Interview by Bruce McDonald. The full version of this interview can be found in Function issue 5.
Function: Why do you think you chose film?
David: Film has the potential to be an amazing art form, that will tax you to the very limits of your being and will draw on every resource that you can possibly muster; intellectual, historical, emotional, technological. I think you can learn the technology of filmmaking many ways, but if that's all you learn you can't make a movie. What are you going to make it about? I'll tell you, you get the movies we're seeing now that are all about movie making. You the Coen brothers who only make movies about old movies they loved. You get Quentin Tarantino who makes movies about movies that he saw working in a video store. You're seeing movies that are remakes of other movies, or subliminal remakes of other movies. But it's not about life. The intellectual depth and awareness of social forces you find in even a mediocre novel, you don't find in some of the biggest movies around. If people only learn movies, they will only make movies about movies or that imitate movies. Most of what we're seeing now is imitation. It's simulation upon simulation upon simulation. If there is anything in my filmmaking, it comes from my life outside movies. I'm not a person who says, 'My life is cinema'. Not at all. My life is not at all cinema.
Interview by James Algie and Mimi Cabell. The full version of this interview can be found in Function issue 7.
Function: Tell us about some of your influences and inspirations.
Miranda: Well let's see, a lot of them are friends of mine: Khaela Maricich, who performs under The Blow. She's just an amazing, all-around artist. Half of the things in my house are made by her: lamps, and art, and different stuff, but she's also a performer and a musician. Harrell Fletcher, who I do 'Learning to Love You More' with; for a long time before we knew each other he was one of my favourite artists. He's still doing amazing stuff. I'm driving from the house of these 2 girls, Kate and Laura Mulleavy, who make clothes under the name Rodarte. They couldn't be more than 25 years old and they live with their parents. They started this couture clothing line that's in big fancy stores in New York but it is so amazing when you go to their house and a rack of these incredible dresses that cos thousands of dollars is next to their bed, filling up all the extra room in their house. That's pretty inspiring because no one would ever know where it's all coming from.
Photograph and interview by James Kachan This interview can be found in Function issue 8
Function: So what was it that got you into photography in the first place?
Duane: It's the idea that you could take a picture of somebody and see it son a piece of paper. It's a total miracle; it's like the last refuge of magic. That moment when I went to Russia when I was 26, in 1958 and saw this Russian sailor and I took his picture; it's still there. As you get older, those pictures become more and more important to you, as people begin to die out of your life and vanish, as lovers die and vanish, when you come 80 or 85, after your memory has dimmed, you still have that picture of your old girlfriend by that 1992 Chevy outside of where you went to school. those are the most important pictures ever taken, more important than anything by Cartier-Bresson, or anybody in the Museum of Modern Art. When you get to that level of intimacy, these are the things that really matter.
This is part of a transcript of a Q & A hosted by Function Magazine, edited by Setareh Sarmadi & Maya Visnyei. The full transcript of the Q & A can be found in Function issue 9.
Function: Let's begin with the 'F' word. What does feminism mean to the Guerrilla Girls?
Käthe Kolwitz: Defining the F word is pretty difficult. We decided early on that rather than worry about some perfect definition of feminism, we would accept the idea that there are many different kinds of feminisms. We think everyone should be feminist and we hate the fact that feminism has been demonized for so long, that most people who believe in the tenants of feminism don't want to cal themselves feminists. That has been a real issue. We try to agree to disagree and allow everyone to have their own kind of feminism. Every generation has several of their own kinds of feminism and we thank that's really good too.
Frida Kahlo: I mean its certainly equal opportunity, equal educational opportunity, human rights for women worldwide because there are many parts of the world where there are universal rights of men and the idea of women's rights is not considered important. I would say also freedom from sexualabuse and sexual exploitation is a basic tenant of feminism, but I think the strategies are always different.
Interviewed by Andrea Mihai & Sarah Munro This interview can be found in Function issue 10
Function: To start, what was the motivation for opening up your own gallery space?
Stephen Bulger: I made a failed attempt at a Liberal Arts degree in university, and eventually I decided to study photography, this hobby that I'd had from a very young age. In my 2nd year, I organized a print sale and the activity of it gave me a lot of satisfaction. I was able to coerce prints out of people and, with the help of friends, we put up display panels that made everything look great. It was after I had done the print sale a couple of times that Ryerson was offered gallery space at 80 Spadina. Because of all the activities I had been involved in, Don Snyder asked if I'd be interested in coordinating the renovation and programming of this gallery. I wasn't sure what I was getting myself into but it seemed like a great thing to do. We had trouble getting the place staffed by volunteers so just to keep it open a lot of my time was spent sitting there. It was a lot of what I didn't like about the Ryerson Gallery experience that actually got me thinking about my own gallery.
Interview by Samantha Spatari The full interview can be found in Function issue 14.
Function: In 2007, you were not only working with magazines such as Newsweek and GQ, but also The FADER and The Globe and Mail, all while attending Ryerson's program. Can you describe the steps you took to achieve such success as a freelance photographer so early in your career?
Dominic: I started running out of money so one of the big motivators was that I had to look for work, I had to work as a photographer. I gave myself opportunities for people to see my work, so I entered a lot of competitions, like College Photographer of the Year. Nobody in my class was even applying to these awards, but I was. It resulted in me often placing first or second. I used anything I could to meet editors. Not the assistant, not the assistant-of-the-assistant, but the editor. They wouldn't see me the first time, so I would go a second time, then a third. I can't tell you the amount of times I went to see the editor of TIME magazine. It's just about being persistent.