Nares and Polednik continued the conversation while walking through the exhibition, on view at the MAM through Oct. 6.
MP: I felt [an exhibition of your work] was long overdue. In 2011, we discussed having it happen at MOCA Jacksonville, and then I was appointed the director here, so I carried the project with me.
There was a tremendous connective tissue that bound various projects and various media together, but it wasn’t chronology. We came up with a series of nine galleries, each of which is a visual chapter in the story of the exhibition. So much of [your] work has been about rhythm, beat, syncopation, all of these great musical – but also movement-related – sounds.
JN: I did a number of [films in the 1970s that were part of a series called] Giotto Circle. There’s an old story that the painter Giotto proved his worth to some guy who was thinking of commissioning something from him, by painting a perfect circle. The first circles were a direct imprint of my body or my arm doing a circular motion, sometimes with a carving implement or a contraption that extends and has two points. I would leave them up on walls in the city as mysterious things that had appeared out of nowhere. There were lots of abandoned places in New York in those days.
MP: Especially in the mid to late 1970s, artists used a lot of these vacant, abandoned, derelict spaces as places to experiment.
JN: That was my graffiti, I guess. At the height of the [local] depression, New York City was bankrupt and had lots of abandoned buildings and just about every kind of social problem you could come up with. There was a feeling of negativity in the air. Something had to change, and we were also reacting against the art world as we knew it. We opened a cinema to show our own films and made paintings on pieces of cardboard.
MP: There’s something in the simplicity of this work, Red X, and the contrast between the mildly dilapidated cardboard and the confrontation of this red X on a black ground. There’s something nihilistic and at the same time very powerful and invigorating.
JN: The “Street” section [of the show] has a number of different works that I associate with my film Street that got a lot of attention. Here we have a collection of photos of scars made by trucks and machinery. The film Street was shot from a moving car using a high-speed camera, which has the effect of making the pedestrians seem almost stationary. You get to see things you normally wouldn’t be able to see: They happen too fast. Little expressions and nuances become dramatic events.