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Art Is Quotes

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Art Is Quotes

“When I first came to New York, I knew some painters older than myself. I was kind of the kid who was allowed to hang out with them. That is more the way people talked in those days, it was perfectly normal to question a work's fundamental premises and its fundamental visual manifestations. It was perfectly okay to say, "Oh, that should have been red" or something like that. In a funny way, the way artists talk about art is to de-privilege it.”

“What I never wanted in art - and why I probably didn't belong in art - was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don't know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.”

“In the long run, you have to have patience and integrity and a plan. You can't compromise your vision. I'm a bit of a control freak, brutal when it comes to my art because I believe it's the best way of doing it, for me. My stubbornness has given us the chance to play in some amazing places that most people never would have been allowed to play in. If I don't put a value on my work, then nobody else is going to.”

“There's enough ugliness - you know, we got wars going on and people dying and sickness and everything. We don't need to have our art be ugly. But it is, in a lot of it. And these people justify this crap by saying, "Oh we're just representing what's out there, man". Basically, you're making it worse and number one, the artist's job is to elevate people and to lift people up and to give them a place to go, something to hold on to.”

“I like art that challenges you and makes a lot of people angry because they don't get it. Because they refuse to look at it properly. Rather than open their mind to the possibility of seeing something, they just resist. A lot of people think contemporary art makes them feel stupid. Because they are stupid. They're right. If you have contempt about contemporary art, you are stupid. You can be the most uneducated person in the world and completely appreciate contemporary art, because you see the rebellion. You see that it's trying to change things.”

“For any artistic person who creates imaginary people, the art is like inhabiting the life and mind of a seven-year-old child with imaginary friends and imaginary events and imaginary grace and imaginary tragedy. Within that alternate universe, the characters do have quite a bit of free will. I know it's happening in my mind and my mind alone, but they seem to have their own ability to shape their destinies. So I'm not shooting for anything. If the characters are vulnerable it's simply because they're very human.”

“When I lived in Pinetop I just wanted to leave - I thought the city was where I belonged. But now that I'm living in the city, I love it for what it is. It's brought me closer to my art and put me in the right place as far as having people around me. It's very inspiring, but I miss our little town. There's something very simple and beautiful about growing up in a small place. That's where my heart is, for real.”

“Being critical of art is a way of showing art respect. No sports writer would say, "Well the Yankees had a great season this year." No food critic would get a bad meal and say, "Oh, it was so lovely." It always strikes me as odd when people say, "Why do you write negatively about any art?" I think that everybody has mixed feelings about everything - even Goya. I mean, I look at Rembrandt sometimes and I hear a voice in my head go, "It's pretty brown."”

“You can't let other people dictate what your art is supposed to be. That's the opposite of art. You should constantly be challenging yourself to grow and change and create and evolve. I'm into that spirit of experimental and underground music. The constant, the groping, seeking, moving forward, regardless of where it might take you at that moment. It's all part of a larger arc.”

“There are always forces at work in a society, certainly in America, which are really forces of censorship -either religious bodies or zealots who are always putting pressure on things, whether it's books or art or film. And all art is fundamentally subversive, because it upsets people's perceptions, their notions about society. Therefore, art is dangerous, but good art is always making us reassess our thoughts and feelings about how we relate to other people. There are always people who fear that and want to suppress that.”

“I think a lot of people are involved in art because of the fashion of art and the conversation. It gives them a certain sophistication, something to speak about. But art is, if it's conceptual, really about understanding the concept. And if it's beautiful, it's about seeing the beauty. It's gone much further than that now. There's too much commercialism attached to art. If the market cracks one day big-time, you'll frighten so many people away who will never come back. Because they don't really feel for art. People who buy art should want it because they love it, they want to enjoy it.”

“What I think is dreadful about art is the way it's related to the money afterward. Not when you do it... But after that, it's like 5,000 rich people have access to it. A movie, even though it can be a bad movie or a good movie, it is more democratic. The people who buy my films, the people who buy my installations it's sometimes a foundation or a museum. When it's a foundation, it's related to very, very, very rich people - who are your enemies! Your enemies are feeding you. But you're not meeting them. So it's a very strange thing.”

“I have found that sharing this very intimate part of my life has been really powerful, because it has brought support from people I wasn't expecting. It's cathartic on many different levels. As I get older, I realize it's so much better to connect with people. It makes everything better to connect. Only connect. Why not have my art be about that? I think of it as moving from the third person to the first.”

“It always seems to people that I'm avoiding saying, 'It's autobiographical,' but I really do believe that human beings make stories and they make themselves. If I told you the same story twelve years ago, I could have emphasized something different. The importance changes, the meaning of things shifts over time. Also, I think all art is autobiographical. Every endeavor is full of impressions of ourselves.”

“Art makes people do a double take and then, if they're looking at the picture, maybe they'll read the text under it that says, "Come to Union Square, For Anti-War Meeting Friday." I've been operating that way ever since - that art is a means to an end rather than simply an end in itself. In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.”

“I think most people who decide to become a musician have to be prepared for some degree of struggle. It makes the art better if you go through some struggles. To be an artist, in any form, you have to develop some sense of compassion and empathy - it's an important quality for everyone to have, on a human level. But I think, as part of our job, you have to be able to do that, so suffering, tends - if you allow it - to let you look on the bright side. It will help with those senses.”

“Photography was increasingly being seen as something outside the art world. As a sort of illustration. They just fired the director of photography at the Sunday Times Magazine - that's where everyone went with their photo essays in the '60s, '70s, and '80s. It was the place to get published. It is an issue. And I feel it. There's no budget. The budget-holders are very often people who've been to the professional colleges where art is not taught. So art as a part of education is something that's missing - since Thatcher's day, anyway.”

“The thing I hate the most about advertising is that it attracts all the bright, creative and ambitious young people, leaving us mainly with the slow and self-obsessed to become our artists.. Modern art is a disaster area. Never in the field of human history has so much been used by so many to say so little.”

“To write with taste, in the highest sense, is to write [...] so that no one commits suicide, no one despairs; to write [...] so that people understand, sympathize, see the universality of pain, and feel strengthened, if not directly encouraged to live on. If there is good to be said, the writer should say it. If there is bad to be said, he should say it in a way that reflects the truth that, though we see the evil, we choose to continue among the living. The true artist [...] gets his sense of worth and honor from his conviction that art is powerful--”

“Great art is always a way of concentrating, reinventing what is called fact, what we know of our existence- a reconcentration… tearing away the veils, the attitudes people acquire of their time and earlier time. Really good artists tear down those veils”

“Art is a nation's most precious heritage. For it is in our works of art that we reveal to ourselves and to others the inner vision which guides us as a nation. And where there is no vision, the people perish.”

“The transition from Religion to Scientific contemplation is a violent, dangerous leap, which is not to be recommended. In order to make this transition, art is far rather to be employed to relieve the mind overburdened with emotions. Out of the illogical comes much good. It is so firmly rooted in the passions, in language, in art, in religion, and generally in everything which gives value to life. It is only the naive people who can believe that the nature of man can be changed into a purely logical one. We have yet to learn that others can suffer, and this can never be completely learned.”

“Almost every work of art is an analogy. When I make a representation of something, this too is an analogy to what exists; I make an effort to get a grip on the thing by depicting it. I prefer to steer clear of anything aesthetic, so as not to set obstacles in my own way and not to have the problem of people saying: 'Ah, yes, that's how he sees the world, that's his interpretation.'”