So, did you wanna try to get this table over here just to see how that would feel?
Maybe see if we have like…
Yeah.
See if it cancels out anything?
This goes up, right?
So, we have this. This goes up, this here, you have this full.
You decide whether you want to connect it and this becomes much more like a wall like
this one, right?
All of a sudden, I thought about old Matisse doing the cutouts in his studio.
Yeah.
It's always an inspiration, right?
Yeah.
Alvaro, do you want to invite everybody for Sunday?
Yeah.
Please come.
It's gonna be a great show I think.
There's some really amazing art in the building.
So, we see you Sunday, Alvaro.
Definitely.
Please.
Thank you, Alvaro.
The thing that I can't hear so far is the ambient noise of the airport.
That's mostly in the back surround but I've been really…
Did you hear it?
Yeah, but you really have to put your ear up to the speaker to hear it.
So, maybe those can be, at least the gain, the gain levels...
The thing is also in Athens we could never hear it anyway because of the AC.
Now, we have a much smaller AC so there's a chance and…
The AC is part of the...
Absolutely.
Was that you…
That was the whole thing in Greece is that there were record highs.
So, our busy AC was a survival method.
So basically to the edge of the tape, right?
So, standing here I can still see it.
This is still…
Yeah.
It's not as much but it's in the image.
So, we have to go what, all the way here?
Still. It's still in the image.
Still?
If the speaker was in the original position
it's half in the image.
It's still in the image over there.
And, in your new position, it's not.
But if I'm here, both are in the image.
So, we have to see...
I'd like to see where, how far ....because if we have to go all the way back here
then we have to come up with a different solution.
Yeah. So, let's start here.
"More Wrong Things" is the title of this work.
Yeah.
I'm very happy with the installation.
It's, oh unique.
It's been in different configurations.
Yeah.
But, here it is opened up to accommodate this relatively small rectangular space and...
I'm just so happy with the full-on improvisation that your crew put together to assemble this.
And this is how it should look.
Like a web.
And you're really inside it.
Yeah.
We're really inside it.
And it's a web of intimate horrors.
Intimate horrors?
Yeah.
And of course, it came to me serendipitously from many different sources
and that in itself was rather mysterious
like why was that happening
because the whole work was based on the death
of a very special cat
a stray cat who was ecstatic about everything in life.
Was that Vesper?
No, it's name was Treasure.
Treasure.
Treasure, yeah.
It's so clear how you're thinking about painting even when you're doing a performative work
like Meat Joy.
Yeah.
And, that's one of the things we're trying to do in this show, right, is situate your
entire body of work, your whole career through the lens of painting as a premise, as a strategy
as a way of being in the world.
As a discipline and a training because I keep saying everything, I know in terms of structure
and materiality has to do with painting.
Becoming an artist through painting
without any support or approval.
Yeah, and here's all this approval.
And, from the very beginning, I mean, you were making paintings that were pushing against
what painting was.
So, you were making abstract paintings in the 1950s, but you were doing things
like making them spin on the wall.
Shall I give it a little spin, this work "Pin Wheel" from 1957?
[Laughs]
Yeah.
But, that's also the clue to the sense of the kinetic energy that I wanted to get into
the physical perception of the brushstroke as an event, as a transformation, as a discipline
and what was on the other side of it.
Good afternoon. Thank you all for coming.
It's great to see so many people here today to celebrate Carolee.
Umm, yeah. Let's do that again. Carolee.
If you haven't already, please also see our shows of
Cathy Wilkes, Alvaro Barrington and Naeem Mohaiemen,
which open as well today.
Oh, yes.
We had a Muslim man staying with us before
like in 1938.
He was leaving Germany.
I don't drink, Frank.
I am a Muslim man.