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Transcription: [00:25:03]
{SPEAKER name="Anne Goodyear"}
Ya, I think it's a great question and it's a wonderful observation actually about the way in which time um-

[00:25:09]
{SPEAKER name="Anne Goodyear"}
Maybe shaped certain impressions that the images gave just because of a choice like background

[00:25:16]
{SPEAKER name="Anne Goodyear"}
I think gets at the fact, gets at the larger, um, at the larger issue of again how the composition of images impacts our sense of their meaning

[00:25:29]
{SPEAKER name="Anne Goodyear"}
um I should let you know that um, Schoeller is willing as an artist to um, do photographs at different scales and um,

[00:25:35]
{SPEAKER name="Anne Goodyear"}
So it's actually, in a sense no more right to have the image at this scale than it would be to have the image at the scale of the Paraha(?) people that you see

[00:25:47]
{SPEAKER name="Anne Goodyear"}
Um, one of the fun things, at least for me, about doing exhibitions is that there's always a little bit of a play between um,

[00:25:53]
{SPEAKER name="Anne Goodyear"}
The ideas that you have and the practical way in which you are going to execute those ideas


[00:25:58]
{SPEAKER name="Anne Goodyear"}
So from my standpoint in terms of um creating an exhibition with a lot of wall-power I found it more interesting to do, big images

[00:26:09]
{SPEAKER name="Anne Goodyear"}
And that was actually a decision reached in conjunction with the artist so really theoretically we could have done something smaller

[00:26:16]
{SPEAKER name="Anne Goodyear"}
And in fact um, the artist did make smaller prints of this image and sold them um, at a very reasonable cost to raise money for the Obama campaign

[00:26:27]
{SPEAKER name="Anne Goodyear"}
And they, he and his dealer actually did extremely well with that

[00:26:32]
{SPEAKER name="Anne Goodyear"}
But they're much smaller images, so there again you see that um, to enjoy this image you don't necessarily have to see it this scale


[00:26:40]
{SPEAKER name="Anne Goodyear"}
However, it, at the same time, strikes me that it is interesting that this is the scale that Martin prefers, that Martin Schoeller prefers

[00:26:49]
{SPEAKER name="Anne Goodyear"}
I think that scale, I think it's almost a primitive quality frankly, but I do think that there is something almost primitive about our association of size with power

[00:27:02]
{SPEAKER name="Anne Goodyear"}
And I can't help but think back to the famous heads on Easter Island

[00:27:05]
{SPEAKER name="Anne Goodyear"}
I've never even seen them in person, but they are present in my mind as a historical marker of longstanding desire to make important faces big

[00:27:19]
{SPEAKER name="Anne Goodyear"}
And we see it with the Egyptians as well um, and so I think that from Schoeller- I, that's part of why I was so, I'm so intrigued by the transition

[00:27:29]
{SPEAKER name="Anne Goodyear"}
Because Schoeller theoretically could have chosen this image, and printed it at this scale, but he didn't do that

[00:27:37]
{SPEAKER name="Anne Goodyear"}
And to my mind, that's why I was sorta thinking about the gravitas of this image

[00:27:40]
{SPEAKER name="Anne Goodyear"}
I think that the scale is important and I think that he is sending a message with the scale

[00:27:45]
{SPEAKER name="Anne Goodyear"}
But at the same time when Martin and I were talking about this show it was really important to him that we include Senator McCain


[00:27:51]
{SPEAKER name="Anne Goodyear"}
And that we have a sense of the larger balance because part of the reason that Obama is um such a powerful figure is that he's interacting with the larger sphere of,

[00:28:04]
{SPEAKER name="Anne Goodyear"}
significant important people who are also trying to have an impact on the world so he's not shaped in a vacuum

[00:28:11]
{SPEAKER name="Anne Goodyear"}
And I think that was also important for the artist to suggest but I think that's a great observation thank you, for your, for your question