I was reading about your shoot with Greg Gorman. I love those pictures. And the photograph looked so tight; it just looked like it was glass and you could take a hammer, and if you touched it, it would just shatter. JK : It was a portrait of Bowie. And he was in a gold suit and it was just beautiful, very celebrity.
Run over to the hotel. SS : I love those pictures of you. SS : [Laughs. It gets a little easier. So I look for a little direction a lot of times and that makes me then feel a little more secure.
And I feel their presence instead of the presence of other people. And then you always feel like you have a nice expression. SS : So I was reading this book last night, and I read the really sweet things about you. You know this book, right? I love this book. I was reading it aloud to Peter; I think Peter really wanted to come here today and do the interview [laughs].
No, he was excited that I was coming to do this today, so we were talking about you all night long. But it sounds like your father did even more than just sell furniture —he was a decorator. JK : Yeah, my dad, when he was young and in high school, he worked for a decorating firm called Bentz, in York, where I grew up. And he started unpacking furniture and doing things like that but he started to enjoy decorating and understanding.
He learned decorating there. And he went into the service, and when he came back he went back to working for Bentz. And he started to get involved in decorating and it was very natural for him. He ended up developing his own business, and in York, Pennsylvania, he was really the best-known decorator there. JK : So as a child I really learned how color and texture and different objects can make you feel differently about things.
So my father had showrooms of different fabrics and different wallpapers. And the showroom would also change all the time. One month one room would be a living room, and the next month it could be a dining room and a couple weeks later it could be a den. And that sometimes if somebody wanted something specific, you would paint it for them. JK : Yeah, I copied them from books. JK : I was always very talented. When it comes to using an aspect of art for reproduction, trying to make something look like something else, I was always very gifted that way.
And at Maryland Institute I was always really known for my drawing capabilities and things like this. I remember there was a beautiful drawing of a basketball.
I guess it was a drawing for Equilibrium. The single basketball. Do you remember when Peter curated that show at the Bruce Museum? JK : I probably stopped drawing a lot. And some of the painting gestures come from my children Sean and Kurt.
What is the process? So hypothetically, if an image of a lobster coming in on top of a Dr. Thornton in my hallway. To me, you have an incredible way of communicating to people.
It was interesting in the book, too, where you talk about going door to door and selling things and you enjoyed that.
You would go door to door and sell magazines or cookies, and you really enjoyed working at a young age and talking to people. And every time someone would open the door you never knew what you would see inside and you really liked that surprise and talking to people and meeting all types of people. To really communicate with so many people, I mean, even getting a work of art finished, the amount of people you must have to communicate with is endless. JK : And at the same time, as an artist, one of the luxuries you have [is that] there is an anonymity.
You have distance so that you can work on your ideas and create your image or your object and then present it. Whereas some professions you have to be totally intermingled with people at every moment.
And that it was a shared situation, that I was making the sale and that was nice as far as being able to have this sort of economic reward. And I think I learned how to accept people and to accept what was on the other side of that door.
The odors were always different. SS : I love the idea of you as a little boy, standing at the door and suddenly the door opens, and, like you said, the smells of the kitchen coming out. And the different cultures and how you could see it immediately in the furniture and the carpeting and the decoration and the colors …. Have you ever watched his interviews on Bravo?
SS : And at the end of all of his interviews he has these standard questions he asks. Very abstractly I love the sound of birds but if I think about it longer, I really love to hear the voices of my children. JK : I like psychology and philosophy, so I enjoy a profession that mixes psychology and philosophy. So those two fields are fields that I have interest in. SS : If heaven exists, what would you like to hear God say when you arrive at the pearly gates?
JK : I always think that when you die, everything probably becomes so clear, that last moment of consciousness, everything just really becomes simplified, and you would realize at that moment, whatever gesture you really wanted to make, how simple it would have been to make. And I just hope that I make the gesture I would like to before I pass. SS : Garbage collecting. That always come into my mind [laughs].
Maybe if I really thought about it for a long time …. Like the car crashes, why are they so sexy to you? Andy really has this chance, and through running these images often, really for procreation. What do you collect yourself art-wise? JK : I think what moves me chemically and what I respond to in a visceral way and that I feel a connection with the rest of humanity for.
In a way, people look at it and see it as marketing. And for him to communicate his aesthetic, he had to give the viewer a choice. He had to show that yellow and orange blended together is equal to blue and green and white blended together and blue, green, and white is equal to green and magenta.
And he had to show that all these things are equal. And the only way to do that is show all this visual choice and to make the aesthetics equal.
Andy is showing people that everything is equal and everything is a metaphor for people. JK : Well, I think there are certain artworks that make you feel connected with humanity. SS : I think your work does have that incredible effect, sort of a soothing effect—stimulating but soothing. JK : I strive for archetype, so when I say not always consciously aware, I think that there are some reasons. But other than that, the artworks that were created, the personal enlightenment that happened, because I actually believe in the transcendence that happens through sexuality.
I think sexuality is a tremendous vehicle for transcendence. SS : And that euphoria that you feel. JK : That kind of enjoyment of that transcendence is really embracing life and how life just kinds of leapfrogs and jumps and moves around. That, I find, is a very heightened state.
And I get involved in making images that I believe probably make a viewer feel a certain way, a certain heightened visual experience. JK : I think so. That was kind of interesting that at one point in your life you can have a certain response and at another time not feel that. SS : When you were a young boy what were some of the first images that excited you sexually?
In each work, a blue mirrored, hand-blown glass gazing ball—a convention from eighteenthcentury garden design—is affixed to a replica of a famous painting or sculpture, adding a layer of sensory experience to familiar masterpieces.
Installed within these art historical milestones, the gazing ball reflects its surroundings, uniting painting, sculpture, and architecture. Included in this exhibition are seven Gazing Ball paintings, ranging from mythical and pastoral scenes by Jacques-Louis David, Hendrick Goltzius, Nicolas Poussin, and Tintoretto to a self-portrait by Rembrandt and a stark depiction of a dead fox in the snow by Gustave Courbet.
Mark Westall. Highlighting […].
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