New York, Philip Perlstein, Brooklyn College discussed on Design Matters with Debbie Millman
He's like, you assure you wanna go to New York. We worked so hard to get out of there. I get that going to New York interesting that he was more concerned about where you were going to live than what you were going to do for a living. We always certain that art was what you were going to pursue. Was there ever a time you ever wanted to be anything else aside from none? No, that was it. Yeah, I just I just knew. I mean, I doubt a little bit because I thought at the beginning I'm gonna need a job. Maybe I should focus more on graphic design or marketing and we this new professor there that was coming from that field, but it was really the the history of art that just sucked me in. And there's just so much still to learn their about civilizations in history that still inspire me. You went to New York, you earned your master's from Brooklyn college. And you've said that you selected the school because Philip perlstein the painter and Lee Bonte q. the sculptor taught there. What was it about these two artists in particular that drew you to Brooklyn college? Well, at that time, it was like nineteen Eighty-six. There still aren't a lot of really well known female artists that had teaching jobs, and so to have someone of the caliber of leak Bonte q. teaching at Brooklyn was complete draw. And Philip perlstein was the only artist I knew who was living. But also making a living from his art and they were just so prominent. I thought that's where I wanna study. These are two really good role models for me to you sense that you didn't wanna work within a single artistic genre. In the same way that when you were a kid, you were doing poetry and guitar and art as an artist, you are now defined by multiple artistic outlets and pursuits. And again, have a lot of range. I know that was never my idea now. No, I thought it was just gonna make paintings my whole life. I mean, actually in a can't remember exactly now, but my undergraduate degree I think is in painting and drawing and I think my graduate degrees in painting printmaking. So only two dimensional Needham's. I never even studied sculpture. So when did the sculpting begin? You know, people or institutions contact me and offer me opera tune ity, and I try to kind of creative problem solve and figure will what's the right. Image or form. What's the right content to match this moment in time? And a lot of times painting just wasn't the answer. And so I'm like, all right, I'll learn how to do this and I love new information. So I mean, I'm like, okay, all are not a skull marble. Yeah, no, yeah. Figure it out. I'm a good mimic. You know soon. Interesting. Your major debut on the art scene came in the early nineties. When you released a polaroid and watercolour series of erotic system that flew in the face of the heterosexual paradigm. Many came from your perspective participating in various sex acts, bringing the viewer intimately into your life. Patty was at daunting releasing something so personal so intimately. Sexual, you know, I feel like I'm supposed to say yes, but the answers, frankly. No. Because my question was if we think about Kobe, the sleepers right Kobe's on one side of the room, famous nineteenth century French painter, right? And these two women just having finished me love on a bed on the other side of the room. Well, what do you do? If you're the cultural producer, you're the artist and you're one of those women. So my question was, what does it look like within that erotic space? Not looking from the outside at that Roddick space, but in the center of it. Yeah, and I just thought, well, this is a really interesting aesthetic, but also conceptual problem I wanted to solve. Did you see it also as performance art in any way? Oh, yeah. They're definitely documents of performance, especially the Polaroid's because that's so immediate. It's hard to document these kinds of things with watercolor in the moment, but polaroid it's really easy. And did you feel shy or nervous about exposing yourself literally and figuratively? I'm thinking just for my own. Point of view now. So forgive these questions. I could never ever do that ever then or ever in the future. I don't think they're silly questions you everybody's different, but it it was a very specific moment in New York history..