Musée Magazine No. 1 by MuseeMagazine

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Est. / 2011 Issue / No.1 Autumn / 2011

Editorial Office Editor in Chief / Andrea Blanch Editorial Director / Ellen Schweber Creative Director / Marsin Mogielski Design Director / Alessandro Sisto Production Manager / Lauren Wylie Consultant / Beatrice Dupierre

Contributors Anthony Goicolea / Sara Greenberger Rafferty

Writers Dmitry Kiper / Diane Echer

EDITOR’S PAGE

y entry in to the world of fashion photography was rarified and magical. And much of it started out of mere coincidence through house sitting for a friend at the right place and the right time. Although I was a painter, I had never picked up a camera before, and never had any aspirations to do so. But it just so happened this house I was in was being used by Richard Avedon for a photo shoot. As I watched him work I knew instantly that this is what I wanted to do for the rest of my life. From there I began as Avedon’s unpaid “trainee”, he then became my mentor after which;; American Vogue became my first client. Musée will evolve with each continuing issue and will include interviews and profiles with guest photographers, artists, writers, collectors, and gallerists. Guest curators will lend their expertise to selecting the photographers and their photographs. There will be works of fiction inspired by the photograph in the issue, also created by emerging writers. Unlike our inaugural issue, in which the artists could submit work on any subject matter, our subsequent issues will theme inspired. It is incredibly important for Musée to have broad appeal and community support the more exposure we give emergent photographers who wouldn’t necessarily have a platform to display their work. In our premiere issue guest artists Anthony Goicolea and Sarah Greenberger Rafferty are featured along with their work. Diane Echer, an emerging writer inspired by Tucker Friend’s photograph wrote a work of fiction. And finally there is Dmytri Kipper’s interview of Ann Schaffer, art consultant, collector, curator, and board member which provides Ann’s advice and experiences as a collector. I am pleased to welcome Ellen Schweber as Musée’s Editorial Director. Her contribution and collaboration has been invaluable in making this issue as diverse and interesting as it is. Being an art consultant and collector Ellen’s knowledge and scope of emerging art is comprehensive. Her unerring eye and intuition in spotting new talent is uncanny. We are lucky to have her! I am pleased to introduce to you the first issue of Musée Magazine, and hope you enjoy the incredible work our artists have created. The magazine is released quarterly, and the ART OUT section is updated on a need to know basis, so keep checking in!

ANDREA BLANCH, Editor in Chief ab@museemagazine.com

Thanks to Joseph Baldassare / Tim Girvin / Francis Grill / Ann Schaffer John Buck / André Acimin Victor Chen / Cassandra Walsh Rachel Uffner Gallery / Postmasters Gallery Mazdack Rassi / VicenteWolf

Special thanks to Cory Scott Alter Website www.museemagazine.com Email musee@museemagazine.com Facebook facebook.com/MuseeMagazine Twitter twitter.com/MuseeMagazine Tumblr museemagazine.tumblr.com

magazine

Andrea Blanch

Special Thanks

Editors Letter

ANTHONY GOICOLEA, Artist. Exploring youth homoeroticism identiy

Dmitry Kiper

Emerging Photographers Part I Joseph Campbell, Genevieve Blais and Natalie Poette

SARAH GREENBERGER RAFFERTY, Artist. Fascinating and unsettling photographs that hit and startle the viewer

Emerging Photographers Part II Matt Monath, Rachel Monosov and Mackenzie Gomez

Diane Echer

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Fiction. “Sniper” Emerging Photographers Part III Guenter Knopp, Tucker Friend and Chris Harris

Andrea Blanch

179

184

ANN SCHAFFER, Art Collector.

25 years of collecting cutting edge art

ART OUT. Gallery and exhibition openings around New York

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Index

www.museemagazine.com 3

Anthony Goicolea Photographed by Andrea Blanch

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MUSEE / Interviews / Anthony Goicolea Although Anthony Goicolea is perhaps best known for photographs that explore the concepts of youth, homo-eroticism, and identity, in which he serves as his own model, he has also deeply investigated such themes as displacement, environmental destruction, and the human obsession with shaping nature to fit our needs. Whenever Goicolea does serve as his own model, he plays multiple characters -- wearing different wigs, outfits, facial expressions -- who sometimes all appear in the same photograph. The mood those photos give off can be eerie and playful, a strange mix of A Clockwork Orange and Kids in the Hall. Whereas Goicolea's carefully staged black-and-white and color photos of nature explore various scenarios -- all digitally composed -- in which the city, in one way or another, creeps into the forest. For the past 15 years, Goicolea has skillfully been using digital manipulation in a way that does not call attention to itself;; rather, it reflects his aesthetic and conceptual vision -- whether it is psychological or ecological. A retrospective of his work, titled “Alter Ego,” is now at the North Carolina Museum of Art, in Raleigh. Beside photographs, it also features his paintings, video, and mixed-media installations. His art has also been featured in many prominent museums and galleries, including the Whitney Museum of American Art and The Guggenheim Museum of Art. Goicolea lives and works in New York City. By Dmitry Kiper

Q: Is procrastination a friend or an enemy? A: I guess it’s a “frenemy.” I feel like I shoot myself in the foot sometimes because I don’t leave myself enough time. A lot of times that pressure keeps me from being too precious—so then I am forced to take risks that maybe I wouldn’t normally take. Q: Do you listen to others opinions or criticizm? A: I think I would ask them what it is they don’t like about it, if I actually cared about their opinion . . . I think when you are working and you have something in mind and that’s not coming across, somebody says, “Oh I didn’t get that at all from this,” you need to figure out what it is that you are doing that is not communicating what it is that you want to communicate. Q: Are you saying that you care more about the communication of your work than you do about the asthetic? A: They are both integral to me. I wouldn’t weigh one more than the other. But let’s say somebody said that they didn’t like it because they didn’t like the way that it looked, but my intention was to make it look like that;; well then, fine, that’s just their own opinion . . . If they are pointing out something that I was trying to do and did it unsuccessfully, and they are recommending a better way to do it , then yeah I will listen to them and sort of take that in to account the next time around.

MUSEE / Interviews / Anthony Goicolea

Q: Would you recommend grad school for people? A: The advantages are that you get a concentrated amount of time to work on things in a very focused way. The disadvantage is the cost (laughs). It just is exorbitant, and sometimes I wonder if it is not more beneficial to take the 40 or 50 thousand dollars that grad school costs and give yourself some time off or do an artist residency or something. I think residencies are an excellent way to get around it, and so I don’t think it is necessarily crucial but it does offer you this really condensed concentrated period in which you get to work. There are some programs, like the Bart Graduate program, that seem like a nice halfway step where it’s just in the summer it’s really concentrated for about two months and the tuition is not as expensive and then you have the rest of the year to work on your work. Q: What do you think is the smartest thing you have ever done for your career? A: I guess take it seriously, because initially when I first started working I didn’t really treat it like a job, and I think once I stated treating it like a job, that’s when other people started taking me seriously and things started to happen. The not taking it seriously part didn’t last too long. I got out of school and there was a year where I was just sort of flopping around doing whatever. It wasn’t a mistake—just sort of a learning curve. Q: Who has been the most helpful to you in your career? A: My friends. I have a group of friends, and we have like a crit group and they all work in very diverse ways: there’s a sculptor, there’s another photographer, there’s a painter. We all approach it with the idea of what it is that you want to communicate and kind of bringing sort of an outside eye into things. I really trust their opinion. Q: What would you say your worst mistake has been in your career, if there is one? A: In a way there are no mistakes, because you learn from everything;; so I guess I don’t have anything that I would actually pin point. Q: Are there any collections, museums, or galleries you aspire to be in? A: The minute you complete one goal, there’s another goal that is on the horizon. I’m sure that people who get the McArthur Foundation Genius grant or who have a solo show at the Whitney or MoMA, it’s not like that’s it and there is nothing left to aspire to. Q: What’s one of the things you aspire to? A: I would love to have a solo museum show in the northeast. I have one going on right now in the south. It would be nice to have one where I live. Q: So besides time, what do you think gets you started: inspiration or fear? A: It’s usually inspiration. I enjoy the idea of a challenge and learning how to do something and trying to figure it out;; that I think is a motivational factor. But I don’t feel like I have the luxury of having fear because I’m usually a little bit over scheduled. I can’t think about being scared. Q: You don’t think any of your work in particular comes from any of your fears? A: Sure I think there are things in my work asthetically that I find uncomfortable in real life. The idea of chaos and disorder and things being really cluttered and falling apart and this idea of loss or transition and things being dislocated;; those are all things that make me really uncomfortable in real life. I don’t want to experience them, but somehow I gravitated towards representing that in my work.

MUSEE / Interviews / Anthony Goicolea

Q: Your early work was about more of a performance. How has it evolved? A: I think I just naturally change my work. When I was doing those self portraits, that’s when people began to recognized me and my work;; but previous to that I had been doing other stuff. To me it seems like it fits very snuggly on this whole continuum. I could see how from the outside, if that’s your starting point, it seems as if it radically shifted or changed or stopped doing one particular thing, but that’s not necessarily the case. Q: Since then, do you feel that your influences on your work have changed? A: I am constantly exposed to different things, so with that exposure come new influences. When I was doing self portraiture (Cindy Sherman) was a natural influence, and a lot of painters were also influencial. I think in doing landscapes there were a lot of early American (like the Hudson valley school of landscape painters). But then also the fact that I moved to the country full-time for like a year and half;; that was really insirping. I remember the first time I had seen Disney films was as a young adult—I never really saw them growing up, we didn’t go and see cartoon movies—the way landscape was portrayed, or nature in general, was really inspiring to me. And the show that I have up now is called “Pathetic Fallacy.” I went through a big phase where I was reading a lot of Victorian novels and a lot of gothic novels;; and this idea or the environment and nature kind of immulating the mood of the characters and almost foreshadowing events is called pathetic fallacy. So depending on what I am reading, I become inspired by that, or new friends that I make—their interests naturally become part of my interests. Q: What do you want your art to achieve? A: I guess I want it to have an impact. I want people to have an emotional response. But I think I have said it before: I don’t want it to be really didactic, so I like the fact that there is an open-ended, ambiguous aspect to my work. Q: Do you think you are a good curator for your own work or do you think someone else has a better eye for it? A: Usually I start out curating it and then I will get advice from the director, and so it’s sort of a two person job. If I feel really really strongly about something then I’ll just stick to my guns. If somebody can present a clearer case as to why they feel something else works better than what I have done then I will listen to it and take that advice. I tend to be over-controlling and micromanage everything, so there are instances where my hand is not involved where it is kind of nice to see what other people do. I just had a survey exhibition at the North Carolina Museum of Art and they did a catalogue which is really nice: all of the essays and that kind of thing, it was really surprising to go through it and see how somebody else curated my work. It was kind of nice and felt very stress-free and felt interesting to see my work through somebody else’s eyes in that way. Q: How do you think your work has improved over the years and in what way? A: I think it depends on the medium. In phtography, I feel like I am a little bit more confident in what it is I am able to render or do. I also feel that I am a little bit more loose in a way that I am not terribly concerned with things lining up in terms of perspective or scale;; and that kind of thing when I am digitally compositing something, it doesn’t necessarily have to be true to life;; it just has to work . I think I have given myself more leeway than I had in the past. I think probably the main thing is a greater level of confidence. I feel like when I do things, it’s a self-taught way of doing things. It’s not the way that probably is the most technically appropriate way, but it works for me. I used to be embarrassed by that, but I’m not anymore. Q: How important is travel to you and to your work and to an artist, and do you think you will keep traveling? A: I love it, minus the plane flight. I like being exposed to new things and new places. I mean that’s how I get new ideas, just through exposure of newness.

Anthony Goicolea

MUSEE / Interviews / Anthony Goicolea

Q: What is the best advice you could give someone who is starting their career in art? A: One: to take it seriously. The other: be aware of what’s going on, like go to shows and galleries and that sort of thing;; and do not just approach a gallery cold—do your research. You don’t want to go to a painting gallery and submit work that is all photography. It doesn’t make sense and people don’t appreciate that. Q: Should emerging photographers approach galleries? A: You usually don’t. You should have a body or work, something to actually show . The best way to approach a gallery is through word of mouth. I think it kind of behooves you to try to be part of group shows, if possible, just things curated even by friends or whatever, and kind of work your way up. Have your own website. I mean even when I was starting out there wasn’t this social networking , there weren’t even really websites. I think that kind of thing helps. My approach was to have as many people come to my studio as possible to see work and to see what I was working on to create this sort of word-of-mouth type of thing. Online magazines like this are a great way to gain exposure. And then maintain some sort of contact list of people who have expressed interest. As you are doing projects in the future keep them posted of what you are doing. Q: Do you have advice on what NOT to do? A: Don’t be abnoxcious. And that goes back to cold calling or just assuming your work is amazing because you just got out of grad school. When I went to school, I guess I was part of a generation that thought “I’m going to be an artist, which means I am going to be poor, starving, and work at a restaurant my entire life.” I think there is a sense of entitlement that is pervasive now: “Well, I am going to art school and such is going to buy my whole thesis exhibition and I am going to be an art star.” My friends and I never had this idea. There was no concept of art star. I think you can be motivated and driven and ambitious—but you can also have some humbleness. Q: As far as the pricing of your work: Is that solely up to the gallery or do you have a say? A: It’s something that we do together, but they kind of have the last say. They know the business. When you look at something and you look at the amount of time that you have put into it and it’s selling for such a small amount, you’re like “Ughhh,” it almost hurts. But you know that’s kind of part of the whole process and you can incrementally increase you prices in a zone that feels comfortable and makes sense;; you don’t want to increase them too much all at once, because even if there is a demand, when that demand starts to wean or dry up, then you are stuck with these exorbitantly high prices or when the economy fails, then you’ve got these prices that if you try to lower them then your previous collectors will get mad because they bought a piece for 15 thousand dollars that is now ten thousand;; that doesn’t make sense. It is important to do things incrementally and to have patience. Q: How important is your image? A: I don’t think it’s that important. I think a lot people put a lot of energy into this idea of the artist as a persona, but I think when it comes down to it, what’s important is the art. It’s important to know how to talk about your work. I think a lot of artists fall under this misconception that they are a visual artist and as such they don’t need to know how to talk about their work and that their work speaks for itself. Even if your work does speak for itself, you don’t always have it with you. You might meet somebody who is expressing interest in you work and wants to know what it’s about and it’s important to be able to succinctly say my work is concerned with this and that, and this is my process—just in two or three sentences. Q: Briefly talk about your photo series “Pathetic Fallacy.” A: The photographs, conceptually they don’t exist. They are cobbled together from a variety of different places. They are digitally composited and they are these kinds of large scale mural images that portray this idea of transition or migration or loss. A lot of them have these kinds of boarded up homes or shelters and that sort of thing. They communicate this idea of transition, in a way. Interviewed by Andrea Blanch/ Edited by Dmytri Kiper

MUSEE / Interviews / Anthony Goicolea

SOLO EXHIBITIONS 2011 “Alter Ego: A Decade of Work by Anthony Goicolea,” NC Museum of Art, Raleigh, NC travelling to Telfair Museum, Savannah, GA (09/2011-01/2012) and 21c Museum, Louisville, KY (01/2012 – 07/2012) (catalog) 2010 “Related,” Houston Center for Photography, Houston, TX 2009 “Once Removed,” Postmasters Gallery, New York MCA Denver, Photography Gallery, Denver, CO 2008 “Related III,” Sandroni.Rey, Los Angeles “Almost Safe,” Monte Clark Gallery, Toronto “Related II,” Haunch of Venison, London “Related I,” Aurel Scheibler Gallery, Berlin 2007 “The Septemberists,” Sandroni Rey Gallery, Los Angeles “Almost Safe” Postmasters Gallery, New York 2006 “The Septemberists,” Aurel Scheibler Gallery, Berlin Monte Clark Gallery, Toronto, Canada Monte Clark Gallery, Vancouver, Canada “Drawings,” Sandroni Rey Gallery, Los Angeles 2005 Louis Adelatando Gallery, Miami Estaciones, Galeria Luis Adelantado, Valencia, Spain. “Outsiders - Videos and Photographs by Anthony Goicolea,” Cheekwood Museum of Art Museum, Nashville, TN “Sheltered Life”, Postmasters Gallery, New York “Anthony Goicolea, Photographs, Drawings and Video,” The Arizona State University Museum of Art, Tempe, AZ 2004 “Sheltered Life”, Galerie Aurel Scheibler Cologne, Germany “Kidnap”, Sandroni-Rey Gallery, Los Angeles, CA “Kidnap”, Torch Gallery, Amsterdam, The Netherlands “Tea Party,” Madison Avenue Calvin Klein Space, New York, NY

MUSEE / Interviews / Anthony Goicolea Anthony Goicolea, New Videos, Spazio-(H), Milan, Italy Recent Works, New Photographs, Angstrom Gallery, Dallas, TX “Boys Will Be Boys,” The John Michael Kohler Arts Center, Sheboygan, WI, (June) Galerie Aurel Scheibler, Cologne, Germany (October) Sandroni-Rey Gallery, Los Angeles, CA (July) 2003 Galerie Aurel Scheibler, Cologne, Germany Photos & Films, Curated by Edsel Williams, The GREEN BARN, Sagaponack, NY Gow Langsford, Sydney, Australia Gow Langsford, Auckland, New Zealand Cotthem Gallery, Barcelona, Spain Videos, Gallery 845/LAAA, Los Angeles, CA Cotthem Gallery, Brussels, Belgium Casa De America, Madrid, Spain Contemporary Center of Photography, Melbourne, Australia The Sargeant Gallery, Wanganui, New Zealand 2002 “Land,” RARE Gallery, New York, NY “Water,” Sandroni-Rey, Los Angeles, CA Arizona State University Art Museum,Tempe, AZ Art Space, Auckland, New Zealand Galerie Aurel Scheibler, Cologne, Germany The Museum of Contemporary Photography, Chicago, IL Torch Gallery, Amsterdam, Holland 2001 “Detention,” RARE Gallery, New York, NY Angstrom Gallery, Dallas, TX The Corcoran College of Art and Design at The Corcoran Gallery of Art, Washington, D.C. MCMAGMA, Milan, Italy 2000 “Solo,” Vedanta, Chicago, IL Fabien Fryns, Marbella, Spain Luis Adelantado, Valencia, Spain 1999 “You and What Army,” RARE Gallery, New York, N

Ivan Forde

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Paul Typaldos

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Julia Forrest

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Dila Atay

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Marsin

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Rachel Monosov

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Chris Parente

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Elliot Townsend

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Edwin Flores

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Joseph Campbell

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Syed Kazmi

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Egon Schiele

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Genevieve Blais

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Genevieve Blais

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Sarah Flores Pninit Boev

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Leire Unzueta

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Francesco GenevieveBarion Blais

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Lindsay Kreighbaum

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Natalie Poette

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Chris Montgomery

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Arielle Kramer

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Debora Mittelstaedt

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Edmond Handwerker

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MUSEE / Interviews / Sara Greenberger Rafferty Sara Greenberger Rafferty’s photographs hit—or startle—the viewer with an emotional force that never seems to settle down. Her photos—primarily of food, women, actors, and comedians—exhibit a painterly quality. They are appropriated and manipulated, with such techniques as blurring and water splashing. The effect, in painting terms, is a combination of Expressionism and Abstract Expressionism. And the results are usually fascinating and unsettling. In the last 10 years, Rafferty’s work has been exhibited all over the United States, at dozens of galleries and museums. In New York, her work has graced the walls of the Museum of Modern Art P.S. 1., Gagosian Gallery, the Rachel Uffner Gallery, and many others. Rafferty spoke to Musée Magazine about her art, technique, inspiration, training in sculpture, and her views on grad school for young artists. By Dmitry Kiper

Q: At what age did you get into photography? And who were some of the photographers you admired? A: I first learned manual photography when I was about 6 or 7, at a local elementary school day summer camp called “Adventures in Learning.” We made pinhole cameras and learned how to operate 35 mm cameras and develop our own film and print black and white prints. It was kind of funny to spend those lovely summer days at that age in a basement darkroom. After that, when I was about 8, I got a beautiful Nikkormat camera and a few lenses from my parents. I sort of knew how to use it. I don’t remember knowing about photographers at that time, but when I was in high school, my favorites were Richard Avedon, Roy DeCarava, and, later, Nan Goldin. DeCarava’s picture of a black man in a dark window – from across the room it looks like a monochrome black picture – killed me. Q: After getting a BFA in photography from the Rhode Island school of design, you then went on to earn an MFA in sculpture from Columbia. Would you recommend grad school to young artists and photographers? What are some of the advantages and disadvantages? A: I think grad school is an individual choice. Certainly I don’t think you need an advanced degree to be a good artist. Some of the advantages include the connections you make among peers and faculty, the investment in two or three years of intense focus on your work, and official credentials to teach college. The main disadvantage is the cost, but that’s not the only negative. I think the whole model could be rethought and retooled while still being in dialogue with MFA programs of the past 40 years. There’s also a tendency to focus unfortunately on career over work among MFAs. And, especially, I think the division between media or discipline is increasingly becoming outmoded.

Sara Greenberger Rafferty Photographed by And rea Blanch

MUSEE / Interviews / Sara Greenberger Rafferty

Q: Any other advice you can give to young artists and photographers? A: If you have any integrity, don’t lose it. You don’t have to do anything but make your work. Q: Why did you get a degree in sculpture? A: Even though I was in the photography department at RISD, I always made objects and installations. I never really showed a straight photograph until my exhibition in late 2009. I continued doing sculpture, performance, installation, and ephemeral works when I first moved to New York. For grad school, I had only one requirement – that I not have to leave New York. I didn’t want a summer camp experience. I wanted to keep my job and apartment and life outside of grad school. Columbia was a good fit for me, and I applied under the rubric of “Sculpture and New Genres,” which made more sense for my work. I would have never gotten into a straight photo program with my work. Q: The other photographer we’re featuring in this issue, Anthony Goicolea, also studied sculpture in addition to photography. Your work is of course very different, but how has sculpture benefited your approach to photography? A: Actually, when I first saw Anthony’s work, I was at a random Miami art fair (pre-Basel) in 1999. It was at the RARE gallery booth. I became quite obsessed with his work and got all of my classmates interested in him too. It was the early days of websites, and Anthony had a website. So even though he didn’t have a catalogue or slides in the slide library, we could see his work. As a side-note: for most of my youth and education, we only had access to artists work via catalogues in the library, major art magazines, and slides our teachers showed us. It’s very different now. Anyhow, I emailed Anthony and we met somewhere close to the music venue Irving Plaza, near 14th Street. I think I was trying to convince him to hire me as an assistant after I graduated. Back to your original question: I guess the best way to describe my relationship to both sculpture and photography is to say that when I see an image on a screen, I see the computer hardware, and the space where it’s installed, and how people interact with it as well. Q: When you are at the early stages of a project, do you already know 100 percent how your photos will look like? Or does the creative process serve as kind of guide, letting you tweak your ideas along the way? A: I rarely know what form my work will take. I often try things in different ways, as photos, sculptures, videos, prints, etc. I usually start with a few notions, like some source images, or a relationship, or a feeling, or in the case of my current show [at the Rachel Uffner Gallery] some literature. Then the work comes out of a lot of trial and error and a lot of staring at the wall. Q: Please discuss your creative process for making photos like “Rodney,” “United Artist,” and “Stage (Gilda).” A: I’ll start with “United Artist,” because that was the first of the three, and the process was fairly different. I was working on some small color studies for a show at the now defunct Guild and Greyshkul Gallery, in SoHo. I had this black and white picture of Mary Pickford in a striped apron on a stool. I chose the picture for three reasons. One, because of who Pickford was, a female comic and co-founder (with Charlie Chaplin and Douglas Fairbanks) of the United Artists motion picture studios. Two, because she was wearing stripes, and I was working with stripes, because of their multifaceted associations with pajamas, prisoners’ clothing, and fairs. And, three, because she was sitting on a stool, and I had been working for a while with stools as a form. I used Photoshop to tone the photograph red, and then I gave her yellow ‘rouge’ because I was working with yellow for eggs. This all sounds neither here nor there, but this is the process. For “Rodney” and “Stage (Gilda)” the process started with the source image as well, in the case of Rodney, it’s from the record cover for “Rappin’ Rodney.” I tried to make him look like a Vietnam Vet. In the Gilda picture, it was the first one I made that wasn’t a face-only portrait. It’s a full figure, with a stage and audience. It was from a YouTube clip, so I was trying something new, more of which you see in my current show. The rest of the process was the same: I printed out the pictures small on an inkjet printer, added water on the floor or on another structure, waited for it to dry, and then I photographed the “prop” using a scanner. Then I edited the files in Photoshop. They were all printed using light exposed to sensitive paper like traditional photographs.

in Â this Â page:

MUSEE / Interviews / Sara Greenberger Rafferty

Q: Are there any rules you follow or advice you can give with regard to incorporating humor into your work? A: I actually don’t think my work is funny. I think it’s pretty sad. I don’t think work that is trying to be funny, or that is only trying to get a laugh is the best approach. Much good humor hits you in the gut and points to kinds of failures or inadequacies. Q: Is procrastination an enemy or a friend? A: For me, a frenemy: it’s a friend because I'm fairly intimate with procrastination as a mechanism, and it’s an enemy because in general I think procrastination as an avoidance of heavy lifting is not so good. Q: Are you involved in writing your own press releases and other related material? A: I try my best not to be. I don’t think it’s my job and I hate to be the one that might tell someone how to ‘read’ my work. I hate most press releases, because I think they are overwrought and used as a crutch;; but I also see their point. That being said, I usually get to preview and make suggestions about these kinds of things when it comes to my own shows. Q: Do you collaborate with curators for your exhibits? A: Yes, I do. It’s different in each case. Some curators have a specific piece in mind for their show, and some may commission new work. Especially in group shows, curators contextualize your works among other works, and that is invaluable. Q: What’s the best or smartest thing you did for your career? A: I try not to do things for my career. On my cynical days, I would say the smartest thing I did for my career was pay – and continue to pay – for fancy higher education. And I gained access to certain connections that way. Q: What current artists – in any field – do you find the most fascinating or groundbreaking? A: This could be a list of hundreds, but artists who I don't know personally but have been interested in recently include Oliver Laric, Frances Stark, and Mai-Thu Perret. Q: What are you working on right now? A: I’m continuing to work in the veins represented in my current exhibition – including smaller c-prints to expand the constellation of image inundation on a wall, more acetate works, and more Plexiglas works. Q: Is there an artistic field that you have not yet tried but would like to? A: I could see myself working on a stage production at some point. Q: Who are your biggest influences? A: My friends. I have a constant dialogue about work, life, literature, and the world with my friends. Many friends have been with me throughout my entire career, so it's easy to talk shorthand with them. Of my friends, my husband is the most honest as well as removed –since he doesn't make art – and his perspective is invaluable. Interviewed and Edited by Dmitry Kiper

MUSEE / Interviews / Sara Greenberger Rafferty SOLO EXHIBITIONS 2011 “Sara Greenberger Rafferty”, The Suburban, Oak Park, IL 2010 “In Residence”, Eli Marsh Gallery, Fayerweather Hall, Amherst College, Amherst, MA 2009 “Tears”, Rachel Uffner Gallery, New York, NY 2009 “BANANAS”, The Kitchen, New York, NY, curated by Matthew Lyons 2009 “SGR”: Recent Photos and Videos, Eli Marsh Gallery, Fayerweather Hall, Amherst College, Amherst, MA 2006 “De/Feat and Drawings”, Sandroni Rey Gallery, Los Angeles, CA 2006 “Sara Greenberger Rafferty”, P.S. 1 Contemporary Art Center, New York, NY

Katlyn Kleist

Contact: kahhtee@yahoo.com

Cana Atay

Contact: Â www.ataydesign.com

Guihem de Castelbajac

Title: Nothing New Contact: guilhemdecastelbajac@gmail.com

Matt Monath

Contact: Â www.mattmonath.com

Cana Atay

Contact: Â www.ataydesign.com

Hannah Ross

Contact: Â hannahross@gmail.com

Lukasz Piech

Contact: Â lukasz@lukaszpiech.pl

Vera Miljkovic

Bio: Born in 1975 / Belgrade, Serbia Contact: www.veramiljkovic.com

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www.Facebook.com/MattMonathPhoto

Matt Monath

Contact: www.MattMonath.com/ www.Facebook.com/MattMonathPhoto

Miguel Rodriguez

Contact: Â miguelrodrigueztx@yahoo.com

Hervè Kwimo

Contact: hervekwimo@gmail.com

Julio Gaggia

Title: Lick Me Contact: www.juliogaggia.com

Beryl Fine

Title: Dirty Glamour Contact: contact@berylfine.com

Rachel Monosov

Contact: Â www.rachelmonosov.com

Rachel Monosov

Contact: Â www.rachelmonosov.com

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Elliot Townsend

Title: None existent Contact: www.elliottownsendphotography.com

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Julio Gaggia

Contact: Â www.juliogaggia.com

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Beryl Fine

Title: Dirty Glamour Contact: contact@berylfine.com

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Syed Kasmi

Contact: Â www.syedkazminyc.com

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Chris Parente

Title: Gas From Waste Contact: www.christopherparente.com

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Paul Kamau

Contact: pkamau1@gmail.com/ pmkphotography.com

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Reinaldo Cabanillas

Contact: Â rec@quiquecabanillas.com

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Mattia Crosson

Contact: Â Isaia.M.Crosson@gmail.com

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Jacobia Dahm

Title: Red Contact: jacobiadahmphotography@gmail.com

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Michelle Aristocrat

Contact: Â info@michellearistocrat.com

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Michael Ortiz

Contact: Â michael.ortiz27@gmail.com

Vera

Bio: Born in 1975 / Belgrade, Serbia Contact: www.veramiljkovic.com

Michael Ortiz update info

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Ashley Cunningham

Contact: ashley.lc@gmail.com / www.acunningham.net

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Ashley Campbell

Contact: www.ashleyisstupid.com

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Agnes Fohn

Contact: Â www.agnesfohn.com

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Lindsay Keys

Title: Blackout Contact: www.lindsaykeys.com

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Alek Belakov

Contact: Â belakov@belakov.com

Beryl Fine

Title: Dirty Glamour Contact: contact@berylfine.com

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Mackenzie Gomez

Contact: Â www.mackenziegomez.com

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Patrick Gliem

Contact: patrick.gliem@gmail.com

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SP Tomer

Title: 59 Columbus Circle Contact: tomer@studioperle.com

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York City r

Corey Scott Arter

Contact: arterphotography@gmail.com/www.coreyscottarter.com

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SP Tomer

Bio: Born in 1975 / Belgrade, Serbia Contact: www.veramiljkovic.com

Title: 59 Columbus Circle Contact: tomer@studioperle.com

SP Tomer update info

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MUSEE / Short Story / Sniper He got to my street in the dead of night. Like any outsider, he had a five-minute stay expectancy. After an hour he was still there and the street was his. He was shooting. That night I was outside the dive where I had a gig. By the time he got here, it was over and I was just sitting on the sidewalk, smoking. His battered car wheezed up the hill. He scanned the place, his arm hanging out the window. He cruised up and down, looking for the perfect spot. He was up to something. He finally killed the engine right across from the bar. The car’s windows had a crank handle. Unbelievable. Man, if you’re going to get a car, get it right. He rolled up the window and turned around to unlock the back door. When he got out, he looked up and down the street and through me, as if I wasn’t even there. Suited me alright. He pulled two things from his back seat. A long, hard case. And a small, heavy bag. He locked the front doors. He locked the back doors. Then he jammed his keys inside his cheap leather jacket and picked up his junk. He walked straight up to the first broken window in the building, climbed inside and set up shop like he owned the place. Got busy adjusting the shutter. Unbelievable. When he was settled, I sent some kids out for bait. He shot. I didn’t move. The street went dead silent. Then some guy with a girl hooked around his neck tumbled out of the bar and he shot again. Bam bam. Blinded me.

MUSEE / Story / Sniper

I pulled out my sunglasses. Slow. Real slow. I didn’t want him to shoot my way. Not yet. I wanted to stick around a little. He’d notice me at some point. Just not yet. But still, I put on my shades so he wouldn’t rob my soul. Then I felt him focus on me. While I waited for it to happen, I thought about my old man. I wished I could remember his face. His smell, I could. Old sweat and once in a while booze to top it off. I almost smiled. Then I thought about me. The feel of the drum under my palms. My girl’s soft legs wrapped around my waist at night. The first drag of the day. The rhythms of my life. I was getting way too philosophical so I cut the crap. It was the waiting I couldn’t stand. I stood up. I knew exactly where he was. And I knew that because of the shades, he couldn’t tell if I was looking his way or not. If I was getting ready to pull a fast one on him. I was in the middle of the street now, facing his shutter. I knew he had me in his sights. “If you’re gonna do it, do it now, and do it right,” I told him. “Do this man justice.” Nothing happened. I’m a mellow sort of guy and I get even softer with the smoking, but I managed to lose my patience. I crossed the street and got to the broken window. I framed my face with my hands. I was level with his Cannon just three feet from me, the whole street rounded in its glass eye and me smack in the middle. “Shoot.” Diane Echer www.DianeEcher.com Diane Echer is a fellow of the Writers’ Institute at the Graduate Center

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Victor Chen

Contact: victorchen0980@gmail.com

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Bryan Meador

Contact: Â Bryan@BryanMeador.com

132

Adam Sherbell

Contact: Â www.adamsherbellphotography.com

134

Marc Engle

Contact: Â marcengle09@gmail.com

Marc Engle

Contact: Â marcengle09@gmail.com Contact: Â marcengle09@gmail.com

136 32

Joie Candido

Contact: Â joiemcandido@yahoo.com

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Peter Zervas contact: Â ptrzrvs@gmail.com

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140

Camille Herbert

Contact: Â lavenderspoon.blogspot.com

Sarah Flores

Contact: saraahflores@gmail.com

142

Johnny Maroney

Title: Virgins and Non-Virgins Contact: johnnymmaroney@yahoo.com

Florence Early

Contact: Â floearly@yahoo.co.uk

144

Guenter Knopp

Contact: Â guenter12.30@gmail.com

146

Gregory Prescott

Contact: Â www.gregoryprescott.com

32 148

Andrea Furedy

Contact: Â www.furedy.com

150

Leon Rodriguez

Contact: Â www.flickr.com/photos/innoart

151

Belle Mcintyre

Titles: Hookah Hall Contact: Bmcintyre3@mac.com

152

Belle Mcintyre

Title: Moon Pool Contact: Bmcintyre3@mac.com

Tucker Friend

Contact: www.tuckerfriendphotography.com/

154

Matthew Marocco

Contact: cyrmorr@gmail.com/ www.cyrmorr.com

Matthew Marocco

Contact: Â www.cyrmorr@gmail.com

32 156

Adam Regan

Contact:: Â adam.regan@me.com

158

Kogo Araki

Title: Spirit of Simple Contact: kogoaraki@gmail.com

Vera Miljkovic

Contact: Â www.veramiljkovic.com

160

Camille Herbert Contact: Â czgh34@gmail.com/ Â lavenderspoon.blogspot.com

Tucker Friend

Title: Illusion Contact: www.tuckerfriendphotography.com/enter

162

PaigeNiluna Luna Niluna

Contact: Â lunaniluna@gmail.com

143

143 164

Zoe Hiigli

Contact: Â zoe@zoehiigli.com

Marc Engle

Contact: Â marcengle09@gmail.com

Shikeith Cathey

Contact: Â shikeithcathey@gmail.com

169

Ki Joo Kim

Contact: giyom85@gmail.com / www.kijoonkim.com

170

Contact: chrisharrisnyc@gmail.com Chris Harris in this page: Photographed by Andrea Blanch

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Chris Harris

Contact: chrisharrisnyc@gmail.com

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174

Title: Dirty Glamour

Beryl Fine Contact: contact@berylfine.com Amanda Ramon Contact: amanda.ramon23@gmail.com/ www.amandaramon.sites.livebooks.com

176

Cassandra Walsh

Contact: Â www.cassandrawalsh.com

177

Nick Dabas

Title: Addiction Contact: www.nickdabas.com

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magazine

MUSEE / Interviews / Ann Schaffer Q: What is your philosophy on collecting? A: My philosophy on collecting is multi-layered. One: I have an encyclopedic collection from the early 1980s to the present. Two: I buy the works of certain artists that I think are very special to me as far as embodying my philosophical, visual, and conceptual needs. Three: I buy something that has a unique vocabulary—that if I saw it in someone else’s house, I would recognize who did it based on something that is unusual in the photographic process or some use of colors on a pallet or a way of readjusting the truth. Another way of saying this would be a fresh vision. What amazes me is that after collecting this type of cutting-edge contemporary art for more than 25 years, I can still find new photography, new painting, new sculpture, new works on paper. Works on paper are another aspect of our collecting: my husband has much more of a minimal sensibility, and he also likes to know the origin of things. So he likes to see the way a drawing becomes an oil painting or a work on paper on a grand scale. Q: You have your own way of hanging your art. Why did you decide to do it that way? A: Because we have acquired so much art, I had to find a way to hang it where it doesn’t just look randomly hung. Each of our rooms and areas have a theme or a similar medium or a sensibility that makes sense when hung together. Each work of art "speaks" to or enhances the other. I think the technical term for this type of hanging is called salon style, as compared to just unique pieces carrying a whole wall, breathing and shining. I have a wall of heads or a wall of drawings that relate to one another. When you first walk in, as you go through my home, everything emerges little by little. For me it’s conceptual—not about hanging the big piece in the hall. It’s a way to accommodate a lot of art. Q: How important is graduate school? A: When I went to college, my father told me that the importance of college is to learn to grow more gracefully over four years and learn how to find answers. I think that anyone who goes for an MFA—who can afford to go for an MFA—the benefit is that there they can work with different mediums, some good teachers, and they can learn more about who they are. Also, a residency is fabulous: many great artists are lucky enough to have a three-year residency, and then, because of where they are, they can get picked up more readily by a good gallery. So I think both are important. Q: How do collectors treat other collectors? A: That’s a huge question. Some can’t wait to call you or tell you “Oh, I found this fabulous artist you should go look at it.” But most of them try to keep their finds and their secrets to themselves. Sometimes if somebody says to me, “I want to tell you about this artist that you should buy,” I am leery about it because I think they are doing it because they want more people to buy the artist because they want that artist to become better known, so I judge by who the messenger is and then decide after seeing the work and liking it independent of what I have been told. I go to a lot of dinners for artists when they have their shows, and sit among the collectors and artists and exchange ideas. I respect a lot of collectors who collect with the right spirit and the right quest for new things and who get passionate the way that I do when I see something that I can’t stop thinking about. Q: Is there any advice you would give to a young collector? A: A: Look at art, go to the galleries, and maybe not buy anything even for a year until you have developed in your own mind—what it is that rocks your world, what touches your soul. You like something, take a picture of it, pin it on the wall, walk by it for a couple of days and see if it still stimulates you, and then you will see threads developing. The pieces you collect have to talk to each other in a way that is not boring, so mix your mediums. Change it up a bit so that it stays alive, stays challenging, and stays interesting.

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Ann Schaffer Photographed by Andrea Blanch

Portrait by Cindy Sherman (Untitled, 2002)

MUSEE / Interviews / Ann Schaffer

Q: How often do you rotate or sell pieces from your collection? A: Most of what I own I would never sell. Early on I sold a Felix Gonzales-Torres “two light bulbs” and a few other things, and I have regretted it ever since. People should sell art because they need the money, because they tire of it, or because they want to trade up. I don’t think I have tired of anything I have bought. Also, I don’t buy for investment. I do want to think that what I own will appreciate, but if it doesn’t, I am still going to love it. Q: Why did you choose to collect the works of emerging artists? A: If you don’t buy works by emerging artists, they will never become mid-career or fully-grown artists. They all have to be given a chance. But I don’t buy emerging artists because I feel sorry for them. I only buy their work if I feel that they should be given the opportunity to go on because they are doing something with a fresh vocabulary or a different way of painting or drawing. In my opining, there are plenty of artists who should be given that opportunity. I also buy mid-career artists as well as ones who are already established. Q: Is it true that you give museum tours of your house? A: Yes. I give tours on a regular basis to patron groups of museums or non-profit organizations, as well as various charities, churches and synagogues that are looking for a way to raise money for their institutions. So they charge to have people go on tours of homes that have an interesting art collection. I find it very gratifying because, when touring my home, most people ask intelligent questions as they get to see art in a different way. They couldn’t imagine hanging something that is so bizarre or cutting edge or strange; and some people may think, “Oh my gosh, I have something like that that I could hang in my home, and it would look interesting.” Q: Has your taste at all changed in your 25 years of collecting? A: I think that from the very beginning I was willing and able to take a risk. Also, my husband never held me back, and my kids were no more destructive than anyone else’s. So I took a chance: I put things on the floor, hung them from the ceiling, stood them up in corners. I embraced works that challenged me intellectually or emotionally. As I walk by many of these art works everyday, they take on new meanings, and sometimes I just go to a room in my house that I haven’t been in a long time and just enjoy looking and thinking. Q: Did you ever buy a piece of art that was atypical of an artist’s style because you loved it? Or do you always stay true to what they are known for? A: If I go to a show of an emerging artist or a mid-career artist and I can stand there literally trying to decide among many, I know this is an artist for me. If there is only one piece that I like, I say to myself, “Am I liking this for the wrong reason.” I love hearts, so maybe there would be a heart in it and I think that I have to have that even if there is no other artwork in the show that I think is also good. I don’t buy the artist even if I like the one piece, because I feel as though there is not enough of what that artist does that holds my attention or has a unique vision or vocabulary. That’s what often happens when you get drawn into something that is visually appealing, and then you have to stop and say to yourself, “Picture this on an auction block. Is anyone else going to want this or is it going to look like everything else that you see?” So I usually know right away that I like something, but I usually spend a few minutes asking myself if I’ll like it next year. For me, at this stage of my collecting, it has to be something that’s going to stand out.

MUSEE / Interviews / Ann Schaffer

Q: How do you think the art-collecting business has changed since you started collecting? A: When I started collecting contemporary cutting edge art 28 years ago, only 10 percent of all art collectors collected this type of art. You could spend an afternoon in SoHo, see all of the shows, and just really enjoy yourself and take chances on buying, whether it was a Jean-Michel Basquiat on the floor in a gallery or a Keith Haring drawing in a drawer. You knew you were looking at things that were different from what you had seen at various art shows years before. But now, in addition to having over 350 galleries in Chelsea—still more in SoHo, still more in the UES the LES, DUMBO, Long Island City, and so on— you have a huge amount of art out there and a huge amount of collectors, many of whom are buying because they have money and their consultants tell them to do so, an article or a review tells them to buy it, or a neighbor just bought one. They often don’t even have the challenge and the wonderful experience of the quest. They often just put it directly in storage. There are also art fairs all over the world. We now have an art fair probably every month, whether it’s in Spain, England, New York or Miami. I do understand that for people who can’t go to Chelsea, as I do every week or every other week, the art fairs provide a chance for them to—I hate to use the expression—“one stop shop,” but they can see a lot of art. For me the only value of the art fairs is to be able see face-to-face a dealer from France or Spain or Italy whom I really like and with whom I have done business and whose works I collect. But I must admit that I do like to be loyal to American galleries if they carry the same artist as a foreign dealer. Now when I do buy, I really have to spend much more time thinking about why I want to purchase something or why I want to have something be part of my collection. And it just could be some art work of some unknown artist that maybe is in Newark or part of a show that I curate in Summit, NJ every year at the art center where we show a hundred or more artists, many of whom don’t show with galleries and whose works are often superior to those of many well-known artists who show in Chelsea. Q: Is there any piece of art that you feel got away from you that you would like to own? A: Oh I am sure there are plenty, but I don’t like to think that way. Sometimes when I am looking at works of art, I put a reserve on a piece immediately if I really think I might want it. That doesn’t mean I am always going to buy it, but it means that at least I am preserving the chance to think about it over a few days. That’s what I try to tell people who are looking: it doesn’t cost anything to put a reserve, but you have to be fair to the gallery and honor that privilege in a day or two and not just keep leading them on. Q: What advice would you give to emerging artists? A: There is a lot of luck involved. It has a lot to do with whom you know and who can help you meet gallerists. But what I would say is that when you finally have that MFA, you’ve done all of your work and all of your experimentation under a safety net with the school and your professors there, you might not need to be taken in immediately by a gallery until you are sure of what your style or what your method of painting or photography or whatever is, because if you look at most of the well known modernist painters they all painted the same way initially because of what they learned in school and then they developed their own special technique or their own special vocabulary. Sometimes an artist can be stopped in his or her tracks because his or her only goal is to be represented by a gallery the second they get out of school. I can understand from a financial point of view they want to be represented, but they might be better off working in a gallery or working in a museum or working someplace while they are still painting or drawing or photographing and finding their voice. Interview by Andrea Blanch/ Edited by Dmitry Kiper

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MUSEE / Interviews / Ann Schaffer

CURRENT BOARDS, COMMITTEES and OTHER AFFILIATIONS: Trustee of the NJ State of Israel Bonds / Women’s Division Trustee of the United Jewish Federation of Metrowest, American Jewish Committee, and Congregation Beth El. Trustee and Chair of the Art Committee / Montclair Art Museum Trustee on the Board of the Visual Arts Center of New Jersey Alumni Correspondent, Class Agent, Prospective Student Interviewer at Skidmore College National Advisory Council and Chair of Acquisitions and Collections Committee of Tang Teaching Museum and Art Gallery Photography and Art Selection Committee of the Guggenheim Museum Advisory Committee of the Opportunity Project, an Organization that helps to empower persons with acquired brain injuries Trustee, Associate, Exhibitions Partner and Executive Committee Member of ICI, Independent Curators International. 2011 Honoree: Aljira, a Contemporary Art Space in Newark, NJ Art Table: Women in the Arts Organization Founder of the Rachel Coalition, an organization to combat domestic violence Curator of the Annual Art Show, Visual Arts Center of New Jersey, Summit, NJ Teacher, Consultant and Advisor of Contemporary Art Appreciation and Acquisition “Drawings,” Sandroni Rey Gallery, Los Angeles

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PHOTOGRAPHERS INDEX

Adam Handler: 29

Edmond Handwerker: 61

Adam Regan: 157

Edwin Flores: 38

Adam Sherbell: 133

Egon Schiele: 43

Agnes Fohn: 117

Elizabeth Ramanand: 65

Alek Belakov: 119

Elliot Townsend: 37, 101

Amanda Ramon: 175

Florence Early: 67, 144

Andrea Furedy: 149

Francesco Barion: 51

Arielle Kramer: 56

Gary Breckheimer: 63

Ashley Campbell: 116

Genevieve Blais: 45

Ashley Cunningham: 115

Gregory Prescott: 147

Belle Mcintyre: 152

Guenter Knopp: 145

Beryl Fine: 98, 103, 120

Guilhem de Castelbajac: 86

Bryan Meador: 131

Hannah Ross: 89

Camille Herbert: 141, 161

Hervé Kwimo: 96

Cana Atay: 85, 88

Marc Engle: 167

Cassandra Walsh: 177

Ivan Forde: 19

Chris Harris: 171

Jaci Berkopec: 59

Chris Montgomery: 55

Jacobia Dahm: 34, 110

Chris Parente: 35, 36, 106

Jeanie Choi: 70

Corey Scott Arter: 125

Johnny Maroney: 143

Debora Mittelstaedt: 57

Joie Candido: 137

Dila Atay: 23

Joseph Campbell: 39

185

MUSEE MUSEE /PHOTOGRAPHERS INDEX

Julia Forrest: 21

Miguel Rodriguez: 95

Julio Gaggia: 97, 102

Natalie Poette: 53

Katie Bell Moore: 69

Nazareth Taccari: 25

Katlyn Kleist: 83

Nick Dabas: 178

Ki Joon Kim: 66, 170

Patrick Gliem: 123

Kogo Araki: 159

Paul Kamau: 68, 107

Leif Huron: 27

Paul Typaldos: 20

Leire Unzueta: 49

Peter Zervas: 139

Leon Rodriguez: 151

Pninit Boev: 47

Lindsay Keys: 118

Rachel Monosov: 32, 99

Lindsay Knowles: 62

Reinaldo Cabanillas: 26, 108

Lindsay Kreighbaum: 52

Sarah Flores: 142

Lukasz Piech: 91

Shikeith Cathey: 169

Luna Niluna: 163

Silvia Forni: 60

Marsin: 31

SP Tomer: 124, 126

Mackenzie Gomez: 121

Syed Kazmi: 41, 105

Matt Monath: 87, 93

Tom Lennon: 187

Mattia Crosson: 109

Tucker Friend: 154, 162

Matthew Marocco: 155

Vera Miljkovic: 160

Marc Engle: 135, 136, 167

Victor Chen: 129

Michael Ortiz: 113

Zoe Hiigli: 30, 166

Michelle Aristocrat: 111 186

Tom Lennon

Contact: tlennont@gmail.com/ www.tomlennondesign.com

SUBMISSIONS We would like new submissions for our winter issue. The theme for Musee/ Winter 2011 is to photograph ones fears. The deadline for photo submissions is November 15th 2011 If you would like to contribute to the magazine please submit: 1. Please photography our fears submitting 7-15 images of your best work. Please submit only high resolution images of at least 240 dpi with out watermarks otherwise your images will not be considered. 2. A brief description of yourself and any contact information that you would want published. Please send all submissions to ab.photosubmissions@gmail.com by December 15th, 2011. Also, due to the volume of submissions we plan on receiving, we may not get back to everyone in a timely fashion. But don't worry -- we're looking at everyone's work, and will get in contact with potential candidates with further instructions. We look forward to seeing your work!