Did you start to think of photography as a possible career path during your college years? Yeah, I mean, it always was a focus professionally. Were you thinking of survival or were you worried that you might not make it as a painter? Well, once the Pearlstein experience was over I was struck with the dilemma of like, “Can I do this? Can I be an artist?” As for photography, I think I was more afraid of how much I liked it than whether I could make a living at it. I loved it so much that I felt like this wasn’t practical. How could something you love be something you actually pursue as a career? I mean, honestly, when you’re that age you’re taught all your life that your job should be miserable because it makes money. And it didn’t take me long to realize that that was just stupid philosophy. In the end, I chose to focus my photography on the art world because I am an artist, I have an affinity for it, and I am able to see and do new work every day. It’s the subject that interests me. How did you get started working with galleries? It’s funny thinking about how long I have been doing this. I mean, we just finished an amazing and challenging project for The Brant Foundation with over 200 image captures. I love doing this and I remember how I got started. I showed up at Metro Pictures one day and said, “Do you need any photography?” As luck would have it, they had this really difficult piece that they couldn’t get a good shot of and they had a photo challenge going on to see who could come up with the best solution. So that was my first job. This was 88
The Art World and the World Wide Web. Essays, Interviews and Case Studies.