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Transcription: [00:00:01]
[[clapping]]

[00:00:03]
{SPEAKER name="Alec Soth"} I know it's a terrible day outside, so that's why you're all here.

[00:00:06]
[[laughter]]

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I mean - one of the really cool things about being a photographer, as opposed to, say, a painter or a sculptor, is that

[00:00:17]
you're involved in all these different worlds.

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I mean, photography is a commercial medium — so people do advertising and magazine photography, as well as fine art photography — and I'm lucky enough to do all of those things.

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And one other thing that I do is stuff like this, occasionally. And what I've learned is that it's best not to prepare at all, because, uh,

[00:00:44]
then you just get nervous about what you're supposed to remember to say.

[00:00:48]
So, this is sort of fresh, what you're getting here.

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What's cool about this size group is that you can just blurt out questions as we go, and, and,

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don't feel bad about it at all. And you can also sneak out the doors.

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[[laughter]]

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My feelings won't be hurt.

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This is a, you know, a peculiar show because it's not— this is not a body of work.

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But it's not the traditional group show where you just have one or two pictures.

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So it's - and because it's contained in a room, I was able to play around with, "what do I want to do with that room?" And

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this "Portaiture Now" series — I mean, this particular exhibition, as I understand it — you know, is dealing with editorial photography, magazine photography slash fine art photography. It's sort of the crossover.

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So, how to approach that? I mean, I could have just picked editorial work that I've done.

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But I had something else on my mind at that time, which is—

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if you'll notice, all these portraits are of women. And for the last few years, I've been doing a project that's exclusively of men.

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And often, sort of lonely bearded men [[laughter]], that

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you know. And it's going to be a big seller, I can really tell.