Home
Cook Center
Spring 2021 Exhibitions

Spring 2021 Exhibitions

A place for art and exploration

The Cook Center in Maxwell Hall is home to the Process Gallery, a dedicated exhibition space, and the Grand Hall, a multi-use event and exhibition space. Exhibitions presented in these spaces highlight new work from current IU faculty members, students, and alumni, as well as community artists.

Throughout Spring 2021, the Cook Center will present several exhibitions curated by and featuring the work of faculty members to give our guests a glimpse into the diversity of creative expression and experimentation that define the arts scene at IU Bloomington. Please check back soon for information about upcoming exhibitions in May.

Current Exhibition

Darkness and Nothing More

May 14 through June 18

Darkness and Nothing More explores the nighttime landscape of family life, as well as identity formation and performance. Featuring the work of Elizabeth Claffey, assistant professor and area coordinator of photography at IU Bloomington.

Wed, Thu, Fri, Sat: 12pm-4pm

More about the exhibition

Previous Exhibitions

Ongoing Matter

A multi-platform, traveling collection of new poster designs that mobilizes political engagement, Ongoing Matter encourages civic engagement with the Report On The Investigation Into Russian Interference In The 2016 Presidential Election, or, as it is more colloquially known, the Mueller Report.

More about Ongoing Matter

Photographic Occurrences

Featuring the work of over twenty artists, Photographic Occurrences highlights the history of Fine Art photographic experimentation at IU Bloomington. The exhibition centers on Henry Holmes Smith, who taught photography at IU from 1947-1977, founding one of the first graduate programs in photography in the world.

More about Photographic Occurrences

Style of the State

Style of the State featured work produced by IU faculty artists from Platform: An Arts & Humanities Research Laboratory. Part of the 2021 Indiana Symposium of the same name, Style of the State explored the art, culture, and aesthetics of Indiana through architecture, costume design, fashion, painting, photography, sound installations, theatre productions, and more.

More about the exhibition.

The People of IU

The People of IU—Moving Image Portraits and the Public Screen is an ongoing creative and curatorial project that documents on motion picture film the wide range of figures that constitute the Indiana University community. The idea of a “moving image portrait” is derived from Andy Warhol’s 1960s “screen tests,” the black & white slow-motion films he made of fellow artists, friends, and iconic personalities who visited his studio.

More about The People

Virtual Opening Reception: February 5, 2021

Description of the video:

00:10

hello

00:10

i'm ed dallas camantelli associate vice

00:12

provost for the arts and humanities at

00:14

iu bloomington

00:16

and i am live streaming tonight from the

00:18

grand hall

00:19

of the brand new cook center for public

00:22

arts and humanities

00:23

i couldn't be prouder to be here tonight

00:25

and i'm grateful for all of you for

00:27

joining me

00:28

uh this evening this is our very first

00:30

event at the cook

00:31

center um and uh i'm kind of floored

00:34

that we're here

00:35

uh and i'm amazed and uh proud of all

00:38

the support that we've received

00:39

uh in putting this together um i'm gonna

00:42

say a little bit about the cook center

00:44

and its mission and what we plan to do

00:46

over the next year and then we'll be

00:47

talking about the two exciting exhibits

00:49

that are

00:49

opening this tuesday in our space

00:53

the arts and humanities council was

00:55

founded five years ago

00:57

and we began our work with a campus

00:59

survey and an asset map of our resources

01:02

and we immediately identified a

01:04

significant need for

01:06

a centralized campus center for arts and

01:08

humanities

01:09

we were hoping uh to find a space

01:12

at which we could focus all our amazing

01:14

work and our resources in the arts and

01:15

humanities

01:16

and we also wanted to identify a space

01:18

that could connect us with the thriving

01:20

uh downtown cultural scene in

01:22

bloomington indiana

01:23

we also wanted a beautiful space for

01:26

which we can celebrate and showcase the

01:27

arts and humanities

01:29

we found one in maxwell hall a gorgeous

01:32

building

01:32

from 1890 we spent the last year and a

01:34

half renovating it

01:36

and i'm sitting in here today it's a

01:38

wonderful time

01:39

to be in the arts and humanities at

01:41

indiana university

01:42

the project was funded by a grant from

01:44

the national endowment for the

01:46

humanities

01:47

an infrastructure grant as well as a

01:48

very generous gift which i'll discuss

01:50

in a moment we've been describing uh the

01:53

cook center at maxwell hall

01:54

as both a hub and a hearth it's a hub

01:57

because it brings together for the first

01:59

time

02:00

some of our most forward-thinking and

02:01

public-facing

02:03

units in arts and humanities for the

02:05

first time the arts and humanities

02:06

council has established offices

02:08

alongside the college arts and

02:10

humanities institute traditional arts

02:12

indiana

02:13

the center for royal engagement iu core

02:15

and

02:16

platform and arts and humanities

02:18

research center we're all working in

02:20

this building together from here on out

02:22

and i think the co-location is going to

02:24

be incredible

02:26

it's described as a hearth because this

02:28

is a place for celebrating arts and

02:30

humanities on campus

02:31

it's a gorgeous place it's a wonderful

02:35

beautiful place for receptions for

02:37

lectures

02:38

for conferences exhibits and

02:40

performances

02:41

it's a place where we like to show off

02:43

what we do here

02:44

it's a great place for fundraising as

02:46

well department gatherings

02:48

job candidate visits and all sorts of

02:50

things that we might need to do in our

02:51

work here in the arts and humanities

02:53

at the same time the cook center is a

02:55

bridge it's located just a few hundred

02:58

yards from downtown bloomington

03:00

and it's designed to connect with the

03:01

community and the downtown arts and

03:03

culture scene

03:04

we're working on a slew of new public

03:06

arts and humanities program for the

03:07

space

03:08

we're also talking with the city of

03:09

bloomington the arts commission

03:11

the bead district as well as visit

03:13

bloomington on new programs

03:14

we'll be participating in the city's art

03:16

walk and art exchange

03:18

and artist sca and a number of other

03:20

great programs

03:21

to connect campus artists and thinkers

03:23

to downtown artisan thinkers

03:25

and then finally cook center is a dynamo

03:27

it's a research dynamo

03:29

it's a place where we'll be generating

03:30

real work in the arts and humanities

03:32

new exhibits new scholarship all

03:34

throughout the annual calendar

03:37

the cook center is housing a new book

03:39

lab which is dedicated to the history of

03:41

the book and bookmaking

03:42

it also has new office spaces for

03:44

visiting scholars and artists in the

03:46

arts and humanities it's going to be a

03:48

thriving place

03:49

as as we begin to get up and running

03:51

over the next few months

03:53

i'll just say a couple things about the

03:54

features of the building uh it contains

03:56

a welcome center

03:57

a grand hall which i'm in now that sees

03:59

125 people for lectures and large

04:01

exhibits

04:02

a process gallery at which you can see

04:04

the entire creative process

04:06

from artistic conception all the way to

04:08

exhibiting it has an entire humanities

04:11

conference wing

04:12

with two seminar rooms eight breakout

04:14

rooms and offices for visiting scholars

04:16

it contains a kitchen and full catering

04:18

amenities as well as a courtyard

04:20

where we can host outdoor events it's

04:23

such a showpiece for us and this is a

04:25

historic change in our campus landscape

04:27

it also contains many offices for our

04:29

student interns and our student guild

04:31

which will be launching this semester

04:33

providing hundreds of opportunities in

04:35

public arts and humanities

04:36

for undergraduates and graduate students

04:38

here at iu the building is here to be

04:41

used it's for our a

04:42

h community i encourage you all to reach

04:45

out to me about the building to stop by

04:47

for a tour this semester

04:49

to come see the exhibits to talk about

04:50

the amenities it's here to be used

04:53

and i want to make it as open as

04:54

possible so please con contact me

04:57

directly

04:58

if you have any interest in doing so

04:59

make good use of it

05:01

throughout this semester it's open for

05:03

tours for sure as well as class

05:05

visits in april we'll be opening up the

05:07

scheduling process to faculty and

05:08

students

05:09

and we'll be having open space for

05:12

the summer and next fall as well

05:15

everything here is

05:16

is governed by covid safety protocols

05:18

will be open during the week from

05:20

tuesday to friday with special late

05:21

night hours on thursday

05:23

but you can expect the standard safety

05:25

protocols to be in place

05:28

with that i just want to say that

05:29

tonight we are opening

05:31

two incredibly exciting and timely

05:33

exhibits

05:34

they're timely in a number of ways i'm

05:37

so happy that this is a space for

05:38

celebrating our faculty and their work

05:41

and in these exhibits you can see dozens

05:43

of pieces by our iu faculty

05:45

especially from the school of art and i

05:47

encourage you to come and you'll be

05:48

surprised

05:49

at the amazing work on display here it's

05:51

also timely in the sense that we've been

05:54

sitting at home for a year

05:55

awash in images in media images in

05:58

political images

06:00

and both these works focus on the visual

06:02

and

06:03

focus on the image made tangible the

06:06

image made concrete

06:08

this is wonderful work that you hear a

06:09

lot about tonight but i assure you these

06:11

are images that disrupt that challenge

06:13

that inspire

06:14

these are images that meant are meant to

06:16

be seen in the flesh and i hope you can

06:18

come out and join us here at the space

06:20

it's a wonderful exhibit two exhibits

06:23

bright

06:23

fun mysterious and surprising at every

06:25

turn it's a real antidote to the end

06:27

home blues right now

06:29

i'd love to see you at the at the cook

06:31

center sometime

06:32

soon the last couple of days i've been

06:35

here with the staff

06:36

i cannot tell you how inspired i am by

06:38

the passion and the commitment that my

06:40

colleagues have displayed

06:41

in getting the center ready and putting

06:43

this work

06:44

out for you i'd like to thank a number

06:47

of people just quickly of course the

06:48

co-curators here sarah martin and anne

06:51

berry

06:51

as well as james nakagawa and david

06:53

andrick it's been a pleasure to work

06:55

with them

06:56

our exhibit coordinators betsy stearett

06:58

and linda tien from the gruenwald

06:59

gallery

07:00

and their fabulous team jesse lloyd ryan

07:02

farley and zach

07:04

kaufman we had a number of generous

07:06

loans for these two exhibits i'd just

07:07

like to thank especially martha and

07:09

david moore

07:10

uh for their contribution and of course

07:12

in putting the cook center together

07:14

i have to thank courtney payne michelle

07:16

buckland and adam tease at

07:18

capital planning and facilities and i

07:20

want to send a special thanks

07:21

and shout out to gerard panacoke our

07:23

program and operations coordinator

07:25

he's done the yeoman's work in getting

07:27

the center into shape and it's a marvel

07:29

to behold and a lot of that is

07:30

is due to gerard's work over the last

07:32

few months um

07:34

i also would like to thank president

07:35

michael mcrobbie for his generous

07:37

and broad-minded support for arts and

07:38

humanities on this campus

07:40

as well as provost lauren rebel a lot of

07:42

the cook center

07:44

and what you will find inside of it is

07:46

part of lauren's vision

07:47

and she's worked very closely with us at

07:49

the arts and humanities council

07:51

on the plans for the center along with

07:53

plans for first thursdays

07:54

the grand faloon and other campus

07:56

favorites she's worked

07:58

closely with us on grants on fundraising

08:00

and i'm planning

08:01

the space that i'm in today on this

08:04

momentous occasion though i would most

08:06

like to recognize the tremendous

08:07

generosity of gail cook

08:09

without whom this evening would not be

08:11

possible at all

08:12

as many of you know mrs cook is an iu

08:14

alumna she's an artist she's an

08:16

entrepreneur

08:17

a historic preservationist and a

08:19

philanthropist

08:20

who takes amazingly great pride in

08:23

supporting her community

08:24

not just bloomington but throughout the

08:26

state of indiana

08:28

along with the neh mrs cook has provided

08:30

us with the inspiration

08:31

and the support necessary to build this

08:34

campus center

08:35

for humanities research creative

08:37

activity and community engagement

08:39

thanks to her gift maxwell hall has now

08:41

been transformed into the gale karch

08:43

cook

08:43

center for public arts and humanities a

08:46

space that will serve our campus and

08:48

community for generations to come

08:50

thank you mrs cook i know gail might be

08:53

watching with us

08:54

today so please send as many hearts and

08:55

claps as you can in the feed for her

08:57

um we're going to have a formal

08:58

dedication of the building on april 8th

09:01

this semester

09:01

and then we'll have a grand opening and

09:03

a dance party at the start of the fall

09:05

semester

09:05

so i'm looking forward to seeing more of

09:07

you then at this point i'm going to turn

09:09

the program over

09:10

to betsy steart my good friend and

09:13

director of the greenworld gallery

09:15

thanks betsy hi welcome

09:18

um thank you ed that that was a pretty

09:20

hard to

09:21

pretty hard to follow up on that that

09:23

was that was an awesome introduction

09:25

um i just want to say that um i'm really

09:28

really happy to be here

09:29

as well uh to introduce our two

09:32

exhibitions that we've had the fortunate

09:34

uh benefit of being part of uh for the

09:37

first uh

09:38

shows at the gail cook um center

09:42

we're very pleased to be um that ed and

09:45

his folks have trusted us with working

09:47

with the curators for these exhibits and

09:50

um me and the grundwald team which

09:53

i have to include linda tien on on this

09:56

um hard work that we've

09:57

put into making sure that these exhibits

10:00

have uh

10:01

become a success and i think once you

10:03

see

10:04

them you'll see that they are um they're

10:06

beautiful shows

10:07

um so as ed mentioned um

10:11

we um we as part of the school of art

10:14

architecture and design have been

10:16

involved in this

10:16

and and we are focusing on uh exhibiting

10:19

uh

10:20

works by either by iu faculty or curated

10:23

by iu faculty

10:24

and um in these two exhibitions um

10:27

we will see some wonderful uh i guess a

10:31

variety of works uh on display

10:33

the first show that i want to talk about

10:36

today i'm going to do

10:37

just do a brief introduction then i'll

10:38

hand it over to sarah edmonds martin

10:41

and ann berry um who have worked

10:43

together on this show called

10:47

ongoing matter and sarah is an assistant

10:51

professor of graphic design here at iu

10:54

and ann h berry is an assistant

10:56

professor of graphic design at cleveland

10:57

state university

10:59

they've organized and created and

11:01

produced this timely

11:02

and provocative exhibition of striking

11:04

posters

11:05

in the show ongoing matter which is now

11:08

in the grand hall as you saw

11:09

behind ed there the exhibit contains

11:13

over 30 posters

11:15

that encourage engagement with the

11:17

report on the

11:18

investigation into russian interference

11:21

in the

11:22

2016 presidential election better known

11:26

as the mueller report

11:28

the designers of these posters are using

11:29

the art of communication to reveal

11:31

persuade and propel citizens to action

11:34

this is a non-partisan project and is

11:37

concerned with preserving democracy

11:39

protecting integrity and sharing

11:41

knowledge

11:42

let me introduce sarah martin and ann

11:45

berry great

11:48

thank you thank you so much thank you so

11:51

much betsy

11:52

um sarah and i would first like to

11:54

express our thanks and appreciation to

11:56

everyone at indiana university ongoing

11:59

matters partially supported by the

12:01

indiana university's arts and

12:03

humanities council the new frontiers in

12:05

the arts and humanities program

12:07

and the office of the vice provost of

12:09

research through the grant and aid

12:11

program

12:12

and of course a special thanks to ed

12:14

komentalli and the arts and humanities

12:16

staff

12:16

um betsy stearett and linda tien of the

12:19

grunwald gallery

12:20

lindy graves the shop assistant and all

12:23

the staff that helped

12:24

helped bring the show to iu it takes a

12:27

village sometimes which is

12:29

is great um so i usually begin talks

12:32

about ongoing matter

12:33

that the full title is ongoing matter

12:36

democracy design and

12:37

the mueller report by acknowledging my

12:40

father leroy berry jr

12:42

not simply be because we're related but

12:44

because he

12:45

is in his own right as an attorney and

12:48

retired history and political science

12:49

professor

12:51

somebody who is a voracious learner an

12:53

academic

12:54

and like me an educator um i also want

12:57

to mention on a side note that he

12:59

he happens to be an iu law school alum

13:02

so

13:02

i have um some fond memories of living

13:05

in bloomington many

13:06

many years ago um but at any event my

13:09

siblings and i learned early on that

13:11

politics played an important role in our

13:13

lives

13:14

if not for the 1967 loving versus

13:17

virginia supreme court case

13:19

my parents would not have been able to

13:21

legally marry

13:22

and if not for brown versus board of

13:25

education

13:26

we might not be here together having

13:28

this

13:29

this conversation today um

13:32

and certainly there are people who may

13:34

not see themselves as political

13:36

they may not see themselves as

13:37

politically active or even interested in

13:39

politics

13:41

um and yet politics and design share an

13:44

important characteristic

13:45

um i certainly believe that on a

13:47

fundamental level politics like design

13:50

is

13:50

is everywhere and like design politics

13:53

touches

13:53

everything and is part of our everyday

13:55

lives whether or not we

13:57

realize it or even see these political

13:59

systems at work

14:01

so a bit later sarah will talk further

14:03

about some of these connections between

14:05

design and politics

14:07

primarily through the historical lens of

14:09

political poster design

14:12

but to get us started i'm going to take

14:13

us back to 2019 which probably

14:16

feels like many many years ago now um

14:18

but

14:19

in the the summer of 2019 i started

14:21

reading the mueller report

14:23

which i downloaded directly from the the

14:25

department of justice

14:27

um website um like many other people

14:30

were doing it

14:31

at the same time and i was shocked um

14:34

though the document is the very

14:36

definition of

14:38

of what we might call a governmental

14:40

artifact uh so you have the 12 point

14:42

times new roman font and you've got this

14:46

uh huge lengthy document that is 448

14:49

pages long

14:51

which again was documenting the

14:53

investigation into the the russian

14:55

interference in the 2016 president

14:57

presidential election um but yet it

14:59

reads like a spy novel

15:02

so uh from stolen documents

15:05

and russian hacking to the russian

15:07

internet research

15:08

agency's active measures social media

15:10

campaign

15:11

um it's it's all a mouthful but there's

15:13

a level at which it

15:14

is i think difficult um to fully

15:18

comprehend that all of this happened to

15:20

us

15:21

um in the united states and has resulted

15:24

in our

15:25

collective loss of faith in the

15:27

electoral process

15:28

and and free and fair elections and i

15:30

think um

15:31

we see this continuing to play out even

15:33

even now

15:35

um so i after reading this report

15:38

i reached out to design friends and

15:40

collaborators and it turned out that

15:41

they were equally shocked

15:43

about the events surrounding the 2016

15:46

election

15:47

so um though our our perspectives and

15:50

and motivations uh differ i think it's

15:53

fair to say that we are

15:55

united by an awareness of how our lives

15:57

are connected to politics i think that's

15:58

kind of where we all

16:00

started um and for us the mueller report

16:03

is a design

16:04

problem that is worth investigating

16:07

so one of our primary questions has been

16:10

how do we make the report

16:11

itself more accessible or

16:14

easily understood by a wider audience

16:18

so the poster exhibition is really just

16:20

one part of this larger

16:22

question of trying to figure out ways of

16:26

of overcoming communication barriers

16:28

particularly when the health of american

16:31

democracy is at stake

16:33

as much as the port as much as the

16:35

report was

16:36

meant to be uh publicized and easily

16:39

accessible

16:40

um it's still there's still a lot of

16:42

people who haven't read it

16:44

um so as i mentioned earlier for me

16:47

politics is very personal much of my

16:50

identity and perspectives have been

16:52

forged by where i fit into political

16:54

history

16:55

but i think it's also fair to say that

16:57

the the same thing is true for sarah

16:59

and for our project uh collaborative

17:01

collaborators

17:02

so with with that bit of an introduction

17:05

i will

17:06

uh turn things over to to you sarah

17:09

thanks ann um so i'll kind of start here

17:12

with this quote

17:12

um throughout time posters stand as an

17:15

enduring reflection

17:16

of the moment they were designed and

17:18

this by rick valencia the

17:19

creative director and i believe

17:21

co-founder of thirst a design studio

17:23

and um he he wrote that in the in

17:26

graphi's publication

17:28

of the 2020 um poster annual it's an

17:30

international collection of the best

17:32

posters of that year 2020.

17:34

um and despite predictions that printed

17:36

materials would perish in the digital

17:38

age

17:39

the printed political poster in

17:41

particular has

17:42

not disappeared elizabeth resnick

17:46

um curator of such comprehensive poster

17:48

exhibits as the art of the poster or the

17:50

graphic imperative

17:51

international posters of peace social

17:53

justice and the environment

17:55

and of course graphic advocacy

17:56

international posters of the digital age

17:58

who actually um

18:00

when anne and i were starting this

18:01

project we reached out to and

18:03

she gave it the thumbs up in green light

18:05

which was kind of like

18:06

gandhi telling you you're doing a good

18:08

job uh

18:10

she states that the poster in all of its

18:12

forms has persisted as a vehicle for the

18:14

public dissemination

18:15

of ideas information and opinion

18:18

um and you know we in doing research for

18:22

this project we didn't just look

18:24

at the contemporary moment but we we

18:26

looked back at how art and design

18:28

and politics have always been bad

18:30

fellows back in 1972

18:32

andy warhol was commissioned to create a

18:34

poster for the dnc the presidential

18:36

um the dnc their uh kind of propaganda

18:39

for the presidential candidate george

18:41

mcgovern

18:42

and what warhol actually made didn't

18:43

depict mcgovern at all

18:45

instead the vote mcgovern poster showed

18:48

this sickly snake green skinned

18:50

diabolical uh version of richard nixon

18:54

and just

18:55

like in warhol's marilyn monroe or mao

18:57

series which you might be more familiar

18:59

with

19:00

not many people know that ander walhall

19:02

did political design

19:04

in this kind of overt way um

19:07

warhol sourced popular media approved

19:10

portraits of nixon to use as his base

19:13

um he uses color alterations

19:16

and transforms the simple image in order

19:19

to communicate something deeply

19:20

disturbing

19:21

and powerful and then of course um many

19:24

people

19:25

know of the 2008 uh shepherd fairy

19:28

design

19:29

which really launched shepard ferry from

19:31

his obey brand into

19:32

kind of the sphere of social justice um

19:35

poster design and he continues to create

19:38

um

19:39

accessible poster designs that people

19:41

can download and print out and they are

19:43

meant to kind of have

19:45

for free to go use in the streets and so

19:47

again

19:48

ann and i really started looking at this

19:50

history of poster design

19:52

in conjunction with accessibility and

19:54

communicating clear messaging

19:56

when it comes to something as important

19:58

as the mueller report

20:00

which as a design object is a complete

20:02

failure

20:03

it's 448 something pages

20:06

as anne mentioned times new roman

20:09

legalese

20:10

it's redacted to all get out

20:14

um so there are giant chunks actually

20:16

whole entire pages are just blacked out

20:19

with this phrasing harm to ongoing

20:21

matter which as you might imagine

20:22

inspired the project title the more that

20:26

we

20:26

started digging in and reading this

20:27

report and i think both of us read it

20:29

more times we want to admit in order to

20:32

kind of start doing

20:34

some uh investigation into what needed

20:36

what were the key issues that as

20:38

designers we felt

20:39

um we were responsible for bringing uh

20:42

to

20:42

a more public audience so it's like i

20:44

said is 448 pages

20:47

um and you can kind of see i went

20:49

through and

20:50

analyzed 11 of it at the time of its

20:52

initial publication

20:54

was redacted so you couldn't read 11

20:57

of this document also there were over a

21:00

thousand footnotes um so not only was

21:02

the general body copy of the text really

21:05

difficult to dig into

21:06

but in order to get a full picture you'd

21:08

have to go read the footnotes

21:10

and sometimes the more salacious kind of

21:12

details of the of the investigation were

21:14

actually buried in the footnotes again

21:16

sort of a failure of accessibility and

21:19

design

21:20

and as victor papanek has said um and

21:22

one of

21:23

again he's one of the inspirations for

21:24

this project too in some ways

21:26

the only important thing about design is

21:28

the way that it serves its community

21:30

right um so although what you see in the

21:33

exhibit and what you saw earlier and

21:35

some of the examples um in our slideshow

21:38

were beautiful poster poster designs

21:41

a lot of our work was also just parsing

21:43

this document

21:44

organizing this document um and deciding

21:48

what is what were the most important

21:49

things to draw a viewer's attention to

21:52

and so this was a timeline that um ann

21:54

started designing and we added

21:56

the content to as we were working just

21:58

for ourselves

21:59

to kind of organize all of the um the

22:02

facts

22:02

the timeline and as we were making this

22:04

we were like why did the us government

22:06

not create something like this

22:08

um and so we ended up anne actually

22:11

ended up designing

22:12

this into a poster that's in the show as

22:14

well to help ground

22:15

all of the other visual components of

22:18

the exhibit

22:19

um all of the posters quote verbatim

22:22

from the report so there is um again

22:25

going back

22:26

to the idea of accessibility there is a

22:28

level at which we want

22:30

to encourage folks to read the report

22:32

themselves or at least read the language

22:34

verbatim

22:34

um because it does like ann said read

22:36

like a spy novel um so every

22:38

all the type that you will see in the

22:40

show is verbatim from the text

22:42

um and with that i uh i encourage you to

22:45

um

22:46

if you if this has inspired you if you

22:47

would like to be involved

22:49

we do think that this show will travel

22:51

to another venue in 2022

22:53

so um we are open to more participation

22:56

participation from designers and artists

22:59

alike so please reach out to us

23:02

i would just add a on a quick note um we

23:05

we also encourage you to visit the

23:06

website

23:07

because you will be able to see the

23:08

entire poster collection there as well

23:17

thank you that's fantastic

23:20

what a wonderful scary show

23:26

it was great um i wanted to talk a

23:28

little bit about our other exhibit

23:29

um briefly before i introduce our other

23:32

curators and artists

23:33

um photographic occurrences

23:37

uh which is taking place in the process

23:39

gallery which you see behind me

23:41

um is the curatorial project of faculty

23:44

curators and artists

23:46

osama james nakagawa and david andrick

23:49

and contains the work of artist

23:50

photographers who have maintained the

23:52

lineage and legacy

23:54

of photographic studies at indiana

23:56

university first in the henry radford

23:58

hopes school of fine arts

23:59

and now in the eskenazi school of art

24:01

architecture and design the exhibit

24:04

highlights work by the founder of the

24:06

photography program

24:07

henry holmes smith who taught

24:08

photography at iu

24:10

from 1947 to 77

24:13

as an avid experimenter in the dark room

24:17

he broke

24:18

new ground in the creation of cameraless

24:20

photographic images

24:21

photographic occurrences celebrate

24:23

smith's legacy of experimentation at

24:25

indiana university by exhibiting smith's

24:27

photographs

24:28

the work of the star students jerry

24:30

ulsman betty hahn and robert victor

24:33

and photographs by current and um and

24:35

emeritus eskenazi school faculty

24:38

and ium ffa alumni additionally a

24:41

beautiful daguerreotype by takashi arai

24:43

as it is on display

24:45

in the show which you must go see um

24:48

it's the result of a planned artist

24:50

visit that didn't take place

24:52

due to the current pandemic and this is

24:54

a beautiful piece that's um

24:56

it's a must see the exhibition

24:59

highlights the varied and experimental

25:01

nature of photography at iu

25:03

and it's looked to important past and

25:05

future traditional

25:07

and experimental photographic processes

25:10

um let me introduce uh james nakagawa

25:13

and david andrick

25:18

uh hi everybody uh

25:22

our show is not as organized uh it will

25:25

uh

25:26

how this uh exhibition came together

25:30

because i kind of reacted to the

25:33

unfortunate

25:33

situation with pandemic and then

25:37

cancellation of takashi

25:39

arise billboard project that we got

25:41

funded by ovpr

25:45

and from that quickly i was talking to

25:48

ed

25:49

about how to make this unfortunate

25:52

situation

25:53

positive energy and then

25:56

it was a kind of stretch from takashi's

25:59

contemporary

26:00

digestive to uh connect to

26:04

connect to our founder henry von smith

26:06

but once i

26:07

did that started to make sense because

26:09

daguerreotype is the oldest

26:11

process uh photograph photographic

26:14

process

26:15

invented in 1839 and then

26:18

henry holmes smith was known as very

26:21

experimental

26:22

abstract photographers and so many uh

26:25

people came out from under his

26:28

uh uh uh teaching and

26:31

uh jerry wilsman and also

26:34

uh betty han who is one of the

26:38

important uh female uh

26:41

photographer in united states and

26:44

she was

26:47

putting in a photographic image onto

26:50

fabric and then

26:51

doing the embroidery back in 1960s and

26:55

50s and 60s

26:56

so so uh now

27:00

with digital technology our students are

27:03

you know creating a digital print on the

27:07

fabric and then

27:08

stitching together and all that kind of

27:10

stuff is happening so it's

27:12

kind of henry holmes smith's

27:14

experimental dna

27:17

is still going on

27:20

with this uh our program so i was

27:22

talking to david

27:24

how can we put this together and david

27:28

is another uh non-uh

27:33

lens-based abstract camigram

27:37

that he he creates and i think it was

27:40

great to work with him and then

27:43

get this kind of thread together

27:47

for over how many years geez

27:52

since 47 so it is for a long time

27:55

okay david go ahead okay um

27:58

so i got my undergraduate degree at the

28:01

university of new mexico which is where

28:03

betty han was

28:04

faculty for i would think most of her

28:07

career i'm not entirely

28:08

positive about that and it actually

28:11

turns out that

28:12

the woman who babysat for our block had

28:15

been one of betty's

28:16

students so as like a four-year-old i

28:17

was doing art projects that had been

28:19

inspired by betty's

28:21

teachings um and unm itself was fairly

28:24

experimental

28:26

between tom barrow and patrick nagatani

28:30

all sorts of wacky things were happening

28:32

in the chemical darkroom

28:34

uh we're pretty early to pick up

28:35

computers and really

28:38

like using the medium to communicate as

28:40

opposed to

28:43

should depict uh so like

28:47

social documentary was not the name of

28:49

the game it was

28:50

making actual uh physical prints

28:54

physical artworks that needed to be

28:55

experiment experienced

28:58

in person in front of them and that's

28:59

what we have in this exhibit

29:01

whether you're talking about rolling

29:04

rickets

29:05

pieces which are indigo dyed fabric that

29:08

have been bleached by the sun

29:09

over 280 days or you're talking about

29:12

morgan stevenson's print on fabric that

29:15

is a soft sculpture

29:16

that's about 10 feet tall

29:19

betty hans cyanotype that you can see

29:22

there that she's

29:22

drawn on it's not in this shot but just

29:25

to the

29:27

in the just to the right of that picture

29:29

is where uh takashi's daguerreotype

29:31

is set up and that actually requires you

29:33

to do

29:34

a sort of a move like this to see it

29:36

because the daguerreotype is made on us

29:38

very highly polished plate of silver

29:42

and so getting and that's such a

29:44

different thing than

29:45

looking at photographs on a screen

29:48

especially a five inch screen that fits

29:49

in your pocket

29:51

which is how most of us interact with

29:52

photographs these days

29:55

so i'll throw it back to you james well

29:58

yeah and then

29:59

also faculty members uh we wanted to

30:02

i was talking to ed about the

30:04

celebrating faculty's work

30:07

from iu and then also uh the

30:10

graduate students work and i thought it

30:13

was like a perfect

30:14

perfect way to start to

30:18

have exhibition at the space and then ed

30:21

got excited about our

30:25

uh idea and all i did

30:28

was start emailing these people

30:32

uh but david and i we kind of created

30:35

this

30:35

rule that you cannot have straight

30:39

silver prints or straight digital prints

30:43

it has to have some kind of tactile

30:47

quality to the photographic object

30:50

and then also uh representation

30:54

photographic images all the way to

30:56

abstraction because of henry home smith

30:58

was doing abstraction

31:00

and then i'm known for doing a hyper

31:02

real

31:04

digital print like what you see in the

31:06

back

31:07

but david said you cannot put those in

31:10

so

31:11

luckily i made another work

31:15

with kind of alternative process with

31:18

cyanotype

31:19

and soil print in okinawa using a salt

31:22

water ocean water and creating these

31:25

prints

31:26

so so it's very experimental

31:31

throughout these uh show my dear

31:34

colleague uh colleague liz claffey

31:37

elizabeth claffy's work

31:39

uh she is creating this kind of

31:42

3d uh sculptural work with cyanotype

31:46

and and page pages of the book

31:51

and uh yes so

31:54

you know yes former students work and

31:58

that

31:59

david and i we just we were conscious

32:01

about the

32:02

mfa students who didn't get to show

32:04

their mfa

32:05

thesis show last may and we selected

32:09

from some of them not all of them but

32:12

some of them

32:12

are to exhibit this exhibition

32:16

so uh like seth cook's work is very

32:20

physical

32:21

he he invented the process to

32:24

transfer photographic images

32:28

digital photographic images onto canvas

32:31

or sometimes board wood board and then

32:36

squeegee and create a

32:39

very tactile object like uh

32:43

but still you can see representational

32:45

image or photograph

32:46

somewhere in it and uh yeah

32:50

the role and records work is indigo

32:53

it's no chemical it's you know it's

32:55

natural

32:57

and organic but you know he masked

33:00

uh the fabric that the indigo died and

33:04

then

33:04

opened up a certain area and exposed it

33:07

for a long time so became

33:09

kind of white and betsy's work here

33:14

uh with a palladium print

33:18

yeah and uh ahmed's work is a

33:22

combination digital

33:24

print and cyanotype but it's again this

33:27

is very physical

33:28

physical surface right david

33:32

yeah i'm not sure how well it shows in

33:34

the screen but

33:36

this the cyanotype is actually

33:38

physically pulled away to reveal the

33:40

grayscale inkjet behind it so this is

33:43

almost a relief sculpture

33:45

and a lot of these pieces you can see

33:46

there morgan's piece

33:48

um do exist in multiple in three

33:50

dimensions

33:51

and you can move around them

33:54

see the attention to the way they've

33:56

been stitched the way they've been

33:58

thoughts about materiality this fabric

34:01

versus that fabric

34:04

the paper that the artists pick is very

34:06

very intentional

34:08

if you see in person james's piece that

34:10

we saw a little bit earlier has a rough

34:12

texture

34:13

compared to june's piece which is a very

34:16

smooth

34:17

surface there right in the middle um

34:20

those two pieces together and across

34:23

from that

34:24

is a lithograph which has its own

34:26

surface and tactile nature

34:28

as well as the cyanotype which again a

34:30

very specific paper was chosen

34:32

to do that so it also shows the

34:35

tremendous

34:36

range of ways you can make a photograph

34:39

if you

34:40

go back all the way to 1839 and

34:43

processes that have existed then

34:45

and these are all processes that henry

34:46

holmes smith

34:48

helped resurrect and in fact betty hahn

34:51

is really well known

34:52

for breathing life back into thin

34:55

techniques processes that had not been

34:58

used for 70 years or more when she got

35:00

back

35:01

into them and helped popularize them so

35:04

this has been the undercurrent of our

35:05

program and our legacy

35:08

at iu yeah and then also you know

35:11

this came out of pandemic

35:14

we were locked in we couldn't get uh

35:17

takashi to come

35:18

to bloomington and uh

35:22

you know we were staring at the computer

35:24

screen

35:25

all the time and

35:29

gotta do something physical and the

35:32

photography

35:33

is not on the screen those are digital

35:36

imaging

35:37

so i mean having this show

35:40

i know you can look at it like this but

35:44

you have to go to this place

35:47

click center and please experience

35:51

photography not just looking at

35:55

the screen photography is object

36:00

so please come see it and then enjoy

36:05

and then also i would like to thank some

36:09

people

36:10

i mean first i want to thank ed because

36:14

the whole thing didn't work out that was

36:16

on the march

36:18

about bringing in takashi for the uh

36:21

public art

36:22

project but then quickly he

36:25

supported me to do this show and then

36:28

i'm glad

36:29

we are doing you know we did the show

36:32

and then

36:32

also uh lauren richmond for her

36:35

insightful

36:36

essay and sarah

36:39

martin created this incredible

36:42

book

36:51

and uh well again david david

36:54

and martha moore and jeff wallin

36:58

and arthur liu uh they uh

37:01

uh for learning artwork from

37:05

personal collection and then also

37:07

takashi arrives gary

37:09

v pgi my gary too from tokyo

37:12

sending those precious uh uh

37:15

daguerreotype

37:16

uh from all the way from tokyo

37:20

and david for the artist

37:24

right thank you for sending us

37:28

all our uh all the work uh all over the

37:31

place

37:32

uh without you guys we couldn't do this

37:35

you know very interesting show so thank

37:38

you very much

37:38

and betsy and linda thank you for

37:42

uh installing the show uh

37:46

you know we needed your professional

37:48

touch and then

37:49

thank you very much thanks

37:52

it was fun um i also want to thank ed

37:56

because uh without ed um i'm not really

38:00

sure

38:01

uh not only would this all not be

38:03

happening but

38:05

so many things on this campus would not

38:06

be happening uh

38:09

i know from the grundwald from our

38:11

perspective

38:12

we i'm eternally grateful to ed

38:15

for his support and you know

38:19

i guess enthusiasm to work with us and

38:21

everything else i mean it's been

38:23

fantastic so i want to really mention

38:25

that

38:26

um also um

38:29

i would like to open it up to questions

38:32

um or

38:33

would our panelists like to talk to each

38:35

other about anything

38:37

um that's also an option um

38:40

we do want we do have uh a one question

38:43

but

38:44

um would any of the panelists like to

38:48

say anything else before we go into

38:49

questions

38:52

no okay well we do have a question

38:56

um it is about ongoing

39:00

matter and uh this

39:03

person would like to know has anybody

39:06

ever

39:06

seen anything done with the mueller

39:09

report before

39:11

in this way has it ever been done

39:13

anywhere else because i don't

39:15

i know i haven't seen it but how about

39:17

you two designers

39:19

well i haven't um i know that i mean

39:23

again like before we even uh

39:26

really got the the project underway i

39:28

think we were well at least i was sort

39:29

of looking at some

39:31

some some of the things that had been

39:32

done so um

39:34

through the project we've we've

39:36

encountered some things that are really

39:37

interesting so of course there are

39:39

podcasts

39:40

um of course there are books um law fair

39:43

blog in particular i i'm gonna

39:45

give a shout out to them wherever they

39:47

are they they did a series that isn't

39:49

the the mueller report verbatim but it

39:52

breaks down the key

39:53

pieces of the mueller report in a really

39:55

interesting way um

39:57

i think there were celebrities who were

39:59

reading or singing parts of the mueller

40:01

report so there there have been a

40:03

variety of ways in which i think people

40:04

have tried to

40:08

make it interesting um and accessible

40:11

but i don't think anyone has done it in

40:13

this particular way

40:15

yet no and there have been pushes

40:19

there have been so again over the course

40:21

of doing this project and starting to

40:23

see what else has been out

40:24

you know what else is out there um it's

40:27

not necessarily visual but it is the

40:29

functional side of design there

40:31

are groups that have taken up kind of

40:33

like this pro bono

40:35

um coding like re-encoding the report to

40:37

make it more functional

40:39

um we've kind of taken a much different

40:41

approach it's much more visual

40:43

and contemplative and um

40:46

reflective and of course uh you know uh

40:50

colorful uh so it's different but it's

40:53

inspiring to see um many approaches

40:56

because ultimately

40:57

we need all of those approaches in order

40:59

to solve a very big problem like nothing

41:01

nothing just ongoing matter cannot just

41:04

solve the problem of the mueller report

41:06

and government

41:07

report design but a bunch of creative

41:09

thinkers

41:10

coming up the problem creatively from

41:12

their area of expertise

41:13

you know might be able to affect some

41:16

kind of change

41:19

i think it's very clear from the show

41:21

i'm from looking at the posters how much

41:23

study

41:24

went into that report by you

41:28

you and the designers i mean that was

41:29

very clear that um

41:31

there was a lot of engagement there this

41:33

was not just a sort of a

41:35

quick um skim of the report so it's

41:38

pretty impressive

41:40

what you've accomplished i think and

41:42

also to make things that are

41:43

visually so compelling out of that

41:47

material

41:48

um i think it's amazing so

41:51

thank you thank you for saying that i

41:52

guess i'll also add too it's not as

41:54

though

41:55

yes there we went in depth with the

41:57

reading but it wasn't

41:58

easy reading either right it wasn't like

42:01

light reading

42:02

i mean there were definitely parts of it

42:04

that are

42:05

as i mentioned earlier shocking and just

42:07

crazy

42:08

um but it's it's very dense and

42:11

uh one of the things we've discovered is

42:14

that they're

42:14

you know i don't know what the

42:16

percentage is but there are many uh

42:18

lawmakers who still haven't read it

42:20

because they themselves were like

42:22

it's so long and it's very dense

42:25

so it's a problem

42:29

it's great um let me see

42:33

um i let's see

42:36

um i don't have any other questions from

42:39

the audience right now

42:40

but um if i i did want to bring up one

42:44

thing that

42:45

um i went to graduate school here at iu

42:47

as well in

42:48

the the 80s um way back in the day

42:51

before

42:52

many of you were born um sarah martin

42:54

reminded me

42:55

of that um anyway it was

42:59

it doesn't bother me it's all right um

43:01

but i just want to mention that um

43:02

early on in the 80s when uh jeff lolan

43:05

was here

43:06

uh teaching um he he actually

43:10

uh initiated quite a number of

43:13

alternative processes

43:14

activities uh for the students

43:18

and um and he he brought

43:21

james riley in who wrote the definitive

43:24

book on

43:26

album and salted paper prints um and so

43:29

that was a really uh

43:30

sort of an important moment i believe in

43:33

the program

43:34

because so many people were studying um

43:37

different alternative processes at that

43:39

time um so it was pretty exciting and

43:42

that was sort of

43:43

uh kind of i know i know it starts sort

43:47

of got rolling in the 70s

43:49

um but it was uh sort of the

43:52

first introduction i think after henry

43:54

homesmith um

43:56

laughed and then he went through the

43:58

digital and those are coming back right

44:00

now

44:01

you know the process is coming back and

44:04

the way i you know to do i mean

44:07

doing this show i started to think about

44:09

what is this dna

44:12

i mean home smith came he was kind of

44:14

crazy

44:15

uh alternative process and then

44:18

abstraction and he didn't use you know

44:20

lens

44:21

or camera sometimes but then he

44:25

hired reg heron from chicago id

44:28

right and he was more

44:31

probably conservative in terms of image

44:34

making but

44:35

he was crazy scientist comes to chemical

44:38

and then all that so so and then also

44:42

henry home smith was playing with

44:44

chemical

44:45

in a very intuitive way i would say so

44:49

you know he hired reg but then reg hired

44:52

jeff and then alternative process and

44:55

then

44:56

then then came to uh me i mean

44:59

jeff hired me because i was doing

45:00

digital so there's this kind of

45:03

strange i mean it's interesting

45:05

interesting i think thread

45:08

and now it's to you know liz is here and

45:10

she's making books and

45:12

you know physicality of the uh image so

45:16

there's some something's happy

45:20

don't you think it also has to do with

45:21

the way photography is perceived now

45:23

compared to what it was then

45:25

because i believe that um photography

45:28

has

45:28

made strides uh toward more contemporary

45:32

image making than maybe back in the 70s

45:36

uh

45:37

it was a little bit separated from the

45:38

art world in a sense it was

45:40

it was photography and it wasn't art 80s

45:45

made and huge print and then gursky

45:47

started making huge print

45:49

i mean but then what about those you

45:52

know

45:52

small prints that you know photography

45:54

used to make too

45:55

and then and also alternative process

45:58

all that so it's i think it's coming

46:00

back and digital made it

46:04

hyper real sharpness and we're still

46:08

seeking for 4k ak video too

46:11

right but then you know i think it's

46:15

half a shop you want to get

46:18

you know but then the problem is is it

46:20

becomes look

46:21

it starts to look commercial right um

46:25

yeah so um the handmade

46:28

is so important and i think that that

46:31

people are recognizing that more and

46:34

more

46:34

i mean they have been for a while but

46:37

that's so

46:38

critical and this shows a great example

46:40

of showing that

46:43

yeah content-wise everywhere

46:48

this i mean you know our show the uh you

46:51

know photographic occurrence is

46:52

content-wise it's kind of everywhere but

46:54

it's it's nice even though it's not

46:58

thematic it is in a way because so many

47:02

layers

47:03

came in to abstraction representation

47:07

you know historical process

47:11

you know all that so it's it's really

47:13

interesting the way it

47:14

came together intuitively

47:20

i have a another question for ann and

47:22

sarah

47:23

from the audience it is uh let's see do

47:26

you see any possibilities of this work

47:28

inspiring design curriculum in the

47:30

future

47:31

especially around civic engagement uh

47:34

politically engaged design

47:35

and what might that look like

47:39

well i think the short answer is yes in

47:42

fact

47:43

i mean i'm i'm an educator and so

47:45

naturally my mind goes to

47:47

curriculum and um what are ways that

47:50

i mean this project is of interest to me

47:52

obviously but

47:54

um how can i make if not the mueller

47:56

report

47:57

uh something similar interesting to my

47:59

students and sort of a

48:01

another design i guess problem or

48:02

challenge to address

48:04

with respect to um dense information and

48:08

making it more accessible to a wider

48:10

audience and and i

48:12

speaking for myself i would say i think

48:14

students often time

48:15

well i guess it just depends but

48:17

sometimes students don't necessarily see

48:19

themselves as

48:21

politically activated um

48:24

well maybe around maybe around election

48:26

time but but sometimes i think they see

48:28

themselves as apolitical

48:30

um and i you know this isn't really

48:34

political in the sense that we're trying

48:35

to get people excited about

48:37

a particular political party but i think

48:40

it's the larger goal of helping students

48:43

understand

48:43

um that they are impacted by things that

48:46

happen

48:47

they they are impacted by the mueller

48:49

report um

48:50

especially when we look at the methods

48:52

that um

48:53

the the russians were using to to

48:55

interfere

48:56

was through social media and many of our

48:58

students are using social media

49:00

so i think um with with respect to

49:03

curriculum specifically it's like

49:05

bridging some of these maybe perceived

49:07

gaps between

49:09

this dense boring document but it

49:12

actually relates to

49:13

the way our students are are interfacing

49:15

with each other in the world

49:18

yeah and i'll just add that it's you

49:20

know part of the teaching

49:22

uh one of the big core teaching moments

49:25

in design

49:26

is is explaining that nothing is neutral

49:28

whether that be helvetica

49:30

the typeface or times new roman that

49:32

they're steeped in the history and they

49:34

carry the weight of all of their former

49:35

usages

49:37

so is the documents that the government

49:40

put

49:40

put out you know that we we interviewed

49:43

and i interviewed uh

49:45

dr bernard fraga who used to be a

49:47

political scientist here for this

49:49

um for this project to kind of get his

49:51

perspective on whether we're kind of

49:52

trying to

49:53

tease out whether or not the document is

49:55

intentionally

49:56

poorly designed which is kind of a

49:58

loaded question but we were

50:00

investigating that and um i mean i think

50:03

the answer is sort of yes

50:04

like it's it's really not designed for

50:06

broad engagement it's not designed for

50:08

like the lay

50:09

civilian to pick up and read um because

50:12

having access to some of that

50:13

information could be potentially

50:15

dangerous

50:16

and um teaching our students that that

50:18

this is part of their civic

50:20

and democratic uh role in this country

50:23

um as well as designers who are we're

50:25

just communicators like effective

50:27

communicators

50:28

that it's really important for them to

50:29

take up that mantle you know it doesn't

50:31

mean they have to be a revolutionary out

50:33

in the street

50:34

but every piece of design that they

50:37

touch and put out into the world

50:39

is political it is it is it's part of

50:42

our responsibility as designers to be

50:44

very ethical in the kind of

50:46

communications that we deploy

50:48

so um we also i think it's a good moment

50:50

to maybe plug the

50:51

aiga poster show that's uh opening in

50:54

the commonwealth gallery

50:55

next week um which my colleague jenny

50:58

alchemy

50:59

helped courtney and has work in and that

51:02

brings together

51:02

student work from the bfa graphic design

51:04

program as well as

51:06

practicing graphic designers from all

51:08

over the country um so we

51:10

at iu we do engage students in um

51:13

in politics when it's appropriate and

51:16

the democratic the semester of arts and

51:18

humanities

51:19

across the college of arts and arts and

51:21

sciences

51:22

uh was um democracy i believe

51:25

last last year so we engaged with it

51:29

in our classes that way but ann and i

51:31

have also had discussions about

51:32

how to bring this particular project

51:34

ongoing matter

51:35

into the classroom across both of our

51:38

institutions

51:40

cool that's great thank you

51:43

um i have a question for james and david

51:47

how do you discuss the connection

51:49

between content concept and process with

51:52

your students

51:54

hey go ahead

51:57

that's a big question it is a good

52:01

question and it has a sort of

52:03

hard to parse out answers like

52:06

the short version is it depends but it

52:09

requires a lot of exploration

52:11

and experimentation um like

52:14

uh i don't know if you all can see it in

52:16

this moment but the piece that's behind

52:18

betsy when she

52:19

talks is morgan's soft sculpture

52:22

she it took her a long time to get to

52:24

that

52:26

experimenting with a long time ways to

52:28

approach

52:29

the concept that she was after she

52:31

started with

52:33

relatively traditional uh

52:36

inkjet prints made out of shots in the

52:38

lighting studio

52:39

that were roughly 11 by 14 and

52:43

obviously came to a very very different

52:45

conclusion by the end

52:47

but it's a constant back and forth have

52:49

you tried this what about this

52:50

if it's supposed to be about that why is

52:52

it just this way

52:54

um and so that of course makes it a very

52:57

individual

52:58

process there's no it's not like

53:01

here's your uh family dynamics process

53:05

take that one and here's your body image

53:07

process and you take that one and your

53:09

yeah your landscape you cannot make art

53:12

with the bullet

53:13

points and then go check check check you

53:14

know it doesn't work that way

53:16

i mean you know you said you talked

53:17

about morgan's piece but

53:19

before what you said she went she went

53:21

to studio she was

53:22

going out and taking photograph of

53:24

estate sale

53:26

and you know taking photographs of wall

53:30

uh wallpaper old wallpapers and all that

53:34

and now

53:35

you know i can see that kind of floor uh

53:38

patterns

53:39

in her work incorporated that into you

53:42

know this

53:42

the final pro project but it's just

53:46

iteration of all that and then they get

53:49

they don't know that when they are

53:51

working on it but then when

53:53

come all the way full and then reflect

53:56

back oh that's what it came from

53:58

i do that same thing you know so so

54:02

sometimes you just need to go out

54:03

blindly and take photograph and come

54:06

back and

54:07

you know assess what you have done and

54:10

then

54:11

and maybe political situation changes

54:13

and then you you get pissed off and you

54:15

want to

54:15

say something and that matches with what

54:19

you

54:20

came back with you know just wandering

54:22

around and taking a photograph

54:23

so so it's it's both

54:27

i mean it's not that you have the idea

54:29

and then you

54:30

just trying to visualize it it has to

54:33

both

54:33

handy and you know that's why it's fine

54:41

well said well said

54:44

um okay um

54:48

i don't have any more questions but

54:52

um i would i guess does anybody else

54:56

want to

54:56

say anything before we sign off this was

55:00

a wonderful

55:02

uh conversation i think james

55:05

i think i think i want ed to come back

55:10

ed i don't know it's gone

55:14

okay it might be gone yeah um

55:17

he's having that signature cocktail we

55:20

were talking about earlier

55:24

well i guess i just as sort of the

55:26

outsider of the group i just want to

55:28

again say

55:29

thank you um to all of you i think this

55:32

part of what i've learned through this

55:34

experience is that that art design is

55:36

still

55:37

being made is still being shared even in

55:40

these crazy crazy circumstances so

55:43

that ends up at least for me being a

55:44

really bright light in the middle of

55:46

everything else that that's happening

55:48

even with all of the logistical

55:50

challenges so

55:52

yeah and then i want it i want everybody

55:54

to

55:55

visit the space and then see

55:59

both shows and i want i want to say

56:02

thank you sarah

56:03

i mean i i just enjoy working with this

56:06

team i mean

56:07

you know david too and we

56:10

came up quickly we came up with some

56:13

magical stuff

56:14

i mean we have this book and it will be

56:17

available

56:18

in blue blur book probably soon but for

56:22

now

56:22

uh people who are in this show we are

56:26

sending you

56:27

a copy thank you

56:30

that's great thank you i'll stop on and

56:32

really quickly say

56:33

ongoing matter will also have um our

56:35

catalog available

56:37

uh on blurb probably in the next couple

56:39

weeks

56:41

great okay well um i just want to thank

56:45

everybody for participating and this was

56:47

a wonderful

56:48

conversation and thank you very much

56:53

thank you bye

56:56

have a great evening all right it's

57:10

friday