In your collaborations with others on these projects, do you see yourself as a maker too, or more of an indefatigable fan and promoter?ĭN: I definitely see myself as a maker, or a maker by way of facilitating. TLN: The works that you’ve produced over the years feature a wide-ranging slew of multi-generational and cross-disciplinary makers. But I’m a bit evangelical, so while they prod me, I like to think I’m prodding them out into the public - and trying to create a space, both contemporary and historical, in which they can exist. The artists that I’m most involved with by necessity require the above linkages - I have to be all those things just to keep up with them. or Yuichi Yokoyama, I’m interested in their total sensibility: in comics, in drawing, in music. And likewise, when publishing a younger artist, like C.F. So from Panter I got to the Hairy Who and Karl Wirsum, for example. So, it’s important to me to not just publish, say, Gary Panter, but also to curate a retrospective of his work, and then look at his art history and publish or curate around that, too. The parts you reeled off are linked by my desire to present both the work of artists I’m interested in and the lineage they’re a part of. Basically I look for as many outlets for my sensibility, and those of my artists, as possible. Dan Nadel: You summed it up pretty well! I see all these activities as interlocking.
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