I have long admired Cory Imig‘s multidisciplinary practice as an artist, curator, and educator. I can’t quite place when Cory and I first connected, but it was in 2011 via the internet. It was the very beginning of both Make Space and Plug Projects (we even posted a mention of Plug’s inaugural exhibition). Plug Projects is a curatorial collaborative and exhibition space in Kansas City, MO, founded by five artists including Cory. They received a Rocket Grant from the Andy Warhol Foundation for Visual Art in 2011 to launch the space. Eventually Cory and I met in person at MDW Fair 2012 in Chicago, where both Make Space and Plug Projects were organizing exhibition spaces. While we’ve kept in touch for the last three years, this exhibition has given me the chance to work with her directly and develop a deeper understanding for her artistic practice.
I spoke with Cory over the phone to discuss the conceptual concerns of her work, explore her process-based methodology, and talk about how she balances the various parts of her practice. She also tells us about her experience at ACRE last summer and its impact on her work.Take a listen and excuse the fuzzy beginning! (Also, check out the end of the post and check out what Cory is reading)
(approx. 43 min)
Based in Kansas City, MO, Cory received her BFA from Savannah College of Art and Design in 2008, focusing on fibers and sculpture. Cory’s work has been exhibited in several venues around the Kansas City area and she has attended several residencies around the country including ACRE in summer 2013 (full bio here).
On process and material:
“I find the natural patterns in our lives fascinating. Much of my time is spent observing, whether it is one specific thing over a set period of time or information I am collecting indefinitely. I highlight and emphasize these patterns. They exist in my daily activities and they are embedded in ideas I find interesting. My process begins with an idea, followed by an established set of restraints. The work becomes a process to follow instead of a series of intuitive decisions that need to be made. This information becomes the material for my work.”
Check out Cory’s bibliography of books, essays, and articles she’s reading.
- Adamson, Glenn. Thinking Through Craft. London: Bloomsbury Academic, 2007.
- Calle, Sophie. Double Game, with the participation of Paul Auster, Violette Editions, 1999.
- Johnstone, Stephen, ed. The Everyday (Whitechapel: Documents of Contemporary Art). London: MIT Press, 2008.
- Lewitt, Sol. Sentences on Conceptual Art. First published in 0-9 (New York), 1969, and Art-Language (England), May 1969.
- Lewitt, Sol. Paragraphs on Conceptual Art. Artforum, June 1967.
- Lippard, Lucy. Six years: the dematerialization of the art object from 1966 to 1972; a cross-reference book of information on some esthetic boundaries. New York: Praeger, 1973..
- Ratcliff, Carter. Out of the Box: The Reinvention of Art: 1965-1975. New York: Allworth Press, 2000.