Good morning from cloudless and beautiful New York City!
Speaking of clouds, Dorothy and Megumi are flying over them as we speak, en route to San Francisco for the Bay Area opening of HERB & DOROTHY 50X50 tonight. They look forward to meeting all of you in San Francisco and Berkeley this weekend!
Appearance times for San Francisco
- 9/20 (Fri)
- 7pm – post-screening Q&A with Megumi and Dorothy @ Roxie Theater
- 9/21 (Sat)
- 3pm - post-screening Q&A with Megumi and Dorothy @ Roxie Theater
- 4:45pm - post-screening Q&A with Megumi and Dorothy @ Roxie Theater
(Image from Roxie Theater website)
Appearance times for Berkeley
- 9/21 (Sat)
- 7pm – post-screening Q&A with Megumi and Dorothy @ Rialto Cinemas Elmwood
- 9/22 (Sun)
- 4:45pm – post-screening Q&A with Megumi @ Rialto Cinemas Elmwood
(Image from Google Images)
If you attend either of these theater openings, please send us photos so we can share them on our Facebook page with our global community!
Back in NYC (Last weekend)
Meanwhile, our film is still running at IFC Center in New York! (And we need you to keep it going.)
Please keep up the tweets and posts and updates, spreading the word to those around you who may not have seen it yet!
Meanwhile, remember the second half of Dorothy and Megumi’s Q&A from last weekend at IFC Center that we promised?
Here it is, part two, art-loving ladies and gents.
(Read Part 1 of the Q&A here.)
The audience as Dorothy & Megumi enter for the Q&A
Question(s) from the audience:
Two questions please. Do you remember the first piece you bought together? And was there a moment when it hit you, the scope, the scale of what you’d been doing?
Dorothy: The first piece – when I met my husband he had works he’d bought before I met him – the first piece we bought together was the Chamberlain, a small sculpture by John Chamberlain. That was February of 1962 and we got married in January. That was the first studio I visited.
(In answer to the second question)
I don’t think we paid attention while we we’re doing it. It wasn’t until people started to ask to come to see the collection or we started having requests to loan the work or we started having exhibitions that we began to realize that we did have something special.
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Q: Was there any work that you passed on purchasing but later regretted doing so?
Dorothy: Yes. The one that always comes to mind was when we first got married. We saw a small painting by Andy Warhol of aerial stamps, which would have been perfect because my husband worked at the post office. It was in an art gallery and it was around Thanksgiving time and we said we were interested and they said they would hold it.
When we went back to get it, she had sold it to someone else. So we learned early that if you see something, you;ve got to get it right away because things can slip through your fingers. You have to learn to respect your own instinct and act on it quickly. We learned early, very early, a hard lesson.
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Q: Can you talk a little bit about how the institutions (in the Vogel 50X50 project – which our new film explores) were chosen?
Dorothy: The whole idea was by (then-curator at the National Gallery of Art) Ruth Fine, who was inspired by the Kress Collection of old master paintings. The core of that collection was at the National Gallery, and different museums throughout the country had small collections from the Kress, which she’d been visiting one day when she thought of us, that it would be nice if the Vogel Collection were in some of these institutions. When she asked us about it, she suggested certain institutions, especially places where the Kress Collection existed.
So we took the list and looked at it and made some changes. For instance, the one she first suggested was in El Paso because that’s where she had the first idea, but I chose Austin, Texas because we had an exhibition there. A lot of them were chosen because we had personal connections with them. We either had shows there, we loaned to there or knew people who worked there. So the first choice really came from her or me, and then many cases at the end we had to rely on other people’s options because we didn’t know many museums in Alaska or Hawaii. But the first choices were solely our decision.
Megumi and Dorothy answer questions
Q: I have a question for the filmmaker. Did you have complete freedom in making this piece or did Ms. Vogel also have a say in what we just witnessed? What was your freedom like?
Megumi: I would say I had 100% freedom. (To Dorothy) Didn’t I?
Dorothy: Of course! Always let artists do what they want. You have to give them the full scope of their capability. She did a good job!
End of Q&A
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