By N. Y.) Metropolitan Museum of Art (New York
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Additional info for A Guide to the Wrightsman Galleries at the Metropolitan Museum of Art/E0720P
We have the ﬂexibility to evolve the program based on what the artists are looking for. ’’ So, I think it changes based on the group of artists and their needs. You never pick the same group. They’re never at the same level in terms of experience and access to resources. It’s great that the artists have an opportunity to develop relationships over time with some of the arts professionals, such as the critic and curator. In the past that access was much more limited. NIEVES: I think the real idea was to make it more like a workshop.
It gets you out of yourself when you are someone like me who works alone on the work. I’ve never had a support system of assistants; I just ﬁnd that distracting. On the other hand, printmaking is a collaborative art and I really love it. For about ten years now I have been working with Durham Press in Pennsylvania. They are incredible printers and we have a great working relationship. It’s all very immediate and intuitive when we are working. We never thought the prints would be such a success.
YEE: My work has always been a challenge to sell. It’s big, it’s on the ﬂoor, it moves around. . The recent work is even more difﬁcult because it is situational—each piece is made for a speciﬁc site. So when it is acquired, it’s almost always by museums. It’s funny because a friend of mine said he was coming to town and said he hoped something from my show would be left for his collector’s group. I said you don’t have to worry, this work doesn’t even have a price on it. He said In this day and age is there anything that you can’t sell?
A Guide to the Wrightsman Galleries at the Metropolitan Museum of Art/E0720P by N. Y.) Metropolitan Museum of Art (New York