凯利康奈尔- Yoffy出版社188bet金宝搏登真人官网

集11:凯利。康奈尔大学
事件记录

原来的播出日期:2021年6月3日
35分钟39秒

www.kelliconnell.com

詹妮弗Yoffy00:06

欢迎来到完美结合。我Jennifer Yoffy Yoffy出版社的创始人兼出版商在亚特兰大,格鲁吉亚。188bet金宝搏登真人官网这是一个播客,我们和艺术家谈谈他们的旅程,他们是如何在哪里,他们对与错把沿途和它们的标题下。凯利康奈尔是艺术家的探讨性工作,性别,身份和photographer-sitter关系。她的工作是在大都会艺术博物馆的收藏。杰伊·保罗盖蒂博物馆,洛杉矶县艺术博物馆,哥伦布艺术博物馆,艺术博物馆的休斯顿,和当代摄影博物馆等。出版物的她的工作包括PhotoWork:四十摄影师孔径发表的过程和实践,维生素Ph值:新观点在摄影出版社,摄影艺术:摄影光圈和专著的新世界凯利康奈尔:解码双重生活的书。康奈尔大学获得奖学金的麦道维尔殖民地,河岸,见顶山的信任,纬度,光中心工作和创意摄影。康奈尔大学生活在芝加哥,在那里她的云雀版本的编辑和摄影芝加哥哥伦比亚学院教授。欢迎凯利康奈尔完美的播客。 I have a bunch of questions and they are in, I couldn't really figure out a strong starting spot. So it kind of just starts in a random place. It's not like a you know, tell me about your formative years kind of thing and just sort of jumps right in. I heard you talk about how in your MFA thesis show that your model Kiba was pregnant in the images and after her son was born, and you experimented with having him in one of the photos that you realize that it just wasn't quite the right direction for the project. And you ended up taking those images out. And I've been thinking a lot about lately about how photographers, in my opinion, I guess maybe younger ones, especially are just out of school, tend to rush into work and be in a hurry about, like to get the workout and get it published and kind of move on to the next thing. And you've had this experience of having this very long term project, where you've had time to step back and see what's working and what isn't working. And, and especially something as big as like your MFA thesis show. I mean, you spent a lot of time and it culminated in this thing. And then to make a decision like that, that you know, what, ultimately, this isn't working? And I'm going to take it out. How do you think your works benefited from a slower and more long term process? And do you think that it's that that's been a hindrance to your work in any way?

凯利康奈尔大学03:04

是的,这是个很好的问题。是的,说几件事。与牙拍摄的时候,我们让工作了几年,之前她怀孕了。工作,我们拍摄一个图怀孕,然后在每个场景图没有怀孕我真的从脖子上下来,站在那些图片,但当我坐在墙上的工作在我的MFA论文展览,而且,你知道,牙,加热器出现,抱着她的儿子,他是一个新生。当时,显然很快,一旦出生加热器,我不太知道这个故事之后,因为它将成为对他。我不是一个父亲,我没有孩子。我不知道这就像一个妈妈。和工作一直是一个地方让我认真考虑我自己和我自己的喜欢,我想谈谈什么性别,性行为和关系的角色,但他们很与我自己的经验。所以我觉得我的一些我不懂的领域。我当然不想说母亲如果我自己从未有过的经验。 So yeah, there are I would say, maybe 13 or 14 images edited out of that work. And you can still find them on the internet here and there because that was early on, like 2003. I want to say 2003, 2004. And we weren't using the internet, like so much back then. I don't think I had the foresight at that moment to not put the work on the internet, knowing it may not make it. So if you look for it, people can still find some of those images. But luckily, the Double Life monograph that was published in 2011, I had had enough time to really think about where the work was going. And was really clear that those images were edited out by that point. But for me working slowly, I think it's just a part of my natural working process. As an artist, I always wish I worked faster. Because it seems like in the art world, there's some pressure to like every two or three years have a brand new body of work that's ready to go. And that's a lot of pressure. But also I just think about things so much. And I write and reflect and have a pretty active sketchbook practice and journaling process that I think influences what I photograph. And then at least with the Double Life work in particular, I feel like I need more life experience to know what what I want to say in the new pictures. So that as I age, I want to say different things about the female body or relationships and Kiba aging too is really important for the work also. So I think I'm just embracing that slower approach with that work, for sure.

詹妮弗Yoffy06:32

是的,我的意思是,好像与你使用它一样工作,像一个杂志在某种程度上,就像一种方式工作通过一个认为你可能会疲于应对,或一种情绪或一次在你的生活中,一个特定的经验。所以我觉得这是将超级有趣的回顾。我有一个朋友,我最老的,老的朋友,我们从幼儿园就是朋友,她有很多纹身,,他们每个人都有不同的意义。他们每个人都有,表示一个特定的时间在她的生活,或者是重要还是一个人,你知道,一个内存或时刻。像她生命结束时,她想回头看她的身体就像她生活的日记。我认为你的项目以类似的方式。但也很有趣,因为你看身体上另一个人是体现这些情感和经验和印记,你,你。所以,这是一个超级,超级有趣的项目,当你谈论一本书。你觉得,因为这个项目正在进行,你肯定这本书出来后让它工作?你当时犹豫做这本书呢? Like, maybe it's too soon? Or did you sort of think, well, I could always do a part two or like, how did how did that come about?

凯利康奈尔大学08:13

是的,嗯,很好,这本书的出版社是解码的书。

詹妮弗Yoffy08:20

哦,对不起。

凯利康奈尔大学08:22

如果你想问一遍,你可以。

詹妮弗Yoffy08:25

我说这么多的话。我甚至不知道怎么回去。我没那么伟大的音频编辑器。解码不再出版,对吧?

凯利康奈尔大学08:37

没有他们不。这是一个有趣的事情,。是的。我想我会回答第一部分。但如果你找那本书,现在,它实际上是非常昂贵的在互联网上。只是因为解码并不是出版了。是的,但是在2011年,当我决定做那本书,这是我第一次专著。我不是很确定。我在一个点在我的职业生涯中,我不知道我要继续作为一个长期项目。我已经开始工作一个新的身体。 I was at the very beginning of a new project. And I...

詹妮弗Yoffy09:21

是恩典的图片或不同的东西。

凯利康奈尔大学09:25

这是第一个我的肖像贝琪,我的伴侣,最终通向恩典的照片。嗯,是的,我开始与她的照片,2009年,定期。我的书中,双重生活是在2011年。所以我认为我只是接受了专著。我真的很兴奋,只是它在书的形式记录,而在我看来,我认为也许可以像尼克·尼克松的项目,每五年有一本新书的最新照片。嗯,但我没做过的第二本书。我想,你知道,如果有兴趣之后,我觉得我更感兴趣的是采用较慢的方法。今年夏天,我有一个表演的爱丽丝·奥斯丁的房子叫凯利康奈尔:双重生活,二十年。我们正在做一个很好的目录,但它标志着20年,我想在25或30年马克,另一本书来说也很好。是的。

詹妮弗Yoffy39

我们已经提到了你两个主要项目和他们都涉及缪斯,但以完全不同的方式。所以在双重生活,你的缪斯女神是站在为自己。因此,摄影师的目光基本上是闭关自守。缪斯女神和你的模型是一个长期的朋友和合作伙伴,但在照片恩典,缪斯是外在的,你的目光是绝对固定在另一个人不仅仅是一个模型,而且你的伴侣。之后在一个工作方式,这么长时间,如何转变为你拍摄你的恋人是一个挑战吗?

凯利康奈尔大学11:18

是的,它确实是一个挑战,尤其是在开始。嗯,我认为与工作的双重生活从一开始,我想出了一个办法,对我来说,我觉得允许模型有更大的权力。因为相机通常在三脚架上,我按下自动定时器按钮通常运行在镜头面前,表演一个场景和她站在,没有人在相机后面。所以这很像当你感觉就像你在控制自我写照。没有photographer-sitter动态的不舒服。所以处理…

詹妮弗Yoffy中午的

还有没有直接凝视相机。对吧?

凯利康奈尔大学上午

完全正确。是的。所以即使场景中有两个人物,这两个人物从未满足我们作为观众或者摄影师的目光。本身,我想让观众偷窥狂,但它并不以任何方式暗示他们的目光。所以与新工作当我开始照片我和贝琪选择要么让她见到我凝视,或把目光移开,这对我来说是很不舒服,我想因为我的,像我一样是一个女权主义者和思考我和男性的目光看着她,然后一个扩展,观众盯着她从一开始就很有挑战性。我有一个真的很难。是的,我认为这是,嗯,我想这肯定让我恩典的工作的照片,因为我觉得困。实话告诉你。我感觉几乎冻结对这样的工作方式,因为我directoral摄影师引导一个场景,几乎就像一个还在电影。这的工作方式感到很陌生。 So I started to do a lot of research and I looked at so many different images of photographer-model relationships, and read quite a bit about Georgia O'Keeffe and Alfred Stieglitz before it led me to Edward Weston and Charis Wilson. And what I liked about Charis was once I learned that she was a writer, and I could read her own words and learn from her as a writer, I just learned so much about her as a person. And I found out through her autobiography, just how much freedom and agency she felt being a model, which really reminds me to how Kiba feels. Kiba really sees that as an avenue of expression, like for her it's almost like the medium she makes art through is by being a model in the picture. So I really enjoyed how Charis talked about her being a part of that process. And I thought well, maybe if Betsy and I traveled to those places where Edward and Charis made work that I could learn from Charis by acting out these scenes or photographing Betsy in these places and these landscapes, revisiting them to see you know what the periphery had to say about Charis but also me and Betsy, making our way to the California landscape and back. And I think it just taught me that sometimes, I don't know, if we take down all the male modernists, like are sometimes urges right now, because we do need to relook at history for sure and broaden it. But if you take down all those great male modernists, you're taking down all the women with them too. And yeah, I feel like Tina Modotti, Charis Wilson, and Margaret Mather, they just are such strong, free spirited women, Georgia O'Keeffe too, that, um, they weren't always framed with the power that they deserved. And maybe that's back then there were so many more male writers, instead of female writers? I'm not sure. Yeah, I like to think about challenging how history has been framed. And I think that's what the new project does is to try to not reframe Weston, because he's definitely a challenging figure that needs to be interrogated, that's for sure. But at least letting the model have more of a voice.

詹妮弗Yoffy下午

o照片恩典,你必须做或做过广泛的研究和写作。你能谈谈这是什么样的假设这些摄影之外的其他大型创造性的角色呢?

凯利康奈尔大学16:43

是的。正确的。所以当我第一次做了,当我第一次开始这个项目,我不知道这是要发展成为项目,这实际上是一个完整的书26章的文本和图像由我和爱德华·韦斯顿交织在整个文本。但当我第一次开始与贝琪拍摄,我们只会去加州,射击,回来。实际上在早期,我意识到这些照片还不够,这一切我已从她的写作学习了恩典,和访问中心的创意摄影在图森,有她的档案,她对爱德华的一切档案也住在那里。我把以前学到的东西是不可能在一个照片。所以我开始写。这是具有挑战性的,因为我做了一点写在过去,但我不是一个训练有素的作家。我是这样一个视觉的思想家比人写作练习。所以我学会了如何成为一个作家。 And what worked well, for me, as far as what a writing practice look like. And my studio practice completely changed. Like, I started to get up really early in the morning, like at 6am, get coffee and start writing before I had done anything in the day. And I tried to write daily, even if it was for just short periods of time. Because I found if I started to do anything for work, or anything else, you know, writing was out the window. But slowly that project started to evolve. And then I was able to work on the editing process and weaving in the pictures with the text, which has been really fun thinking about how image and text work together. But yeah, I think for me, it was just letting the project lead me to where it needed to go. And to just trust that it was going to work was both pretty scary, but also really fun. I think Double Life was a little bit like that at the beginning to where I was a pretty traditional photographer who was not making composites in Photoshop at all. I never thought I would use Photoshop but as soon as I had that idea I had to learn how to use Photoshop well, so I just let that learning process..., just embraced it because the work called for it.

詹妮弗Yoffy19:43

是的,我的意思是,这是一个真的,它简直太棒了,你知道,是开放和勇敢的解决一个全新的东西,因为工作需要。所以我想谈谈一个激情我们都出版。云雀Ediions开始的动力是什么?我爱这只是真正独特和创新的形式出版。你知道,你有一个难题和明信片,你知道,并不是所有的传统书籍,这是令人兴奋和乐趣。怎么开始?你是怎样的概念来的地方吗?

凯利康奈尔大学20:31

是的。实际上,开始由格雷格·哈里斯和保罗D’amato和我以前基本上这些照片书和啤酒之夜……

詹妮弗Yoffy20:44

就是这样嘛!(笑)

凯利康奈尔大学20:46

我们会完全只是极客在我们的照片书。我们通常会邀请几个人,晚上4月威尔金斯来了不少。有时就像十人。有时候只是我们三个。但我们只会把新照片书或有一些主题,我们看,或者一次我们都带着同样的一本书,我们知道我们拥有,只是看着这本书,有一个讨论,你知道,这本书是怎样制成的,并深入了解了。和所有在试图让啤酒远离书籍,嗯……,

詹妮弗Yoffy虽然

夜幕降临时,变得越来越困难。(笑)

凯利康奈尔大学21:34

无论如何,我认为这只是我们的激情被三人真的爱照片书,思考它们是怎样被制造的。和格雷格有这样神奇,神奇的照片藏书,我不知道现在在亚特兰大,他从芝加哥搬到了亚特兰大,但是,这些特别的货架上温度控制,。无论如何,我们三个真的爱照片书。所以我们都三个人决定,嘿,我们可以在我们自己的开始。我们跳进水里不知道多少工作。如你所知,这是一个大量的工作。这是很多比你想象的更多的工作。尤其是如果你是一个艺术家教像我一样,试图尊重自己的工作室练习。和保罗一样。所以一旦格雷格搬到了亚特兰大,保罗和我承担了更大的作用,就我们两个人。 And I think what works well for Skylark is our visions are really different, like, Paul is much more of a traditional documentary photographer, and his interests are a little bit more bent towards traditional photo documentary work. And I always like work that challenges or breaks boundaries, or is more experimental in its book form, way more experimental than my own work. So for me, it's kind of fun to have an outlet to work with artists and just kind of challenge the book form itself or think about the word editions, like what a photo edition could be. So I think because I'm on one side of the spectrum, and Paul's on the other, it's kind of a good balance that we can have these discussions or debates about photo books and just let Skylark you know, be a home for many different ways of work. But we also publish things very slowly because of our own art practice. Like it's only a coulpe items a year. Yeah.

詹妮弗Yoffy23:44

是的,我嫉妒的时间表。我的意思是,这是我自己的错。我只是,我感到兴奋。我喜欢我能做到,我可以把这个项目。所以我认为我警告你,我问大家这个问题到目前为止,你认为什么是最好的职业,你做出决定吗?

凯利康奈尔大学24:06

哦,是的,这一直是一个困难的问题。嗯,让我们看看。所以我认为就像实际的作品而言,我认为这只是相信这项工作将....如果我感觉真的就相信它会找到自己在世界上的位置,特别是在双重生活,因为工作,一旦牙和我开始年龄实话告诉你,一旦我们不在年轻20年代了,现在我们都超过40从艺术世界我确实得到了一些阻力。你知道,人们会经常说诸如收藏家不打算买那项工作了。但是,嗯,所以我感到一些压力来完成这个项目。但这并不感觉真的还是正确的,因为我仍然感兴趣。所以我做了,像有一些关于这个问题的内部斗争。随着时间的推移,我就决定去拥抱它。如果它只出现,就像每五年,我只有一个显示每五年,有一些书在,你知道,在30年的马克,等等,我认为这是对我好。 And that feels really good.

詹妮弗Yoffy25:40

仅仅是真实的,如果只要你知道,它会产生共鸣,最终会发生的。

凯利康奈尔大学25:45

没有我完全做艺术世界想要的东西,或某些经销商或谁。因为工作仍然是重要的对我来说,我知道,这是非常重要的牙。我认为有很多的,你知道,历史上的艺术和摄影,我们不习惯看到许多女人40岁以上的代表,所以有更多的空间表示为女性的身体。和我,你知道的,谁知道我需要说什么关系也随着我自己的关系的发展。是的,所以我认为这是最大的事情只要我的艺术生涯。

詹妮弗Yoffy二六32

是的,有一个,嗯……我的意思是,有趣的是,你得到这个反馈这种镜子歧视女性,像贸易她在模型对年轻的感觉,对吗?你知道,老人的刻板印象,你知道,他的女伴侣年龄,你知道的,想要一个年轻的模型。我很高兴你没有这样做。感觉不好。我欣赏这一决定,我认为这是正确的,感觉对了。至少对我来说。你能谈谈你迷了路,你从中学到了什么?

凯利康奈尔大学27:12

嗯,是的,这个问题比第一个。一个错误的把我的艺术生涯?

詹妮弗Yoffy二七20

我觉得这个问题就像当你在工作面试的时候,他们喜欢什么,你知道,你最大的弱点吗?你喜欢,我只是工作太努力。哦,我只是一个完美主义者。是的。

凯利康奈尔大学27:35

是的,嗯,你知道,似乎一切都是按您们的要求无论如何需要它的地方。当你第一次提出这个问题,我在想它。我的第一反应是,我不应该在之前我的工作更多的管理角色,因为我承担的角色副主任和副院长,并花费很多时间,甚至推我去工作,我有更少的工作室。但实际上,这项工作在某种程度上我没有带回家上学,它更像朝九晚五。我早日安息。所以很难很难回答这个问题,因为我要去休假,那个时候,这可能是图片的开始恩典我回滚到教学之前,我有一些动力从那时了。所以我不太确定我是否选择。但是现在,研究生项目主任感觉非常有益的和令人满意的其他工作。但更多的职业决定的相关教学,而不是像指导。是的,超过我的艺术实践疯转。嗯,是的,这是....

詹妮弗Yoffy29:06

我认为它的一个很好的教训。我的意思是,很多,你知道的,典型的回答是很多人,你不能指出一件事,因为即使当时感觉错了,导致别的,是积极的,就是一个很好的教训,任何人在生活中,你只是……,它会继续。和似乎是一个负面的东西往往最终成为正面或激励别的东西,这一切都不可能发生。

凯利康奈尔大学29:34

正确的。

詹妮弗Yoffy29:36

这是一个存在主义的问题,但你的成功的晴雨表在摄影是什么?你觉得你在那里吗?你觉得你有更多你需要做你所取得的成绩感到满意吗?

凯利康奈尔大学29:50

是的,这是个很好的问题。嗯,你知道的,所以这个问题,我觉得我真的很幸运。我觉得我很幸运在过去只有当我毕业于MFA。然后当我的艺术品。当我有个展的双重生活在纽约Yossi米洛画廊在2003年。在2007年,嗯,不,对不起,。所以我刚刚触及时艺术品市场的爆炸式增长。所以我的工作不仅实际上来自一个真实的地方,我感觉很好,但它也触及的时候能够荣幸和多个场馆所示。所以我第一次博物馆展示,然后另一个显示在西海岸。刚刚开始,你知道,工作就像刚刚起飞,这感觉很神奇。 And I think over time, as the art world has, like, ebbed and flowed with, you know, what's gone on in the art world, it, I feel like I'm really lucky to even have what I what I have now, compared to, you know, there's some students that have just graduated during this pandemic, and the opportunities that lay ahead for them feel fewer than what I had. I just remember so many art jobs were available at the time that I graduated, because so many professors from the 1970s, that first were teaching were retiring, and there's just fewer jobs out there now. So I think that for me, I'm just I feel like that's one of the things that is just really lucky for the time that my work first hit. But also knowing that it's collected by museums, I think, for me, that's what makes me feel really proud more so than having a gallery dealer or knowing that I'm in private collections, knowing that the work is in several established museum collections just makes me know that the works going to last.

詹妮弗Yoffy32:33

这是美妙的。你完成了恩典的照片或者你还在努力工作吗?你的书,你说你可以发布与爱德华·韦斯顿的照片的。这并不总是一个肯定的东西,对吧?不是一个挑战的权利或能够把那些在一起吗?

凯利康奈尔大学33:05

正确的。所以我仍然在所有这一切,现在的我刚完成,我认为是非常接近的最终草案的工作。这是伟大的,因为它是第十草案。自2014年以来我一直在工作。只是在过去的几周,我一直在会议与策展人和出版商试图找到一个出版商。我今天下午有一个会议与出版商。所以我们会看到。我确实有兴趣机构既要展示的工作,这很好。我们将看到它如何的书,但我感觉很好,它会找到它的位置。

詹妮弗Yoffy33:56

我对它很着迷,我想看到它。因为在网站上,它就像快到了。我说,我知道它会很好。我有这样的心理的形象。是的。

凯利康奈尔大学34:07

谢谢你！你知道的,你问之前的工作我已经编辑牙的怀孕的图片,也许这就是为什么像照片恩典,我对第一种更多的保护。当然,是的。

詹妮弗Yoffy34:24

是的,这就是我想的。我的意思是,它很聪明。那么聪明,是因为你不想稀释观众,你知道,提前放弃这一切。特别是因为有这么多的上下文在写作,只有单独的图片在你的网站上,甚至用一点写作可能不会给的全貌,你知道,没有完成你想要做什么工作。

凯利康奈尔大学34:48

对的,没错。

詹妮弗Yoffy34:51

好吧,谢谢你今天这样做。我爱和你聊天,这是如此有趣的深入研究你的工作并且准备面试,我是一个巨大的风扇。所以这是超级兴奋今天能够跟你说话。

凯利康奈尔大学35:13

好吧,我要像后退一步。我开始一遍又一遍。对不起。