WEBVTT 00:00:18.606 --> 00:00:20.020 [CATHERINE OPIE] Sometimes people are coming to the hospital 00:00:20.020 --> 00:00:24.084 and they're camped out here in their loved one's room 00:00:24.084 --> 00:00:26.168 for four or five days and 00:00:26.168 --> 00:00:29.929 for them to be able to get up and walk around for a moment 00:00:29.929 --> 00:00:33.145 while they're having some kind of test or medical procedure done 00:00:33.145 --> 00:00:38.013 and engage with original work is really magical. 00:00:38.013 --> 00:00:40.836 And also some people don't actually want to 00:00:40.836 --> 00:00:42.806 go to a chapel in a hospital. 00:00:44.021 --> 00:00:48.037 You know, you do need places that you're allowed to go 00:00:48.037 --> 00:00:52.022 and have moments and thoughts and feelings that 00:00:52.022 --> 00:00:57.497 aren't necessarily just within this one place of worship. 00:00:58.005 --> 00:01:01.005 [JOANNE COHEN] We're looking for art that going to be engaging 00:01:01.005 --> 00:01:04.036 where people really...I mean, you see them interacting with the art 00:01:04.036 --> 00:01:06.005 and the engagement, it's palpable. 00:01:06.005 --> 00:01:09.005 It's doing something--it's activating in some way. 00:01:09.005 --> 00:01:11.004 Our mantra here is: 00:01:11.004 --> 00:01:14.005 "Medicine cures you and art heals the spirit." 00:01:14.005 --> 00:01:16.021 And we firmly believe that, that it's going to help you 00:01:16.021 --> 00:01:20.037 get through whatever moment you might be encountering. 00:01:20.037 --> 00:01:22.005 [OPIE] So this is the corridor 00:01:22.005 --> 00:01:29.021 and the piece will be the full length of the corridor. 00:01:29.021 --> 00:01:34.020 And then, one of the things that I actually loved upon my first visit here 00:01:34.020 --> 00:01:39.037 was that you end with a fractured landscape with that roof. 00:01:39.037 --> 00:01:41.005 And I thought that was really interesting, 00:01:41.005 --> 00:01:43.005 and there was a moment of poetry for that-- 00:01:43.005 --> 00:01:45.021 it fractures the landscape. 00:01:45.021 --> 00:01:47.037 It creates this other kind of horizon line. 00:01:47.037 --> 00:01:52.190 And that will end up being referenced of what's happening in here. 00:02:03.175 --> 00:02:06.021 I'm hoping that if somebody is having a hard time 00:02:06.021 --> 00:02:09.021 that they could come here and possibly sit and have this 00:02:09.021 --> 00:02:15.255 kind of ethereal moment with the photographs. 00:02:33.717 --> 00:02:38.072 My primary intention is--with this body of work, in making it-- 00:02:38.072 --> 00:02:43.072 is that you could come here over a 20-year span of time 00:02:43.072 --> 00:02:47.087 and the photographs will trigger the same thing that it would to you 00:02:47.087 --> 00:02:50.180 driving through your old hometown. 00:02:51.980 --> 00:02:54.426 [MAN] Is this Edgewater? 00:02:54.426 --> 00:02:55.137 [OPIE] Yeah, that's Mar. 00:02:55.137 --> 00:02:55.983 [LAUGHING] 00:02:55.983 --> 00:02:56.614 You're right. 00:02:56.614 --> 00:02:58.137 [MAN] And you're on the pier? 00:02:58.137 --> 00:02:59.121 [OPIE] Yeah, I'm on the pier. 00:03:07.998 --> 00:03:09.136 [MAN] This one is my favorite one. 00:03:09.136 --> 00:03:10.121 [OPIE] I'm glad. 00:03:10.121 --> 00:03:13.136 You guys are working here now, you get to live with them. 00:03:13.136 --> 00:03:15.121 It'll be a permanent installation. 00:03:15.121 --> 00:03:16.137 [MAN] Oh yeah, this is my hallway. 00:03:16.137 --> 00:03:19.137 I was going clean it, but y'alls were here, so... 00:03:19.137 --> 00:03:20.121 [LAUGHING] 00:03:20.121 --> 00:03:21.137 [OPIE] That's good! 00:03:30.214 --> 00:03:34.237 Often, my work, I feel, only serves one aspect of 00:03:34.237 --> 00:03:37.221 society, so to speak. 00:03:37.221 --> 00:03:39.237 It's like, "my work is expensive"; 00:03:39.237 --> 00:03:43.221 "people who want to live with it, they have to pay a lot of money for it." 00:03:43.221 --> 00:03:46.729 There's all of those realities that actually 00:03:46.729 --> 00:03:48.829 bother me to a certain extent 00:03:48.829 --> 00:03:50.913 But there is also a place that, fundamentally, 00:03:50.913 --> 00:03:53.170 in the core of my being, 00:03:53.170 --> 00:03:57.980 that I believe art needs to be public. 00:04:02.980 --> 00:04:05.337 I don't want this to be installed anywhere else. 00:04:05.337 --> 00:04:08.337 I'm not going to be doing an exhibition beyond here, 00:04:08.337 --> 00:04:12.337 so if people want to see this, then they have to come here to see it. 00:04:12.337 --> 00:04:16.337 And so that's important to me, because it's conceived for this place, 00:04:16.337 --> 00:04:20.337 it's being designed for this space specifically, 00:04:20.337 --> 00:04:29.337 and if you want to experience it, you've got to come to Cleveland.