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Ida Applebroog

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Jessica Day

on 15 April 2010

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Transcript of Ida Applebroog

Ida Applebroog Drawings
Paintings Photogenetics My Work
Fancy Shoes/Fendi 2002 Fancy Shoes/Chanel 2004 Modern Olympia (after Manet) Everything is Fine" Marginalia (Isaac Stern Digital Outtake of Work in Progress Digital Outtake of Work in Progress Digital Outtake of Work in Progress I still feel I’m not really a painter—when I work with canvases, I work with three-dimensional structures. It’s about structures, it’s about stagings. It’s still...it’s always about stagings. No matter what would happen to my hands, or the rest of my body, I’d still have my mouth and I can still plant a pencil in my mouth and work. It’s like anybody that creates, they’re going to find a way to create and it doesn’t matter how. I like the idea, the power part. And it’s the kind of thing where every time someone asks me what my work is about I always say, “It’s hard to say what your work is about” (nobody really wants to say it, or they make up something that they have stuck in their heads that would sound right), “but for me—it’s really about how power works.” And I learned that at a very early age. I come from a very rigid, religious background. And it’s the idea of how power works—male over female, parents over children, governments over people, doctors over patients that operates continuously. So it’s not as though I set out to say, “Well let’s see what the power balance is between this piece in my painting and that piece in my painting.” This is the part we’re talking about—that you never really know what you’re doing until at the end you realize, “Ah, that’s what I’m doing...that’s what I’ve done.” I live in this world—this is what’s going on around me. I can’t change that. So when I’m doing the work, it’s like I’m in the studio and I have all this stuff on my back. I have all this baggage, and I try desperately to start working...I’m carrying in how the postman looked at me that morning, what happened in my personal life, what did my dealer say to me, what did my friend say on the telephone—all the different things that go on in your mind. What do I have to do? What appointments do I have? And then how do you get to do the actual marks on the canvas where that disappears? It takes a long, long time...And then this is not really what you’re doing, but in a way it’s like peeling off the layers, peeling off the layers. And finally you’re not conscious any more of anything being there, and you’re free and you’re working and you don’t know that time has gone by—and it’s hours and hours and hours. But then you have to go back into the real world and the real world is the world that the six o’clock news is about and your own personal life, because your own personal life is involved in that also. ;alksjdfd
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