{"id":160847,"date":"2022-07-27T10:30:14","date_gmt":"2022-07-27T14:30:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=160847"},"modified":"2022-07-27T13:53:19","modified_gmt":"2022-07-27T17:53:19","slug":"infinite-dictionaries-a-conversation-with-marc-hundley","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/07\/27\/infinite-dictionaries-a-conversation-with-marc-hundley\/","title":{"rendered":"Infinite Dictionaries: A Conversation with Marc Hundley"},"content":{"rendered":"
\"\"<\/a>

Marc Hundley. Photograph by Na Kim.<\/p><\/div>\n

Marc Hundley, whose portfolio<\/a> of posters appears in the<\/em> <\/span>Review\u2019<\/em><\/span>s<\/em> Summer issue<\/a>, first moved to New York City in 1993 to model for <\/em>Vogue with his twin brother, Ian. They were twenty-two and modeling was a means to an end\u2014funding what Hundley calls their \u201cclub kid\u201d lifestyle. As their final job in the\u00a0<\/i>industry<\/i>, Marc and Ian walked Comme des Gar\u00e7ons runway shows in Paris and Tokyo alongside the supermodel Linda Evangelista, <\/span>for a payout of two thousand dollars each. The two brothers then moved from Manhattan to the apartment in Williamsburg where Marc still lives. In the late nineties, he worked as a carpenter and still-life photographer before beginning to make T-shirts and posters for his friends in the downtown club scene, which led him to an interest in text-based art. His prints and drawings often take the form of flyers that play with the associative potential of text and imagery. He still works across various disciplines including graphic design, carpentry, photography, and fine art.\u00a0<\/span><\/em><\/p>\n

Hundley’s portfolio for the <\/span><\/em>Review<\/span>\u2019s<\/em> Summer issue constitutes something like a diary of several weeks he spent exploring the magazine\u2019s archives this spring. The posters he created connect imagery and text in unexpected ways: each\u00a0includes a particular phrase that caught his eye and pays homage to a work of art found in the same issue. (Four of these posters are now available to purchase<\/a> in the <\/em>Review\u2019s online store.) In June, we sat down in his large studio in Bed-Stuy on chairs he had built. We shared a bottle of natural wine and talked about his work, the intimacy of being a twin, and how to write a love letter to a stranger.\u00a0<\/em><\/span><\/p>\n

<\/p>\n

INTERVIEWER<\/p>\n

Have you ever used your work to send somebody a love letter?<\/p>\n

HUNDLEY<\/p>\n

I have, and usually they’re love letters to people I don’t know. I once made a photocopied flyer that included a quote from a Magnetic Fields song\u2014\u201cWhile we\u2019re still holding on, counting days until we\u2019re gone, can we spend some time alone in our free love zone?\u201d I added my address and the date, and I left part of it blank so that whoever picked it up could write in their own address. Another time I used an Arthur Russell quote\u2014”I hope you need someone in your life, someone like me\u201d\u2014along with the date and place of one of my exhibition openings. I put romance into my work. Sometimes I think, I\u2019m lonely, I\u2019m single, I have no game\u2014but then I realize that if there’s something I can’t say out loud to a person, I can use that. And I can be inspired by any kind of relationship. One of my pieces reads \u201cIt\u2019s time that we began to laugh and cry and cry and laugh about it all again,\u201d from \u201cSo Long, Marianne\u201d by Leonard Cohen. That was for my brother.<\/p>\n

\"\"<\/a>

In Marc Hundley’s studio. Photograph by Na Kim.<\/p><\/div>\n

INTERVIEWER<\/p>\n

You like making what you call takeaways<\/em>\u2014flyers, pamphlets, postcards. What appeals to you about this form?<\/p>\n

HUNDLEY<\/p>\n

When I first moved to New York and was learning about art, I was very influenced by House Beautiful: Bringing the War Home<\/em> by Martha Rosler. She writes that art succeeds better in reproduction. Most of the work we know and love, we never see in its original form. I like takeaways because they\u2019re not precious. I can give you something and you can throw it out or keep it. It\u2019s almost like a book\u2014you can either read it now or read it later, when you\u2019re in a different headspace. It\u2019s not like a piece that\u2019s in an art gallery, where there are no seats and usually no bathroom\u2014there\u2019s not a lot of time for a piece to actually do its work on the viewer. The longer you get to live with a work, the better.<\/p>\n

INTERVIEWER<\/p>\n

How do you decide whether a work is going to be a painting or a book or a T-shirt?<\/p>\n

HUNDLEY<\/p>\n

I\u2019m always writing down quotes from songs or books or poems, and always collecting images. When I\u2019m about to make something out of them, I ask myself, Is this something I want to say to a lot of people? If it is, I might make a free takeaway\u2014maybe something photocopied and cropped. If I want to say something loudly, I\u2019ll make the piece big, and make only one of it. But if the thing I want to say is more subtle, which it usually is, I\u2019ll make it something small.<\/p>\n

\"\"<\/a>

Marc Hundley. Photograph by Na Kim.<\/p><\/div>\n

INTERVIEWER<\/p>\n

You mentioned your brother, Ian. What\u2019s it like being a twin?<\/p>\n

HUNDLEY<\/p>\n

I appreciate it more and more as I get older. We\u2019ve always had a good and very close relationship. The first time we lived apart was when I was thirty-eight. I think being a twin can interfere with the need for another kind of intimate relationship, like with a partner\u2014I\u2019ve already got someone, so the need\u2019s not there. He could say he hates me, that I\u2019m disgusting, and I wouldn\u2019t believe him. He\u2019s still the<\/em> person.<\/p>\n

INTERVIEWER<\/p>\n

Tell me about putting together your portfolio for the Review<\/em>. How did you approach the magazine\u2019s archives?<\/p>\n

HUNDLEY<\/p>\n

The Paris Review<\/em> project was about using one thing to say another. The archives were like a catalog. They gave me a dictionary to work from. It\u2019s like what W. H. Auden says\u2014if I was on a desert island, the book I would want is the dictionary, because it\u2019s infinite. A novel is finite in how many ways you can read it, and the Paris Review <\/em>archives contain so much\u2014I thought, If I couldn\u2019t say something out of what\u2019s in these things, then I have nothing to say. I liked the idea that the posters would lead people back into the archives that had inspired me.<\/p>\n

\"\"<\/a>

In Marc Hundley’s studio. Photograph by Na Kim.<\/p><\/div>\n

 <\/p>\n

Na Kim is the art director of <\/em>The Paris Review.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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