Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm.
Interpretation
Collaboration among artists fosters growth and community in the creative process.
This quote by Jerry Saltz emphasizes the importance of collaboration and shared experiences among artists. It suggests that true artistic progress involves a cycle of acquiring knowledge, unlearning outdated concepts, and fostering long-term dialogues and connections that provide support and refuge amid the challenges artists face.
In practice
This quote can be shared in a gallery opening to highlight the importance of artistic collaboration.
'Untitled' is a time machine that can transport you to 1992, an edgy moment when the art world was crumbling, money was scarce, and artists like Tiravanija were in the nascent stages of combining Happenings, performance art, John Cage, Joseph Beuys, and the do-it-yourself ethos of punk. Meanwhile, a new art world was coming into being.
I have a soft spot for art that, in terms of subject matter and material, is in bad taste.
The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.
In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don't know what we're seeing, we overreact.
I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
Donβt go to a museum with a destination. Museums are wormholes to other worlds. There are ecstasy machines. Follow your eyes to wherever they lead you, stop, get very quiet, and the world should begin to change for you. And if you see me, say something! We can talk about it together.
I get to use fiction as a way to work out my thinking and to delight readers in the process. I can't think of any deal that's better for me, and I'm always so grateful that readers have indulged me as I argue with myself in my stories.
Sometimes, it's all about the casting.
The art of healing is like an unroofed temple, uncovered at the top and cracked at the foundation.
A novel is a great act of passion and intellect, carpentry and largess. From the very beginning, I wrote to explain my own life to myself, and I invited readers who chose to make the journey with me to join me on the high wire.
I started under my master, Etienne Decroux, who taught me a new grammar for mime he called statuary mime. This grammar brings style creations. Without it, no art survives.
I started, actually, to make my first animated cartoon in 1920. Of course, they were very crude things then and I used sort of little puppet things.
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