Sculptor
I think direct contact with the material should be important to every sculptor because I think once you lose that it becomes a second hand process. It’s one of the reasons the casting process isn’t so interesting to me just because the final product, the final piece has not been touched by the artist. There’s no relationship with the mind that conceived the piece or designed it. I think something is lost when that happens. And it becomes something else.
Sculptor
I think direct contact with the material should be important to every sculptor because I think once you lose that it becomes a second hand process. It’s one of the reasons the casting process isn’t so interesting to me just because the final product, the final piece has not been touched by the artist. There’s no relationship with the mind that conceived the piece or designed it. I think something is lost when that happens. And it becomes something else.
Steve Miller is a multimedia artist born and raised in Buffalo, New York. Being an early pioneer for the ‘science-art’ movement, his most recognized works are those of paintings and sculptures of the natural world. One of his latest projects, entitled, “Health of the Planet”, works with Brazilian scientists to showcase the diversity and necessity of the lungs of our planet, the Amazon rainforest. With surfboards depicting diagrams of alligators, and stingrays, as well as printed x-rays of sloths and native fruits of the country, the intention of the project is for Brazil to take a closer inspection on their global contribution to the planet. Over the past 30 years Steven has presented over 30 solo exhibitions at institutions across the US, China, France and Germany, continuing these conversations about ourselves, each other, and the planet that connects us all.
carbon print, acrylic and silk-screen on canvas. 24 x 26.5 inches
004, Black Gator on Yellow, 2013. Square Tail Thruster, 70.5 inches x 20 inches
Square Tail Thruster, 70.5 inches x 20 inches
STEVE MILLER
I have this idea art should be in the world in as many forms and ways as possible, and I love communicating with skate decks… It partially started out in Brazil because what I was doing in Brazil is x-raying animals in the Amazon and I thought there was this idea in the old days that you’d go to the Amazon, you’d kill an animal, stuff it, bag it, and then you’d have this trophy of your kill. The alligators that we x-rayed were alive. I got them from a zoo in a town called Belem, which means Bethlehem in Portuguese.
This interview was conducted by Mia Funk with the participation of collaborating universities and students. Associate Interviews Producer on this podcast was Wills Ladd. Digital Media Coordinator is Hannah Story Brown.
Artist & Environmentalist
“I have this idea art should be in the world in as many forms and ways as possible, and I love communicating with skate decks… It partially started out in Brazil because what I was doing in Brazil is x-raying animals in the Amazon and I thought there was this idea in the old days that you’d go to the Amazon, you’d kill an animal, stuff it, bag it, and then you’d have this trophy of your kill. The alligators that we x-rayed were alive. I got them from a zoo in a town called Belem, which means Bethlehem in Portuguese.”
Deputy Director of Curatorial Affairs & Chief Curator Museum of Arts and Design
So the Museum of Arts and Design historically, for me, is part of a New York avantgarde scene. It's just that it was dedicated to artists working in these historically-marginalized materials. And it continues to do that. That mission has never changed.
Deputy Director of Curatorial Affairs & Chief Curator Museum of Arts and Design
So the Museum of Arts and Design historically, for me, is part of a New York avantgarde scene. It's just that it was dedicated to artists working in these historically-marginalized materials. And it continues to do that. That mission has never changed.
Artist & World Traveler
When we moved back to Hawaii and lived on Molokai. I was teaching at the Kalaupapa Leprosy Colony, we had no money. And I was spearfishing, not for sport, but to get food for my family. And it was a beautiful time of our lives. We were so poor, but we were not poor. Poor is a state of mind. We were without money, but we were having so much fun.
Artist & World Traveler
When we moved back to Hawaii and lived on Molokai. I was teaching at the Kalaupapa Leprosy Colony, we had no money. And I was spearfishing, not for sport, but to get food for my family. And it was a beautiful time of our lives. We were so poor, but we were not poor. Poor is a state of mind. We were without money, but we were having so much fun.
Sébastien Gokalp · Director of France’s National Museum of Immigration
Curator of Exhibitions at Centre Pompidou, Musée d’art Moderne de la Ville de Paris & Louis Vuitton Foundation
We have a motto that says that ‘we want to change the gaze on immigration or to open the eyes on immigration’. We’re not here to make action in society, but we want people who come here to have elements of reflection, perception about the question of immigration. To change a mind, because immigration is about the stories of people who come from another country–they are someone else, basically–by assisting them we want to show how someone else can be great for us and not a stranger, foreigner, nor an enemy, but a friend. Someone who will bring us many things about culture, about work, about a way of meaning, of thinking. We have a historical point of view. We want to show that from the French Revolution until now, so two centuries of stories.
Sébastien Gokalp · Director of France’s National Museum of Immigration
Curator of Exhibitions at Centre Pompidou, Musée d’art Moderne de la Ville de Paris & Louis Vuitton Foundation
We have a motto that says that ‘we want to change the gaze on immigration or to open the eyes on immigration’. We’re not here to make action in society, but we want people who come here to have elements of reflection, perception about the question of immigration. To change a mind, because immigration is about the stories of people who come from another country–they are someone else, basically–by assisting them we want to show how someone else can be great for us and not a stranger, foreigner, nor an enemy, but a friend. Someone who will bring us many things about culture, about work, about a way of meaning, of thinking. We have a historical point of view. We want to show that from the French Revolution until now, so two centuries of stories.
Artist & Grandfather of French Street Art
There was the war from ‘40 to ‘45 under the Fascists, so I didn’t have art training at that time. The painter Picasso, we knew the name, the artist who painted an eye in the place of a navel, that’s all I knew at the age of seventeen. I found a book published in 1926, the year of my birth, speaking of the painters Braque, Picasso and Miró. And then all the figurative painters at that time, Van Dongen…so it was a new style that I encountered there.
Artist & Grandfather of French Street Art
There was the war from ‘40 to ‘45 under the Fascists, so I didn’t have art training at that time. The painter Picasso, we knew the name, the artist who painted an eye in the place of a navel, that’s all I knew at the age of seventeen. I found a book published in 1926, the year of my birth, speaking of the painters Braque, Picasso and Miró. And then all the figurative painters at that time, Van Dongen…so it was a new style that I encountered there.
Artist
The whole thing is to get them to feel like no matter where their background is from, the difficulty they have in their personal lives, the isolation that they feel in relationship to that, that within the art community they are embraced, they are welcomed. All they have to do is just keep getting better at it, but the community is there. I think that something we're all looking for is where we belong.
Artist
The whole thing is to get them to feel like no matter where their background is from, the difficulty they have in their personal lives, the isolation that they feel in relationship to that, that within the art community they are embraced, they are welcomed. All they have to do is just keep getting better at it, but the community is there. I think that something we're all looking for is where we belong.
The Creative Process: Podcast Interviews & Portraits of the World’s Leading Authors & Creative Thinkers
Inspiring Students – Encouraging Reading - Connecting through Stories
The Creative Process exhibition is traveling to universities and museums. The Creative Process exhibition consists of interviews with over 100 esteemed writers, including Joyce Carol Oates, Hilary Mantel, Neil Gaiman, Viet Thanh Nguyen, Tobias Wolff, Richard Ford, Junot Díaz, Marie Darrieussecq, Michel Faber, T.C. Boyle, Jay McInerney, George Saunders, Geoff Dyer, Etgar Keret, Douglas Kennedy, Sam Lipsyte, and Yiyun Li, among others. Artist and interviewer: Mia Funk.
