Brooklyn-based artist Jean Shin talks about:
Gradually turning her Hudson Valley barn originally bought for art storage into a summer/weekend retreat; her extensive experiences with Brooklyn real estate including living and working in spaces all over Brooklyn, and leveraging various mortgages – starting with a "tiny" apartment in Carroll Gardens, before eventually buying a 1000 sq. foot storefront studio in Red Hook and a slightly larger apartment in Cobble Hill with her husband, leaving her settled (as long as there isn't another hurricane); her massive public art project for the 63rd Street stop of the new 2nd Avenue Subway line in New York, including the $1 million dollar budget (which was comprehensive for fabrication, design, materials, etc.- she didn't even earn 1% of that herself after all was said and done), and what it was like interacting with the public as the murals etc. were being installed…it was a project she worked on from 2010 thru the end of 2016; her working in labor intensive projects (with discarded ephemera), and the process of collaborating with museum curators as well as various assistants, including learning to trust the process of working with collaborators, and even trusting them enough to give them keys to the studio; and what it's like serving on the board of the Joan Mitchell Foundation, addressing inequity where possible along the way.
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By Michael Shaw
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Brooklyn-based artist Jean Shin talks about:
Gradually turning her Hudson Valley barn originally bought for art storage into a summer/weekend retreat; her extensive experiences with Brooklyn real estate including living and working in spaces all over Brooklyn, and leveraging various mortgages – starting with a "tiny" apartment in Carroll Gardens, before eventually buying a 1000 sq. foot storefront studio in Red Hook and a slightly larger apartment in Cobble Hill with her husband, leaving her settled (as long as there isn't another hurricane); her massive public art project for the 63rd Street stop of the new 2nd Avenue Subway line in New York, including the $1 million dollar budget (which was comprehensive for fabrication, design, materials, etc.- she didn't even earn 1% of that herself after all was said and done), and what it was like interacting with the public as the murals etc. were being installed…it was a project she worked on from 2010 thru the end of 2016; her working in labor intensive projects (with discarded ephemera), and the process of collaborating with museum curators as well as various assistants, including learning to trust the process of working with collaborators, and even trusting them enough to give them keys to the studio; and what it's like serving on the board of the Joan Mitchell Foundation, addressing inequity where possible along the way.
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