Jason Schmidt)

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

> Sam Taylor-Johnson (Sam Taylor-Wood)
> Tauba Auerbach
> Thomas Scheibitz

> Vik Muniz
> Wolfgang Tillmans


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