1 00:00:18,606 --> 00:00:20,020 [CATHERINE OPIE] Sometimes people are coming to the hospital 2 00:00:20,020 --> 00:00:24,084 and they're camped out here in their loved one's room 3 00:00:24,084 --> 00:00:26,168 for four or five days and 4 00:00:26,168 --> 00:00:29,929 for them to be able to get up and walk around for a moment 5 00:00:29,929 --> 00:00:33,145 while they're having some kind of test or medical procedure done 6 00:00:33,145 --> 00:00:38,013 and engage with original work is really magical. 7 00:00:38,013 --> 00:00:40,836 And also some people don't actually want to 8 00:00:40,836 --> 00:00:42,806 go to a chapel in a hospital. 9 00:00:44,021 --> 00:00:48,037 You know, you do need places that you're allowed to go 10 00:00:48,037 --> 00:00:52,022 and have moments and thoughts and feelings that 11 00:00:52,022 --> 00:00:57,497 aren't necessarily just within this one place of worship. 12 00:00:58,005 --> 00:01:01,005 [JOANNE COHEN] We're looking for art that going to be engaging 13 00:01:01,005 --> 00:01:04,036 where people really...I mean, you see them interacting with the art 14 00:01:04,036 --> 00:01:06,005 and the engagement, it's palpable. 15 00:01:06,005 --> 00:01:09,005 It's doing something--it's activating in some way. 16 00:01:09,005 --> 00:01:11,004 Our mantra here is: 17 00:01:11,004 --> 00:01:14,005 "Medicine cures you and art heals the spirit." 18 00:01:14,005 --> 00:01:16,021 And we firmly believe that, that it's going to help you 19 00:01:16,021 --> 00:01:20,037 get through whatever moment you might be encountering. 20 00:01:20,037 --> 00:01:22,005 [OPIE] So this is the corridor 21 00:01:22,005 --> 00:01:29,021 and the piece will be the full length of the corridor. 22 00:01:29,021 --> 00:01:34,020 And then, one of the things that I actually loved upon my first visit here 23 00:01:34,020 --> 00:01:39,037 was that you end with a fractured landscape with that roof. 24 00:01:39,037 --> 00:01:41,005 And I thought that was really interesting, 25 00:01:41,005 --> 00:01:43,005 and there was a moment of poetry for that-- 26 00:01:43,005 --> 00:01:45,021 it fractures the landscape. 27 00:01:45,021 --> 00:01:47,037 It creates this other kind of horizon line. 28 00:01:47,037 --> 00:01:52,190 And that will end up being referenced of what's happening in here. 29 00:02:03,175 --> 00:02:06,021 I'm hoping that if somebody is having a hard time 30 00:02:06,021 --> 00:02:09,021 that they could come here and possibly sit and have this 31 00:02:09,021 --> 00:02:15,255 kind of ethereal moment with the photographs. 32 00:02:33,717 --> 00:02:38,072 My primary intention is--with this body of work, in making it-- 33 00:02:38,072 --> 00:02:43,072 is that you could come here over a 20-year span of time 34 00:02:43,072 --> 00:02:47,087 and the photographs will trigger the same thing that it would to you 35 00:02:47,087 --> 00:02:50,180 driving through your old hometown. 36 00:02:51,980 --> 00:02:54,426 [MAN] Is this Edgewater? 37 00:02:54,426 --> 00:02:55,137 [OPIE] Yeah, that's Edgewater. 38 00:02:55,137 --> 00:02:55,983 [LAUGHING] 39 00:02:55,983 --> 00:02:56,614 You're right. 40 00:02:56,614 --> 00:02:58,137 [MAN] And you're on the pier? 41 00:02:58,137 --> 00:02:59,121 [OPIE] Yeah, I'm on the pier. 42 00:03:07,998 --> 00:03:09,136 [MAN] This one is my favorite one. 43 00:03:09,136 --> 00:03:10,121 [OPIE] I'm glad. 44 00:03:10,121 --> 00:03:13,136 You guys are working here now, you get to live with them. 45 00:03:13,136 --> 00:03:15,121 It'll be a permanent installation. 46 00:03:15,121 --> 00:03:16,137 [MAN] Oh yeah, this is my hallway. 47 00:03:16,137 --> 00:03:19,137 I was going clean it, but y'all was here, so... 48 00:03:19,137 --> 00:03:20,121 [LAUGHING] 49 00:03:20,121 --> 00:03:21,137 [OPIE] That's good! 50 00:03:30,214 --> 00:03:34,237 Often, my work, I feel, only serves one aspect of 51 00:03:34,237 --> 00:03:37,221 society, so to speak. 52 00:03:37,221 --> 00:03:39,237 It's like, my work is expensive. 53 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. 54 00:03:43,221 --> 00:03:46,729 There's all of those realities that actually 55 00:03:46,729 --> 00:03:48,829 bother me to a certain extent. 56 00:03:48,829 --> 00:03:50,913 But there is also a place that, fundamentally, 57 00:03:50,913 --> 00:03:53,170 in the core of my being, 58 00:03:53,170 --> 00:03:57,980 that I believe art needs to be public. 59 00:04:02,980 --> 00:04:05,337 I don't want this to be installed anywhere else. 60 00:04:05,337 --> 00:04:08,337 I'm not going to be doing an exhibition beyond here, 61 00:04:08,337 --> 00:04:12,337 so if people want to see this, then they have to come here to see it. 62 00:04:12,337 --> 00:04:16,337 And so that's important to me, because it's conceived for this place, 63 00:04:16,337 --> 00:04:20,337 it's being designed for this space specifically, 64 00:04:20,337 --> 00:04:29,337 and if you want to experience it, you've got to come to Cleveland.