![]() ![]() And then I would get a router or a tool, and it was the Year of the Router, the Year of the Jigsaw. I did the Year of Little Tiny Wire Structures. When I first came to New York, I had no money, obviously (no one had any money). I like having different kinds of input coming in. And I have a feeling that anybody who’s seen much of my work would probably recognize it as mine. I think there is a signature style it’s like handwriting. PFAFF: I’ve been very involved in not having a signature material. Who did this one?”ĪRT21: Unlike many other artists, you aren’t attached to using any one material. Someone asked that they said, “I like that piece of yours, Judy. PFAFF: Stylistically it looks like it could be a group show of four different artists. If you get them past the first second, then you have a chance.ĪRT21: The show is very diverse, stylistically. I go to a gallery I open the door and think, “Do I like this do I not like this? Am I intrigued enough to go through?” You usually give it a gestalt reading. So, if they reverse the sequence, it’s another story. One of the joys is actually what the viewer will bring to it. ![]() ![]() (LAUGHS)ĪRT21: There are different elevators that enter the gallery, so it’s a bit unpredictable exactly where a viewer will start from. And then I watch people walk in, and they don’t do anything correctly. Obviously I don’t put any directions in there I just assume things. I think with this show that was important for me. PFAFF: Yeah, I think there is a sequence. I hadn’t really realized this, but I think I always have a route in mind for how you walk-what the sequence of images will be.ĪRT21: It’s interesting that you think of the experience as sequential. I think, if you entered from the other way, you would then walk clockwise. I always thought that it would be walked counterclockwise, because of the layout of the gallery. So, there’s a kind of circumambulating, a kind of natural route. I assumed one would go to the right and then go straight to the back. PFAFF: Well, you come off the elevators, and there’s a pretty big obstacle in front of you: this double cone. Courtesy of the artist and Ameringer & Yohe Fine Art, New York.ĪRT21: How did you imagine people would move through this installation? Installation view: Ameringer & Yohe Fine Art, New York. Wood, steel, wax, plaster, fluorescent lights, paint, black foil, expanding foam, and tape 2 galleries, 153 × 245 1/2 × 209 inches and 153 × 228 1/2 × 165 inches. But, you know, I didn’t feel I had a choice. It just embarrasses me even to think that way, that I did that. Buckets of Rain was directly about a great loss or a kind of drama, and more about choices: black and white, life and death, good and bad, and the impact of that. But most of the time, the work is about form and space, and I might be involved in building or architecture or a romance about being Chinese. PFAFF: Before, there have been a couple pieces that have been emotional. There was a lot of torquing of space.ĪRT21: The emotional element of the installation surprised you? I think he knew that we both liked complexity. I can leave now.” I always thought there were lots of connections with his work and my work. That view through to Al’s painting-it was, like, “This is the end. And you didn’t really put it there it got there because of other reasons. You’re sitting down, and you look up and see something that you hadn’t even remembered you put there. ![]() You know, the sunlight that comes in at two o’clock, the shadow of someone walking by something. And then, when you step back, you start seeing all of these things that you didn’t plan. When you’re making something, you’re always focused on finishing it. Plus, basically the show was for Al-Al and my mother, who both died within months of each other, and both were very big deals to me. What was great about it was that it expanded the show into a whole other world. And I remember that they had an Al Held painting. There was this straight view past the drawing room into a far back room, where a lot of things were stored. There was a room off of the exhibition where the drawings were. When we were finishing up the show, there were lots of things I actually hadn’t seen. Our first sentence to each other was this: He said, “So, you’re the new dumb blonde?” and I said, “Who are you, the janitor?” He always demanded that I not be that dumb blonde, that I ask questions. PFAFF: Al Held was my teacher at Yale we met in 1971. Artist Judy Pfaff discusses the inspiration for and elements of her 2006 installation piece, Buckets of Rain.ĪRT21: Can you talk about Al Held’s influence on your work and your show, which went up soon after his death? ![]()
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