Student Stories

How did you discover the Student Lending Art Program?

Yeah, I mean, the way that I discovered the Lending Program was when I went to a friend's house last year and then I realized that on her bedside table she had a Miró. You know, casual. So this year, I made sure to sign up for the Lending Program and when I was scrolling through the catalog, I was just really struck by Berenice Abbott's photographs. So I just had to go for it.

What drew you to Berenice Abbott’s photographs?

I was kind of addressing what emotional reaction I was having to the catalog as I was scrolling. I was instantly drawn to pictures in 1930s New York. As an urban planning student, these urban sceneries that we don't really see anymore, it just felt really captivating. So I wasn't really sure which photograph I'd go for depending on which ones would be available at the time that I'd go to the List Center. But I'm really glad that I ended up getting this one.

Can you verbalize your interpretation of this work or how it sits with you emotionally?

Yeah, I think what's interesting is that the way that I interpret this photo has changed over the few months that it's been in my room. I initially got it in September, we're now in March the following year, and I remember initially being quite fearful or even feeling uneasy about this situation on a bridge. There's just one car. We don't know whether we're standing, or whether we're in a car, or what we're doing there. I think initially I was connecting this to my own uncertainty of what I'm going to do next year. I'm graduating in a few months, and not knowing where the bridge leads was a good metaphor for where I think I am. I realized that the key to being comfortable with this space is to accept the fear and to kind of sit with it and realize that whatever ends up happening, the bridge will lead somewhere.

Can you take us back to the day that you were in the List Galleries trying to figure out what artwork you wanted?

Yeah, so the way I heard about it was through e-mail. My professor forwarded it to me, and I was able to look at the listing online. I looked through all of them, and I got a sense of the pieces I liked. I don't remember actually seeing this piece, which is kind of funny. I actually was thinking I was going to go with one of the pieces that had a word on it, like one of the big word ones. I was looking around, and I think I saw one like that, but I didn't love it. So, I kept walking. My plan was to do one swoop of the gallery, see what was left, because I got there a little later. I was nearing the end and saw this piece, and I was really attracted to it. I still haven't quite figured out why. I just really like it. It's colorful. It pops. It feels a little like it's just existing and doesn't need a reason to. 

How has your experience been living with an original work of art rather than seeing it in a museum?

It's really cool. That's the best word to use for it, I think. I would not say that growing up, my family situation was one where we could have art in general. We have a couple art pieces, if I remember correctly, at home. But for the most part, this is not something I've been largely exposed to. So having this piece just sitting in my room all day is really cool. But in a way, this piece of art made me feel like an adult version of me, if that makes sense.

Can you take us back to the day that you were picking up the artwork, trying to choose which one you wanted?

I had gone into it kind of wanting something to do with music or sound, because it naturally involves my research. Then out of the corner of my eye, I saw this piece. I was really confused by it at first, actually. It had these really kind of simple geometries, simple lines and shapes in conjunction with this text, which sounded really fun to say, but didn't make any sense. I was standing with a friend of mine who said, “So what does that mean?” And I said, “I have no idea.” I think in that exact moment I fell in love with it, something about its silliness, its absurdity.

What has it meant to you to live with an original work of art?

I mean, I always love going to museums, and I think that’s what makes art special to me is that it gives you, even for just one minute, a window into how someone else sees the world. Having an opportunity to keep that window open for a whole year feels really special. 

Have you gone on to do any more research about your artwork or have you chosen to remain with it as you've initially interpreted it?

In the beginning, I was hesitant to do any more research into it because I was worried that if there was some very simple and straightforward explanation as to what it meant, it would kind of destroy what felt special about it to me.

Have you participated in Student Lending before?

Yes, so the first year I did it was two years ago. It was a photograph by Barbara Norfleet called White Pigeon and Broken Wine Glass. It's really funky. So, I had that one for a year and I really loved it. And now I have this one, which is really different.

What drew you to picking such a different artwork this time?

I was drawn by the shape and the size, the kind of unusual nature of it. It's just kind of very striking. I also really like all the little people on it and how detailed it is. It reminds me of an Escher artwork, where you can just look at it for a long time and find new things and enjoy the funny little people doing interesting things.

What is your relationship with art like?

It sounds simplistic to say, I guess, but I really love art. And in my space, I have a lot of poster art or prints. I have this work of cherries that's, like, old advertising material, basically. I was able to find it at an antique market, and they had a whole bunch of blown-up pictures of food and things.