'I’ve never really considered myself part of pop culture in a way. I think intervening is a good word.' MaggieNelson talks to the artist and friend NaoBustamante about her 'Brown Disco' in Chinatown, evolving audiences, and aesthetic strategies.
]. Not at all sure we had the right place, I clambered up the steps with my partner Harry—an old friend of Nao’s, from their San Francisco performance days—and located the tiny gallery, which had yet to open for the day. Once the gentleperson with key arrived, we stood for some time listening to a slowed-down karaoke track of “I Feel Love” in the dark while watching a gigantic blow-up disco ball cast honeycomb shadows over the walls. I emerged dazed, and excited to talk to Nao.
NELSON: Mm-hmm. It’s interesting, because we’re super different in terms of the art we’ve made and stuff like that, but I’m getting a DNA helix image of momentary shiftings into certain kinds of visibilities. I mean, I wasn’t in San Francisco when you were. But I grew up there and then left. We have some milieu in common. The things I dreamed about were all high demimonde, avant-garde stuff. The dream was to be a part of that.
BUSTAMANTE: Absolutely. There’s the initial idea, the initial brain burr or the flash. And how that gets pushed back or built out is definitely part of the process.popped into my head pretty much fully realized. And I went at it. I didn’t get to realize it the way that I wanted to. Specifically, I had to find a lot of workarounds.BUSTAMANTE: Yeah, when I did the site visit there, that’s what I saw in the space.
BUSTAMANTE: I mean, I love it when people interpret my work, not just by the scholar or the writer but by the viewer. When I was a very young artist, I didn’t really care what people thought. That was a protection in order to make the work. I had to have a bit of a punk rock sensibility in order to put myself out there. But I always have thought about inviting people on the journey with me and I think scholarly interpretation is just one aspect of that.
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