īut the power of being in a group together all for the same reason – to let yourself open up to this person on stage, be swept up in the feeling of joyousness or entertainment or whatever, that hasn’t changed.
So by writing lyrics about her ex-boyfriends, or break-ups, or whatever, is her using vulnerability. Like Taylor Swift, I actually hardly know anything about her, but the sense I get is that her initial appeal was of someone who was approachable. KG: Well, people have become more sophisticated about branding themselves, and using elements of vulnerability. But now, four decades later, when everyone is in a sense constantly performing, how does that dynamic change? Do performers still have the same resonance they once did? How the performer makes themselves vulnerable to the public and the risk inherent in that is what makes the experience of seeing a gig so ecstatic. In it, you wrote about the power dynamics at play between a performer, their media image and the audience during a live performance. W*: Looking at the show made me think about an essay you wrote for ArtForum back in 1983 called ‘I’m really scared when I kill in my dreams’. It’s more a person’s choice that tells you something rather than what they’re shooting. So it's kind of covering up just by what it's not showing. You don’t have a sense of context, really.
But, you don't have a sense of the scale of anything. I guess that the thing is that everything looks better on an iPhone, including some of my art I think. It was kind of funny how they're abstract and basically anti-painting but some people look at them and say, ‘Oh, it looks like skyscrapers.’ People always want to see something and that's kind of interesting – that they're looking at a shape that's basically empty but yet they see a city. W*: Did making the pieces give you new insight into how our technology is impacting our culture? (Image credit: Photography: Justin Craun.
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