Traveling the Sunday after Thanksgiving is somewhat akin to falling down a well and staying there for a long time. There are lots of other people in your well, and they’re all angry that the well doesn’t lead anywhere. After decades pass, somebody sends down a ladder. And then 3 million people get in line to climb the single ladder, rung by rung.
LORNA SIMPSON: I got a lot of attention very early on and had museum survey shows of maybe ten or fifteen years’ worth of work, but amassing all those pieces as a young artist and then standing back from them made me want to switch up my work. I realized that I’d gone down all these avenues and explored these things in such particular ways to the point that I’d leave the exhibition feeling like it was time to turn over a completely new leaf. That was unexpected. Having had several shows since then has continued to have the same eﬀect. It isn’t out of not liking the work, feeling that it’s dated or old, or because of the period of time that’s elapsed but because it becomes this freer thing where I’m less attached.
All artists have diﬀerent relationships to their work. But mine is out in the world, I barely hold on to it—I don’t have an emotional attachment to it. It’s something I have to move on from and do other things. At the same time, when I look back at the work I’ve done, it becomes a language for me. There is diﬀerent visual iconic imagery or things that I can reexamine in diﬀerent ways. It’s quite multifaceted and beautiful.
- from The Paris Review
Six hours of the most amazing night in the theatre. David Greenspan performs a play / runs a triathalon/ conducts a seance… by which I mean he plays all the roles.
And we have a cover… Pub date May 1, 2018.