A Conversation with Miss Rosen
Edition One Hundred is pleased to present Delayed Gratification, a two-month exhibition launching November 3, curated by Miss Rosen, and featuring the work of B+, Jianai Jenny Chen, Martha Cooper, Nat Finkelstein, Jim Jocoy, Slavery, and Jennifer Uman.
Miss Rosen is a communications and marketing strategist based in New York City. She had her own imprint, Miss Rosen Editions, with powerHouse Books from 2005–2009. Her career highlights include producing the Vandal Squad panel discussion at the powerHouse Arena (2009); “We B*Girlz: A 25th Anniversary Breakin’ Event at Lincoln Center Out of Doors” (2006); the graffiti episode of NBC’s “The Apprentice” (2005); and the Hilhaven Lodge party at Robert Evans’ Beverly Hills estate (2003). Miss Rosen has guest lectured at Columbia University, the School of Visual Arts, and the International Center of Photography, all in NY.
Please talk about your ideas of Delayed Gratification. What do these words mean to you?
My favorite four-letter word is NOW! but that is less about reality and more about desire. To allow events to unfold as they will rather than as I will them to be requires a virtue of which I know so little and need so much: patience. In curating an exhibition, time is a luxury unlike any other. It is admirable to look at the long view rather than work at a frenetic pace. The result is a collection of some of my favorite pieces in recent memory.
How do the selected here artists piece illustrate these ideas?
I originally envisioned Nat Finkelstein’s photograph of Kenny Kenny’s legs as the cover of a book, Merry Monsters, which never came to being. I had always found it hilarious that Nat was partying up in Limelight, shooting videos that later became still photographs, such as this one from the launch of Disco 2000. There’s always a part of the past that comes to pass, again and again. This image is one of them.
Another one that brings me back is the sunbathers on the pier shot by Martha Cooper. She first showed me this collection of work in a black & white calendar from 1980. The photographs looked so familiar I became convinced I had that calendar at the time. Eventually the photographs were published in New York State of Mind, which stands as a reminder of why the past never dies.
I don’t know how he does it but Jim Jocoy is everywhere: in the bathroom with John Waters, partying with Michael Jackson, photographing Sid Vicious double fisting cans of Bud. Okay, Sid’s not the poster boy for anything, Delayed Gratification least of all. So I think that’s what I chose him.
I was standing on the Gowanus Canal, looking at this piece by Slavery. I looked behind me and I could see the F train coming around a curve into the Smith & 9th Street Station and I got chills. The script had flipped. The train, which was once the showcase for such art, is now the best way to view sick murals in hidden spots.
Hidden or better yet forbidden—as in the Forbidden City. Once the exclusive realm of royalty, today’s a tremendous tourist attraction files with miles and miles of people from all walks of life in China. Jianai Jenny Chen’s photograph of the city’s back wall reminds me that eventually, we’ll all get there.
Life’s minutes, the little moments where everything strings together, this is the world Jennifer Uman inhabits. Her paintings tickle and charm as they remind us that big and small, gratification is the journey rather than the reward.
The work of B+ brings us to a time and a place that reminds us once again, life is not chronological, but rather moves in cycles. Old to the new, then back around the bend.
How would you describe the Art in the Digital Era as a testament to the power of “Delayed Gratification”?
The more things change, the more they stay the same. I’ve always collected art, though in the early days it was in a more affordable, mass market form: print ads and editorial pages from Vogue and Interview. I don’t think I even considered for a moment that those torn up pages were anything less than art. Eventually I moved on to museum posters then finally to fine art prints—my favorite being a portrait of Patti Astor by Maripol that is printed on stretched canvas.
I love both the aesthetic and economic possibilities of digital production. Technology has given us the power to produce and distribute work however we dream it. The possibilities are as limitless as our imagination, and the result is an historic shift. Art is no longer the exclusive domain of the wealthy and their gatekeepers. The democratization of technology enables anyone to create, communicate, disseminate, and collect art as never before. Perhaps that is the gratification we all seek: the ability to transform our lives on our own terms.
Edition One Hundred is curated, limited edition art available in editions of 100, priced at $100.00. Prints are hand-signed and numbered by the artists in a size and/or print exclusive to Edition One Hundred. More here.