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Homa Taj In Conversation with Filmmaker & Photographer Jerry Schatzberg (part ii)

Jerry Schatzberg, Halloween Manhattan, 1954 - Courtesy the Artist
Jerry Schatzberg, Halloween Manhattan, 1954 – Courtesy the Artist

Continued from: Homa Taj In Conversation with Filmmaker & Photographer Jerry Schatzberg (part i)

HT – Speaking of cinema, I read in The Hollywood Reporter that you are now going back to making a sequel to Scarecrow (1973)?

JS – I went back thinking that I was going to make a sequel to Scarecrow but when I finished the script, I found out that Gene Hackman has retired. Then I told Al [Pacino] about it… And, then, I thought that a re-make shouldn’t be my return to filmmaking. If I can’t get Hackman, I’d have to eliminate that character.

In any case, the script stands on its own without being a sequel. There are certain things that I would tweak…but, ultimately, it does stand on its own.

Also, I am working on three different films, right now. We’re very close to getting one of them off the ground.

But, then, there is the archiving of my photos. If they are not put in properly you won’t be able to find them.

HT – Well, you are making it easier for art historians to descend on your archives to do research, in the very near future.

JS – I think my papers are going to Harvard. Haden Guest [Director of Harvard Film Archives] told me, “We don’t have a big archive but what we have, we take very seriously.”

HT – In the late 1990’s, I studied film with the former film programmer at the Harvard Film Archives. At the same time, I was working (part-time) at the HCL’s Fine Arts Library. So, I can personally attest that your archives will be in great hands!

JS – That’s great. Harvard will have all the letters and telegrams – there were telegrams before emails – and all the other documents. They already have some of my films. But I would love to have them both in the same place: archives for my films and archives for my photographs.

Actually, all the work that I am doing now, the book with Dylan, the show for the Cinémathèque, the documents… are preparing me for it. Everytime we go into the storage, we find something new.

When I went to the Cinémathèque, they were hanging a new show of Antonioni…

HT – Yes, it’s on right now – until July 19…

JS – Yes, it looked very interesting and gave me some ideas. The theme of my show is From Still to Cinema. A bit like the exhibition at Beaubourg. But, back then, they only had half of my films there, and a small part of my photographs.

Now, I am making a list of the people whom I have photographed and who are working in cinema, in some way.

I really like the space that they have.

HT – Meanwhile, back home, in America… I personally think that there is something fundamentally off about the state of contemporary art in America. And, films too…

JS – I think part of the problem is that people are trying too hard. I have to say, at the beginning, I had a hard time with Andy Warhol and his soup cans. But Warhol was a real artist. A real Pop artist. Out of that movement came Robert Rauschenberg, Jasper Johns and others.

I remember the first time that I met Rauschenberg at their loft (they had two), I asked him, “Tell me, are you trying to be humurous?” He said, “No. I am just trying to make people aware.” And, that made an impression on me. We had a long talk. And, we continued to meet several times over the years.

Some things he had done had influenced me. For example, I began to photograph stuff on the street – the garbarge that people throw away. I’d find a nice composition – I never move anything – and, I just photograph them. Rauschenberg would paint them, and I photograph them. I’ve taken a couple thousand of them – that I really like. And, I’d like to show them.

HT – Speaking of exhibiting never before seen photos, what experiences have you had of working with private dealers.

JS – Once, I had a show with a gallery. I didn’t care for the way he had hung my pictures so I told him that if you put this picture next to this one, you won’t see the third. But if you put this one in the middle, you’ll see all three. He didn’t like it at all. He was very upset!

HT – I laugh… because my film (The Dealer) is about an art dealer and, it references photography…

JS – Well, there was a time when ICP (International Centre for Photography) wouldn’t touch a fashion photographer’s work. And, now, fashion photography is considered art.

HT – Yes. It’s everywhere. Boston MFA did a show of Mario Testino in 2012, another one on Herb Ritts is on now until November 8. etc…

JS – I loved the Avedon’s show at the Met (2002), and the Irving Penn exhibition at MoMA (2009-10). I liked Penn’s catalogue. The way he puts a bowl of soup, a fashion image, and a portrait alongside each other.

You see, photogaphy is different from sculpture or paintings. It’s more a way of seeing.

Jerry Schatzberg, Bob Dylan (Thumb in Eye), 1965 - Courtesy the Artist
Jerry Schatzberg, Bob Dylan (Thumb in Eye), 1965 – Courtesy the Artist

HT – If you were to do photography now, would you use a digital camera?

JS – I like digital. I am not a technical snob. Mary Ellen Mark who recently passed away, she would never shoot digital. For me, it is the mind and the content that makes the photograh not the film or the technology. I want my films to be beautiful. If I take a photograph on the subway and it is blurred, if I like the content, I don’t care that it is blurred.

I mean, look at Blonde on Blonde (the cover of Bob Dylan’s 1966 album). It is moving. I only had three images like that. Everyone is trying to say that it was a trip, it was LSD. It wasn’t any of that. We started shooting in the studio. And, we thought, let’s go out. We’ll find more light outside, somewhere in the meatpacking district.
People are always asking me where it was taken, and I have tried to find it. I think they’ve gentrified it.

HT – [Laughs] You think?

JS – Well, there are places that have remained the same, but I think that place is gone. I did take some very beautiful images that I really like and that I have shown in exhibitions. It was Dylan that chose that blurred photograph for the cover of his album. It was cold. We were shaking. So the photo came out blurry. People have always tried to theorize it. But that was it. I mean, the record company would have never allowed such an image on an album cover. But Dylan could do whatever he wanted.

HT – So, the quivering anxiety of a new generation wasn’t what you had in mind?

JS – We let people interpret their own thoughts. It’s just that no one wants to hear about the technical aspects, or that it was cold and we were both shivering [laughs].

HT – Speaking of technical aspects, does using digital also apply to filmmaking for you?

JS – I used a digital camera in my the last film. I liked it. It worked fast. I didn’t do a lot. But my next film will be digital. I have no problem with that. I haven’t jumped into pigment prints, yet. I still like silver gelatin and c prints. I like very much what they look like but they are not archival enough. Also, for the time being, collectors want silver or platinum prints, or what they already know about. But, I have nothing against digital prints. In fact, I have made some digital prints and I challenge anybody to tell me which is digital and which is silver.


Jerry Schatzberg is represented by Rukaj Gallery in Toronto, Canada


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Homa Taj In Conversation with Filmmaker & Photographer Jerry Schatzberg (part i)

Jerry Schatzberg (b. 1927), Edie Sedgwick, NY, 1966, gelatin sliver print, edition 20, 40 x 40 inches, Courtesy Nikola Rukaj Gallery, Toronto - Also, in the collection of Museum of Modern Art, New York
Jerry Schatzberg (b. 1927), Edie Sedgwick, NY, 1966, gelatin sliver print, edition 20, 40 x 40 inches, Courtesy Nikola Rukaj Gallery, Toronto – Also, in the collection of Museum of Modern Art, New York


Art Miami NY -Jerry Schatzberg (The Bronx, NY 1927), Edie Sedgwick, NY, 1966, gelatin sliver print, edition 20, 40 x 40 inches, Courtesy Nikola Rukaj Gallery, Toronto - in conversation with HOMA TAJ - museumviewsLate last month, I had the opportunity to interview New York-based photographer and filmmaker Jerry Schatzberg. Prior to that, I had met Schatzberg at the inaugural Art Miami New York where his photograph of Edie Sedwick was used as a promotional image for the art fair.

I have been familiar with Schatzberg’s work as a photographer circa 1950’s-’70’s and have seen several of his films, including Puzzle of a Downfall Child (1970) starring Faye Dunaway.

Schatzberg is the man who has discovered Al Pacino, directed Gene Hackman, Meryl Streep, Morgan Freeman, Alan Alda … and photographed Bob Dylan, The Rolling Stones, The Beatles among numerous other iconic performers.

For many in the film and the art world(s), Schatzberg needs no introduction. The remarkably youthful 87 year-old artist has been creating memorable images since circa the early 1950’s. Even those who may not know his name are well familiar with his images – especially, those of fashion photography in the 1950’s, musicians in the 1960’s and movie stars and movie makers through the 1970’s.

Homa Taj – You have been taking photographs and making films for more than half a century. And, you are still going as strong as ever. What are you working on at the moment?

Jerry Schatzberg – We have been working on a show for the Cinémathèque française, in Paris. Matthieu Orléan is in charge of the project…

HT – I have also thought Maison Européenne de la Photographie would be a great place to show your work. I recently interviewed  François Hebel – the former Director at Les Rencontres d’Arles – whom I understand you know.

JS – Yes, I know him from Arles. Back in the early 1980’s someone I knew invited me to present my work as “a new discovery.” I thought, “You’re kidding?” But, it worked out well. And, that is how I had my major exhibition at Rencontre d’Arles.

HT – It was a solo show at the festival in 1982.

JS – That’s right. But, of course, it is a big festival where photographs are shown everywhere – in the back of stores, etc. Anyway, we are just beginning to formally pursue (re-) presenting my photogaphy.

HT – It’s been a while since you have focused your energy on photography…

JS – Yes. I really stopped taking pictures quite a while ago because I was making films. As you know, so much goes into making a film – all the research – that I hadn’t had time to do photography or go out and sell my work.
However, over the years, many film festivals would ask me to exhibit my work so I started doing shows for them. At Lumière Film Festival in Lyon, they actually bought a gallery because they wanted to exhibit works by filmmakers who were presenting films at the festival and I was their first show there. That was at l’Institut Lumière, in 2009.

HT – So, France has been good to you…

JS – Oh, yes. In fact, they discovered me. It was Pierre Lucien … in San Francisco (1970). He saw the listing for Puzzle of a Downfall Child (1970) and figured here’s another film by a bull sh*t fashion photogapher and didn’t want to see it. As it happened, he didn’t have anything to do so he figured he’d go and see the first ten minutes of it. But, he fell in love with it and became my champion.

HT – Some have defined Puzzle of a Downfall Child with Faye Dunaway as a semi-autobiographical film.

JS – Well, the story was based on my friend and favorite model, Anne St Marie. It was her story I wanted to tell. I had 3 1/2 hours of taped conversation based on which Carole Eastman wrote the screenplay brilliantly for the film. To this day, it is my favorite film. A very personal film. But it’s loosely based on me. Or even her. It’s more fiction within fiction.

HT – Who is representing your photography now?

JS – Nikola Rukaj Gallery in Canada represents my photography in Canada and we sell a lot of work. I was with Staley Wise Gallery for 35 years. But, for the last 15 years nothing happened. They considered me a filmmaker not a photographer. Now, I understand. I don’t think there are any photographers who have as extensive a portfolio of stills as they have films. So, they figure that I am just a filmmaker. And, frankly, I got tired of being pushed aside so I left there.
I am still looking for a gallery that I really like.

HT – I think it’s very challenging for artists to find a good dealer – just as it is for filmmakers to find a good producer. You are really looking for a partner with whom you will end up working for the next 2-5 years minimum (at least in case of film). And, it’s becoming even more challenging…

JS – Yes. It is also difficult for dealers to take on ‘new’ people, even if they are older. And, more experienced. Because, they have to start to sell them just as they would someone brand new – someone much younger. So, it’s difficult for everyone.
I’d love to have shows in NYC. Really looking forward to working with a good gallery.

HT – I personally find it astonishing that you are not represented in NY. When I go on any major social media – Facebook, Pinterest, Tumblr, Instagram … – I see your photos everywhere. Especially your fashion photos. Well, as well as, the celebrity ones… Of course, sometimes they are not credited because people don’t know. But, you do have a huge fan base. Though they may not know that they are fans (because they may not know your name, yet!)

JS – In a way, I have always been lucky because I have always gotten the publicity that I needed without going after it, for one reason or another. And, then, I went from film to film to film… After my last film (The Day the Ponies Come Back, 2000), I realized that my legacy is still going to be in photography. And, while I still have to earn a living, it is still photography that will pay my bills because the films that I do are low budget, as they were even at the beginning. Unless, of course, you get a big hit, and the films that I do are not immediate commercial mega-successes. They are not blockbuster types of films. But they do stay around for a long time.

HT – So, no super heroes jumping from building to building, for you?

JS – No. I am afraid not. But, now, I am finally making a little bit of effort to focus on my photographs.

HT – Who holds the copyright to your photographs?

JS – I do. I never signed a contract when I worked for Vogue – I worked for them for two and a half years. So, they are all my photographs, basically. I didn’t sign a contract with anybody. I did a lot of work for Atlantic Records because I was friendly with Ahmet Ertegün (the late founder and president of Atlantic Records) so they kept asking me to photograph this one and that one…

The Dylan photographs, I pursued. There were actually two people telling me about Dylan in ’63-64. Somebody called Sara Noznisky, a friend of mine. And, Nico from Velvet Underground. Though She wasn’t Velvet Underground then…

The 64th Cannes Film Festival official poster featuring (2011) Faye Dunaway photographed by Jerry Schatzberg, 1967
The 64th Cannes Film Festival official poster featuring (2011) Faye Dunaway photographed by Jerry Schatzberg, 1967

HT – That’s right. She was a rather conventional model at the beginning of her career. And, she looked very sweet, back then.

Jerry – Yes. Well, she was very sweet – before she got mixed up in drugs. And, when I would go to Paris, she’d come to my hotel room and say, “Jerry, have you seen or heard of Bob Dylan? The guy I have been telling you about?” And, then, I listened to Dylan and understood why everyone was so crazy about him.
Anyway, I don’t know whom I was photographing when I heard a journalist talk about Dylan. I went over and told them, “If you see Dylan, tell him I’d like to photograph him.” And, that was it. The next day, I got a call from Sara, who later became his wife.

So, she told me where the session was and I went over the next day and photographed him. They liked the photos that I took of him and wanted me to photograph him in the studio. The next thing they asked me to do was BLONDE ON BLONDE (cover). That is the only one for which I was ‘commissioned.’ But all the other photographs are mine.
You see over there [pointing to a wall in his apartment], Shepard Fairey saw that one in the Dylan book [Thin Wild Mercury: Touching Dylan’s Edge by Jerry Schatzberg, 2006] and asked me if he could paint it and I said, “Sure.”

But people know my photographs. For example, the image of Faye Dunaway’s Legs was used for official poster of the 64th Cannes Film Festival, 2011.
I have never thought that I had to go out and pursue selling my work. Or, my name.

HT – I am rather surprised that you haven’t had a proper museum show in the US. Given your body of work…

JS – Well, when Quentin Bajac came from Centre Pompidou to MoMA, in 2003, someone told me that he was organizing his first show. So, I emailed him to introduce myself and asked if I could go and see the exhibition. He wrote right back and said, “I know who you are…” which didn’t surprise me because the French know me. And, I did have a show (a retrospective) at the Pompidou in 1983. Bajac did say that it is not really an opening but told me that he’d love to give me a tour before his exhibition opened.

But then, I did not really pursue any conversations after that …

Homa – I don’t know Bajac, the only photography curator I know of at MoMA is Roxana Marcocci whom I interviewed several years ago …

JS – I used to know the film people at MoMA when Larry Kardish was there. And, Peter Galassi bought four of my pictures – Laverne Baker (1957); Edie Sedgwick (1964); Sandy Dennis (1964); and, one of Bob Dylan (1965).

HT – Tell me about your new project with Dylan…

JS – The new project with Dylan is a portfolio of photos that I took of him. It will include somewhere between 10-15 photographs that both he and I will sign. And, we are only going to make 50 (or so) of them.

HT – What about your fashion photography?

JS – WOMEN Then: Jerry Schatzberg (1954-1969) shows many of those. Then, there is the catalogue of the exhibition at the Pompidou – Jerry Schatzberg, de la photographie au cinéma, (20 Octobre 1982 – 29 Novembre 1982).

The Pompidou catalogue was the very begining of my archiving which is greatly time-consuming.

HT – You took several years off from photography to make films.

JS – I took 30 years off from photography. The last film I made was more than ten years ago. I figured I’ll take a year off and put my archives together. It’s been almost a decade already and we’re only half way through.

I have always wondered how I managed to take so may pictures in such a short period of time, c. 1954-1969.

HT – I think it’s because you were thinking cinematically. Like creating a storyboard… This is why some of your photographs are like series …

JS – Well, yes, I always thought cinematically. I always think of the story when I take photos.

HT – Speaking of cinema, I read in The Hollywood Reporter that you are now going back to making a sequel to Scarecrow (1973)?


… Tomorrow: Homa Taj In Conversation with Filmmaker & Photographer Jerry Schatzberg (part ii)


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Homa Taj in Conversation with Jeremy Strick, Director at @NasherSculpture Center

Homa Taj in Conversation with Nasher Sculpture Center's Director Jeremy Stick - Dallas, Texas
Photo courtesy Nasher Sculpture Center, Dallas, Texas

Late in May, I had the pleasure of meeting with Jeremy Strick, Director of the Nasher Sculpture Center in Dallas, Texas. A native of Los Angeles, Strick spent nearly a decade leading Los Angeles Museum of Contemporary Art (LA MoCA). Early in 2009, he was appointed Director at the Dallas-based museum which is one of the leading institutions of its kind in the world.

During our long conversation, we spoke about Dallas as a remarkable example of collective patronage; the place of sculpture in today’s digital world; and the First Annual Nasher Prize for Sculpture.

Homa Taj – You were at LA MoCA for a long time, about nine years. What was the transition to Dallas like – aside from the weather?

Jeremy Strick – Well, you know, it has actually been somewhat easy. Dallas is a very welcoming place. Also, physically speaking, the city reminds me of Los Angeles where I grew up.

HT – Dallas like Los Angeles and unlike, say New York, has a lot of breathing room …

JS – That’s right. It has a lot of spatial breathing room and it is a city that is in the midst of transformation. It’s becoming something … and that is very familiar to me. And, it’s a very easy place to arrive where you are welcomed.

HT – Do you work with the Dallas Museum of Art?

JS – The Dallas Museum is right across the street from us. And, so yes we have a very close relationship with them. We are actually a triangle of (three) museums, including the Crow Collection of Asian Art.

So it’s a very nice group of institutions that are in close proximity and create a rich environment.

HT – You are located in the downtown art district. This is somewhat unusual for a sculpture center.. because they’re often created out of town.

JS – I am told that when Ray Nasher wanted to create a sculpture garden – when he approached Renzo Piano – he had initially thought that it doesn’t make sense for a sculpture garden to be downtown and that it needs to be outside the city. Of course, he later came to embrace the idea that the garden can be in the city center. And, I think it is one of the critical features of the Nasher Sculpture Center’s identity. Our building is 55,000 square feet and our garden is about 1 1/2 acres. So, the idea of having this huge garden in the middle of the city that comes to serve as a place of rest, of meditation and, of course, of learning is wonderful.

HT – Yes, that is remarkable because when we think about de Cordova (Massachusetts), Storm King (New York), Kröller-Müller Museum (The Netherlands), Fondation Beyeler (Switzerland), Louisiana Museum (Denmark) … they are all out of town.

JS – Yes. But on the other hand, when we look at the Art Institute of Chicago, and the same thing obtains in the New Whitney, there are these moments where there are huge windows facing the city and sculpture is placed within those galleries… these moments hold up the idea of sculpture in the urban context.

And, I think that a lot of sculptures are created by artists who are urban creatures and their work reflects modernism and of course, one of the symbols of modernism is the urban environment. And, I think it works.

HT – Remember when it was said that “sculpture is that which you bump into when looking at a painting”? That is no longer the case. And, I think having these types of institutions that put particular focus on sculpture and three dimensionality of sculpture in the digital age have really helped shape the place of this art form.

JS – Certainly. It may be less true today with all the art fairs, and the audience for contemporary art is now quite vast. But it’s also true that people feel intimidated, they feel that they are not getting the art – or the environment of the museum. I find that a garden is a wonderful medium that helps eliminate the sense of distance and alienation that visitors feel in these institutions. People feel very comfortable relating to works … and, they are willing to take the art in its own terms. And, so there is something about the garden setting that really encourages it…

[Tweet “I find that a garden is a wonderful medium that helps eliminate the sense of distance and alienation that visitors feel in these institutions”]

Phyllida Barlow at Nasher Sculpture Center - Photo courtesy the artist/Nasher Sculpture Center
Phyllida Barlow at Nasher Sculpture Center – Photo courtesy the artist/Nasher Sculpture Center

HT – As opposed to a sterile environment or, even one that is systematically intimidating.

JS – I think you are right. Having three-dimensional objects help. And, I think having an environment that is respectful and comforting helps to welcome art audiences.

[Tweet “I think having an environment that is respectful and comforting helps to welcome art audiences. Jeremy Strick #NasherSculptureCenter”]

HT – Yes. I see museums around the world trying to reach out to new audiences by using social media. So, people look at paintings, for example, and think that they have already seen them on their iPads or on the Internet, etc – of course, they haven’t seen them but it’s easy to assume…- Sculpture, however, defies two-dimensionality. Unless, you look at the works in 3D – and, certainly, not even then. So, I think it would be wise if more museums used their sculpture collections to attract people to really dynamically engage with art. It’s better than continuing to promote museum selfies as an engagement tool…

JS – I think one of the reasons Ray Nasher wanted to create a sculpture garden and museum was because sculpture was still a neglected art form. Right now, of course, it is a having a great moment. And, I think it’s because much of our experience with media is two dimensional, as you say…

[Tweet “Ray #NasherSculptureCenter wanted to create a sculpture garden and museum was because sculpture was still a neglected art form”]

HT – When I worked at the fine arts library at Harvard … some scholars would joke that someday we’ll all become fuzzy (ditigized) art historians. We laughed. But, the joke has taken on a very serious face. That’s why I think sculpture is so important. Not just because of its 3-dimensionality but, in case of some, its size which makes it very difficult to ‘collect’. So, again, having these types of works – say monumental sculpture – which even major collectors may not be able to collect and displaying them in an urban environment is quite invaluable.

JS – That’s right. Artists, and sculptors in general, have a special feeling toward the natural environment. Think of Storm King, because it requires space for meditation, these become extraordinary places.

[Tweet “Artists, and sculptors in general, have a special feeling toward the natural environment. Jeremy Strick #NasherSculptureCenter”]

HT – Let’s talk about collecting – well, more like patronage: we talk about monumental sculpture that has a very small collecting base. But, there is also the underwriting of costs for acquisition or installation of works in the public museum context. How would you define Dallas as a community of arts patrons – as opposed to Los Angeles, or even New York? New York, for example, is terribly market-driven…

JS – Well, I would say that Dallas is a very special place. Very particular – like every major city. But, in Dallas, there is a collaborative spirit. For example, in 2007, three major collectors in Dallas donated a large number contemporary art works from their collections to the Dallas Museum of Art.

Other collectors have bought things together for museums. That is quite unique. And, it is one of the things that has delighted me about working in this environment.

The Nasher was founded by a single family but members of the community have reached out to us. Not to diminish the great philanthropy that takes place in other great cities in the country, but there is something very special about Dallas.

dallas art district - nasher sculpture center, dallas museum of art, crow collectionHT – Is this Texas Pride?

JS – No, I think this is a Dallas phenomenon.

HT – I was actually thinking of, for example, collectors in Cologne who wouldn’t buy art in Berlin – unless, it’s exhibited at, say, Art Cologne.

JS – I think that people in Dallas want their city to be great. And, they believe that

The arts provide a way to enhance their community. And, they are very deliberate about it. So, again, these are the ideal conditions for an art museum.

HT – That brings us to the International Nasher Prize for Sculpture..

JS – When Ray Nasher decided to create the museum, he wanted to provide an absolute optimal condition for the works on display. But, I think his ambition was that this would become more than a repository for art. He had stated that sculpture is somewhat overlooked. And, that it should be at the center of understanding modernism, via scholarship, etc.

So, three years ago, we were working on the Center’s 10th anniversary so we commissioned ten artists to create works around the city. And, that got us to think that there are so many approaches to sculpture. Not just in terms of style and medium like, sound, photograph, installation and various other media…

HJ – So, you define sculpture in a very broad sense?

JS – That’s right. The anniversary event was a great opportunity for us to reconsider what sculpture is? What are its parameters and so on? What are the great achievements in the field? And we realized that sculpture is so very varied, at this moment in THE history [of art]. And, that there are so many different approaches to it.

We thought that it was an opportune moment to consider these achievements and advances on a regular basis. There has not been a single international prize for sculpture. There are several prizes that include aspects of sculpture but nothing annual that would involve the discussion of the field. And, with what we are doing, the process is as important as the prize. We start with asking 100 nominators from around the world each to nominate a single artist. The goal is to give the prize to a living artist with a significant body of work, who has advanced our understanding of sculpture. Nominations are gathered and presented to a jury of seven distinguished individuals in the field.

I think it is a very strong group of jurors who are going to review the nominations and determine who will receive that award.

HT – So this is the first international Nasher Prize for sculpture. When will it be announced?

JS – It will be announced in the fall of this year. And, we will celebrate the first recipient, on April 2nd, 2016.

[Tweet “Nasher Sculpture Prize will be announced in the fall of this year & we will celebrate the first recipient, on April 2nd, 2016.”]

HT – Are you going to televise it – like the Turner Prize? Or, the Academy Awards?

JS – [Laughs] That’s a great idea. We’ll look into it.

HT – A producer friend – who works predominantly in 3D – told me that since both my films (The Dealer & Rene The Movie) deal with sculpture, I should film them in 3D. I think he may be right [laughs]. So maybe, yours will be the first award to be televised in 3D!

JS – [Laughs.] Well, that would be a first!

Performance of Into The Woods at the Nasher Sculpture Center, May 2015
Performance of Into The Woods at the Nasher Sculpture Center, May 2015