¡Colores!; 111; Juan Wijngaard, Dana Foy, Judy Chicago

>>THIS TIME, ON COLORES! CORRALES NEW MEXICO'S RENIASSANCE MAN, JUAN WIJNGAARD, DOESN'T STICK TO ONE ARTISTIC MEDIUM. >>"I don't think I have an option about creating things or not. At this point >>NEW MEXICO PHOTOGRAPHER DANA FOY CAPTURES WHAT HE CALLS THE EXPANDED MOMENT. >>"What I am doing is trying to find something that's unique and see it not only in space but see itin time and space." >>FEMINIST JUDY CHICAGO TALKS AN ARTIST AT A TIME WHEN FEW FEMALE ARTISTS RECEIVED RECOGNITION. >>"I have devoted my life and my work to overcoming the silence about women's >>IT'S ALL AHEAD ON COLORES! JUAN WIJNGAARD TRANSITIONS

BETWEEN MEDIUMS AND TECHNIQUES AS HE FOLLOWS HIS DREAM TO BE A PAINTER. >>I'm working on a gessoed panel and I'm using silver point, which is basically point, which is basically a silver wire stuck in, in this case, an old paintbrush handle. The under drawing of this would eventually be an egg tempera painting. I will be mixing these different pigments here with egg yolk. When it dries, it's impermeable, and as we know from old paintings, they stay like that for centuries. It's one of the oldest painting mediums we know will survive. I never considered art

as a career, it was also discouraged by my parents. So, I followed their advice and I got an office job. There were many periods of time at the office where there was nothing todo basically. I would bring a sketch book and I would draw and people would come by and say, "Oh, that's really good!" so that was the only kind of acknowledgement I was getting. I was the guy who was drawing. My office job was in London and one day, I visited the Tate Gallery. I went in to a room, which was full of Pre-Raphaelite paintings, which I had never seen before. I didn't even know who they were. And I just stood there with my mouth open and thought, "Wow. This is what I want to do with my life,"and at that

point, I decided to enroll myself in an art school. They told me I was not an artist asfar as being a painter, I was a graphic designer. And I enrolled in a course in graphic design, also to find out this is not for me. But through that, I found out that I really like the world of illustration, and I was a children's book illustrator for over thirty years. There are a lot of medieval references and the publishers weren't slow to catch on... "This is what he likes to do. Let's feed him more manuscripts." I did different periods and different places - Persia, China, and mostly costume pieces, lots of reference material that

I had to plow through to get There's so many things I want to try and so many things I get excited about, there really isn't enough time to do it all. Eventually, as things started to change, as far as myself becoming more old fashioned after that period of time, I decided, "I'm gonna do what I've always wanted to do," and thatwas painting. On my first trip to New Mexico, I didn't know anything about the retablos. I felt uncomfortable because it's not

my tradition and since I knew that they were serious about what they do,I didn't want to step on their domain, but I liked doing it anyway. So I thought, "If I'm going to do this, I have to honor my own background and roots and not try to usurp somebody else's." This is one of the last pieces I did in this style. It's a transition from the more New Mexican style to themore European style. The colors have changed. This is a delft blue, and the inscription here is in Spanish. It says, "No valio la pena," which means "it wasn't worth it",

referring to the apple I have drawn here and it has a couple bites taken out of it and there is a worm coming out of the apple, it wasn't a good apple. It's the story about Adam and Eve. The praying mantis started off The praying mantis started off as a wood engraving. I just wanted to do a praying mantis, as I had kind of a connection with a particular insect. I feel that it's one of the few insects that you can actually look at and it seems to acknowledge your presence and you can relate to it and it relates toyou. The Latin name for the praying mantis is Mantis Religiosa, which is the religious mantis. So, I put the sun behind its head

with the rays coming out, and pressed it as a halo and I thought, "Well this would make a great icon." I don't think I use a particular quality of light. It's kind of, "I wanna try this and I wanna try that," it's the same thing, I like this one and on certain days I'll like that one and certain days Igo outside and it's overcast like, "Oh my God, this is so beautiful," and then you're out and it's sunny and you get the same reaction, no different. They're all wonderful in their own ways. I don't necessarily think I wanna make somebody else feel the same thing. It's more selfish than that. I want to be in that My habit of wanting to do

so many things is something that sometimes gets in the way. And I'm sayingthat in more of trying to make a living at this. It's what they say, "You can make a living or you can make a life," you know. Hopefully they all look like something I did, that they're all different. I don't think I have an option about creating things or not. At this point, it's something I have to do. Once you decide, "I'm not going to live in the corporate world," and once you make a commitment, everything is easy. Things just keep coming, inspiration is everywhere. Once you learn how to look, it just hits you in the face all >> NEW MEXICO PHOTOGRAPHER

DANA FOY FINDS HIS SUBJECTS >> In a single image I want to capture both time and space make it not only a noun but a verb. What I'm watching for is kind of different than what you'd see in the day time, Cartier-Bresson talked about the decisive moment, trying to be in the right place in the right time and capture something unique what I'm doing is trying to finds something unique and see it not only in space but see it in time and space in a way that I call the expanded moment.

There's changes in an image that occur sometimes, like a train going by, lightning in the sky, starsmoving, that's essentially changing light. I chose night photography to give me the freedom to go out and see things the way I want to see them. There's a little less conventional wisdom about what night images should look like. Artistically you can underexpose and have something minimalistic, youcan overexpose and have something super impressionistic. I don't use light meters, I don't use dark meters

either. I use to jokingly say what kind of exposure I needed by how well I could see my watch. If I really cant see my watch we're talking several minutes, if I have to squint to see my watch we're talking half a minute. I think it's interesting that when people look at sculptures or paintings they don't say "is that real?" We've been trained to think photography is real, but it's also an art form, and with the toolshave nowadays we can more realize what our artistic vision is. There's so many images we see nowadays, especially in the postmodern era, that are the same. We've all seen landscapes, we've all seen common things. What I try to do is see same things in an uncommon way or in an uncommon time. And so the simple answer, the moments at night are

different, they are less seen than typical scenes in thedaytime. But what I try to do in most cases is capture light moving. When I go out I look for simplicity, and things that attract me, things that are cloaked by darkness, you don't necessarily see the background, you can make use of that to capture simple images, or isolate certain things, to capture it the way I see it and a lot of it is how I would have seen it when I was young. It's not so much nostalgia, but more of this the visual experience running throughmy life. I call the light at night the great diversity light,

you don't just have the sun, you have the moonlight and all the artificial lights set up by man. And if you look at my images the light sources are actually part of the conversation. I was born and raised in Carlsbad and there's a railroad bridge that crosses the Pecos River there, that I've always loved, I've ridden passed there on my bicycle, I've seen it as a child, I've seen it as an adult. I've had some experiences with it like once when I was a kid I jumped on a train, which you're not supposed to do, with a friend and rode across the bridge, and I've always kind of had this love affair with this bridge. My heart and soul went intothat; In capturing not only the expanded moment of when I exposed it but kind

of the expanded moment What's challenging in the daytime if I took that train picture in Carlsbad of the bridge, there's all sorts of background. Buildings from the sun that I have to deal with that would just not show it in the same way. Shooting it at night is not only my representation of my experience of it that I want to show but gives me a chance to show it completely compositionally without

I want people to be able to sort of see things, not just the way I see it, but in a different way, and uncommon way, in an unseen way, the expanded moment a lot of times provides images that people wouldn't see normally in an instant, or with their naked eye, and those are the kind of images I like to try And it's very heart-felt, what I'm trying to capture is something that has captured my heart. What inspires me is visual discovery, in the night I can find things that include light itself, not just reflections of light and I've just always loved the deep

dark colors and shadows and seeking out thelight in those is what I do best and what I enjoy about life >> JUDY CHICAGO GREW UP AT A TIME WHEN TO BE AN ARTIST AND BE A WOMAN YOU HAD TO HAVE COURAGE. SHE TALKS ABOUT HER JOURNEY >> JUDY YOU'RE A

GROUND-BREAKING FEMINIST ARTIST AND YOU ALSO FOUNDED THROUGH THE FLOWER WHICH HIGHLIGHTS THE ACHIEVEMENTS OF WOMEN IN ART AND THE SIGNIFICANCE OF ART. WHY IS IT IMPORTANT TO HIGHLIGHT WOMEN AND THEIR ACHIEVEMENTS TO COMBAT SOME OF THE LACK OF RECOGNITION FOR WOMEN ARTISTS? >> WHEN I WAS A YOUNG GIRL I WAS GOING TO SCHOOL AT UCLA. I WAS VERY AMBITIOUS. I WENT TO ART CLASSES AT THE CHICAGO ART INSTITUTE FROM THE TIME I WAS FIVE. I WANTED TO BE AN ARTIST WHEN I GREW UP. AND OF COURSE I DIDN'T NOTICE THERE WEREN'T ANY WOMEN HANGING IN THE CHICAGO ART INSTITUTE WHEN I WENT EVERY SATURDAY. WHEN I WAS IN COLLEGE AT EAST LA, I TOOK A COURSE CALLED THE INTELLECTUAL HISTORY OF EUROPE AND THE PROFESSOR SAID THAT AT THE LAST SESSION, HE WOULD DISCUSS WOMEN'S CONTRIBUTIONS. I WAITED ALL SEMESTER BECAUSE I WANTED TO KNOW ABOUT THE WOMEN WHO HAD BEEN BEFORE ME AND HE WALKED UP AT THE LAST CLASS AND HE SAID, WOMEN'S CONTRIBUTIONS, THEY HAVE MADE NONE. NOW, HOW DOES THAT MAKE A

YOUNG WOMAN FEEL? HOW DOES THAT MAKE A YOUNG WOMAN STUDENT OR A YOUNG WOMAN ART STUDENT WHO HASN'T MADE HER FIELD, TO SIT IN CLASSES THAT TALK ABOUT WHAT MEN DID? LOOK AT WHAT MEN'S ART WAS? NOW AND THEN MAYBE SEE A WORK BY A WOMAN. THAT IS WHY I HAVE DEVOTED MY LIFE AND MY WORK TO OVERCOMING THE SILENCE ABOUT WOMEN'S ACHIEVEMENTS. >> WHAT ABOUT AFTER YOU LEFT THE SILENCE ABOUT WOMEN'S ACHIEVEMENTS. >> WHAT ABOUT AFTER YOU LEFT THE CLASSROOM, WHAT WAS THE FIRST EXPERIENCE WHERE YOU SAW A WOMAN DOING THE KIND OF THINGS YOU WANT TO DO IN THE ART WORLD EVEN IF IT WASN'T RECOGNIZED OFFICIALLY? >> ACTUALLY, YOU DIDN'T SEE ANY WOMEN DOING WHAT I WANTED TO DO. I WAS ALREADY EXHIBITING BY THE TIME I WAS IN GRADUATE SCHOOL AND I CAME UP IN LOS ANGELES IN THE 1960'S AND

1970'S AND THE LA ART SCENE AT THAT TIME WAS TOTALLY, TOTALLY MALE DOMINATED. THERE WERE NO WOMEN WHO WERE VISIBLE. YOU DIDN'T HAVE A SOLO SHOW. YOU HAD A ONE MAN SHOW, EVEN IF YOU WERE LUCKY ENOUGH TO GET ONE AND YOU WERE A WOMAN. >> HOW DID YOU RESPOND TO CRITICS OF YOUR ACTUAL ART WORK? >> NOBODY LIKES TO BE CRITICIZED, YOU KNOW, AND WOMEN PARTICULARLY DON'T LIKE TO BE CRITICIZED. WE TAKE IT PERSONALLY. YOU KNOW, WHICH YOU HAVE TO NOT DO IF YOU'RE AN ARTIST. I WAS ACTUALLY LUCKY WHEN I WAS IN GRADUATE SCHOOL ONE OF THE YOUNG MALE ARTISTS PROMINENT IN THE LA ART SCENE CAME TO TEACH FOR A YEAR AND I KIND OF FOLLOWED HIM AROUND. HE THOUGHT I WAS A PEST OF COURSE AND THE GUYS USED TO PUT ME DOWN AND PUT WOMEN DOWN ALL THE TIME BUT, EVEN THEN,

AT THE SAME TIME, I LEARNED A LOT FROM HIM. AND ONE OF THE THINGS HE SAID WAS, NEVER READ REVIEWS. JUST COUNT THE COLUMN INCHES AND SEE HOW MANY PICTURES THERE ARE. WHICH IS A GOOD THING HE GAVE ME THAT ADVICE BECAUSE SOME OF THE REVIEWS I HAVE GOTTEN IN MY LIFETIME, OH, MY GOD I WOULD HAVE SLIT MY THROAT. I PUT THEM ALL IN BOXES AND NOW, 40 OR YEARS LATER, A BOOK IS COMING OUT STUDYING THE CRITICAL REACTION TO THE DINNER PARTY, FOR EXAMPLE, AND ALL OF THE VITRIOLIC REVIEWS THIS HISTORIAN IS ANALYZING BY BOTH ART CRITICS AND FEMINIST THEORISTS AND SHE IS CONTRASTING IT WITH THOUSANDS OF LETTERS SHE FOUND IN MY ARCHIVES FROM PEOPLE AROUND THE WORLD SAYING HOW THE DINNER PARTY HAD CHANGED THEIR LIVES. SO THIS IS WHEN I FOUND OUT. YOU DON'T DIE FROM A BAD REVIEW. >> DO YOU THINK WOMEN ARE GETTING DIFFERENT KINDS OF REVIEWS TODAY, THAT THEIR WORK IS JUDGED BASED ON THE MERIT OF THEIR WORK AND NOT JUST THE

CRITIQUE OF BEING A WOMAN IN THE ART WORLD? YOU THINK YOU WERE ABLE TO CHANGE THAT FOR FEMALE ARTISTS TODAY? >> THERE IS NO QUESTION THERE ARE SIGNIFICANT CHANGES SINCE I WAS A YOUNG WOMAN ARTIST WOMEN ARTISTS AND ARTIST OF COLOR CAN BE THEMSELVES IN WAYS THAT WAS JUST IMPOSSIBLE. EVERYBODY HAD TO PAINT LIKE THEY WERE A WHITE GUY, WHETHER YOU WERE A WOMAN OR AFRICAN AMERICAN OR HISPANIC, LATINO, EVERYBODY HAD TO PRETEND THEY WERE WHITE GUYS. AND, THAT HAS CHANGED. OKAY? THE OTHER THING THAT HAS CHANGED IS THERE ARE MANY MORE WOMEN AND ARTISTS OF COLOR EXHIBITING BUT A LOT OF IT IS AT THE ENTRY LEVEL. >> WHERE DOES YOUR CONFIDENCE COME FROM? >> YOU KNOW, I AM LIKE EVERYBODY ELSE. I HAVE MY DAYS OF DOUBT. IN FACT IN LONDON NOW, ONE OF THE SHOWS I HAVE IN ONE ROOM IS A SERIES OF 140 DRAWINGS CALLED AUTOBIOGRAPHY OF THE YEAR, WHICH CHRONICLES UPS AND DOWNS OF THE YEAR, YOU KNOW, WHICH DEMONSTRATES THAT, YOU KNOW, NOT EVERYDAY IS THE

EASIEST DAY FOR ME. ON THE OTHER HAND, I WAS EXCEEDINGLY FORTUNATE AS A CHILD. I WAS RAISED BY A FAMILY IN A FAMILY THAT BELIEVED IN EQUAL RIGHTS FOR WOMEN, MY FATHER WAS -- HE WORKED NIGHTS AND SO HE WAS THERE IN THE -- AND MY MOTHER WORKED DURING THE DAY. HE WAS THERE WHEN I WOKE UP AND AFTER MY NAPS IN THE AFTERNOON. AND MY FATHER REALLY MADE ME FEEL LIKE I COULD BE WHO I WANTED, DO WHAT I WANTED AND THAT I HAD AN OBLIGATION TO MAKE A CONTRIBUTION, BUT IT WAS MY MOTHER WHO SENT ME TO ART SCHOOL. >> DID YOU ALWAYS WANT TO BE AN ARTIST? >> YES, FROM THE TIME I WAS A CHILD. I STARTED DRAWING WHEN I WAS THREE AND I STARTED STUDYING ART WHEN I WAS FIVE. >> WHEN DID YOU REALIZE THAT IT MIGHT BE DIFFICULT TO ENTER THE ART WORLD AS A WOMAN? >> WITHIN MY FIRST SHOW AND ALL THESE GUYS CAME UP TO ME AND SAID, YOU CAN'T BE A WOMAN AND AN ARTIST TOO. THAT WAS PRETTY BLATANT. >> DO YOU THINK YOUNG WOMAN HEAR THAT TODAY IN A DIFFERENT

VERSION? >> NOT TOO LONG AGO, I MET A YOUNG CURATOR AT A MUSEUM IN CALIFORNIA WHO HAD JUST DONE THIS SHOW AND SHE TOLD ME, SHE HAD GRADUATED, SHE HAD COME UP THROUGH THE 90'S WHEN SHE WAS TOLD THAT WE LIVED IN A FEMINIST WORLD THAT EVERYTHING HAD CHANGED AND WOMEN COULD DO AND BE WHATEVER THEY WANTED NOW. THE FIRST THING THAT HAPPENED WAS SHE WORKED AS AN ASSISTANT FOR A MALE ARTIST AFTER SHE GOT OUT OF SCHOOL AND HE SEXUALLY HARASSED HER. AND THEN AS CURATOR AT THE MUSEUM, EVERY ONE OF THE MALE ARTISTS SHE INCLUDED IN THE SHOW PROPOSITIONED HERE. AND SHE SAID, NOTHING HAS CHANGED. SO, I WOULD SAY SOMEWHERE BETWEEN EVERYTHING HAS CHANGED AND NOTHING HAS CHANGED IS WHERE WE ARE. NOT ENOUGH HAS CHANGED. >> A LOT OF PEOPLE TALK ABOUT THE WORK THAT YOU HAVE DONE OVER THE COURSE OF YOUR CAREER, BUT DO YOU HAVE A PARTICULAR ACCOMPLISHMENT THAT

YOU FEEL IS LESS WELL-KNOWN OR THAT YOU WOULD LIKE TO HIGHLIGHT ABOUT YOUR CAREER SO FAR? >> ACTUALLY, A LOT OF MY WORK FOR A LONG TIME WAS COMPLETELY OVERSHADOWED BY THE DINNER PARTY. A LOT OF THE HUGE BODY OF ART THAT I HAVE CREATED WAS JUST NOBODY KNEW ANYTHING ABOUT IT. THAT STARTED TO CHANGE IN 2011 WITH THIS GETTY FUNDED INITIATIVE CALLED PACIFIC STANDARD TIME. WHICH INVOLVED EVERY INSTITUTION FROM SANTA BARBARA TO SAN DIEGO DOCUMENTING AND CELEBRATING LA ART FROM 1945 TO 1980, 20 OF WHICH YEARS, I WAS IN. I HAD DESTROYED QUITE A BIT OF MY EARLY BIG SCALE WORK BECAUSE IT WAS TOO EXPENSIVE TO STORE, BUT I STILL HAD A LOT OF THAT EARLY WORK THAT I HAD GOTTEN NOWHERE WITH IN THE FIRST 10 YEARS OF MY CAREER. I MEAN, I SHOWED IT BUT I COULDN'T SELL IT, YOU KNOW, I WAS JUST -- SUDDENLY PEOPLE DISCOVERED THAT THERE WAS MORE TO MY WORK THAN THE DINNER PARTY AND THAT SEEMS TO HAVE INITIATED A BIG CHANGE BECAUSE

SUDDENLY PEOPLE ARE STARTING TO LOOK AT OTHER BODIES OF MY ART. IT IS JUST FABULOUS. IT IS FABULOUS. I AM JUST GLAD I LIVED LONG ENOUGH TO SEE THAT AND A REVIEW IN ART MAGAZINE THAT SAID, JUDY CHICAGO'S EARLY WORK WAS TOO RADICAL FOR THE LA MACHO ART SCENE. I AM LIKE; YES! WHAT DOES THAT DO TO A WOMAN AND HER OWN SENSE OF WHAT SHE