Blog Archives
Q: How did you happen to have a photograph published in The Wall Street Journal?
Sun Tunnels by Nancy Holt
A. That is a long story. To get far away from New York for the ten-year anniversary of 9/11, my friend, Donna Tang, and I planned a two-week road trip to see land art sites in Arizona, New Mexico, Utah, and Colorado. (Donna did excellent research).
We hoped for a private tour of Roden Crater with James Turrell, which is not easy to arrange. I had also invited my friend Ann Landi, an art critic and arts writer, to join us, hoping she might get an interview with Turrell and write an article for Artnews. Turrell has been working on Roden Crater for 30+ years so Ann was interested in seeing it too! Ann contacted Turrell’s gallery – Gagosian – but they later relayed Turrell’s refusal.
We were planning to see other land art sites. As an alternative to Roden Crater and Turrell, Ann pitched a story to The Wall Street Journal about Sun Tunnels and Nancy Holt (Robert Smithson’s wife, who as the only woman in the land art movement, has never been given her due). The Journal said yes, so Ann made plans to join Donna and me in Salt Lake City.
The three of us visited Sun Tunnels, Spiral Getty, and other sites together. Ann had a brand new point-and-shoot camera that she hadn’t yet learned how to use. I always take lots of photos whenever I travel. After we returned home, I sent Ann a few images and she asked permission to submit them with her article. I was thrilled when The Wall Street Journal requested JPEGs. It was the first time I’ve had a photograph published in a major newspaper.
Comments are welcome!
Q: Can you talk about the studios you have worked in over the years?
Studio entrance
A: From the beginning in the mid-1980’s I had a studio. My first one was in the spare bedroom of the Alexandria, Virginia, house that I shared with Bryan and that I still own. For about three years in the 1990s I had a studio on the third floor of the Torpedo Factory Art Center, a building in Alexandria that is open to the public; people come in and watch the artists work. In 1997 an opportunity to move to New York arose and I didn’t look back. By then I was showing in a good 57th Street gallery, Brewster Arts Ltd. (the gallery focused exclusively on Latin American artists; I was thrilled with the company I was in; the only fellow non-Latina represented by owner, Mia Kim, was Leonora Carrington), and I had managed to find a New York agent, Leah Poller, with whom to collaborate. I looked at one other space before finding my West 29th Street studio, where I still work. It was and continues to be my oasis in a chaotic city, a place to make art, to read, and to think. I feel more calm the moment I walk in.
Comments are welcome!
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