A Quote by Hugh Grant
My contemporary art collection began with just needing to put things on the wall. I was looking around my Victorian house thinking, 'What would be the coolest is contemporary art - it will make me look young and interesting.' I'm more than 80 percent skeptical of the whole thing.
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"Contemporary art" for me is a kind of historical term that describes the 40 years between the Berlin Wall going up and then coming down. I'm not sure who will come up with a better term to describe art, but I think contemporary art is actually done for.
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.
There is a small world of people who are very interested in contemporary art and a slightly bigger world of people who look at contemporary art. But then there is a much larger world that doesn't realise how influential art is on things that they actually look at.
But you know in the contemporary art world, you pose a very interesting conundrum. All sorts of people collect very contemporary art, yet when it comes to the music which is analogous to that sort of art, they are not interested, or perhaps even hostile.
Contemporary art and manga - what is the same about them? Nothing, right? The manga industry has a lot of talented people, but contemporary art works on more of a solitary model. No one embarks on collaboration in contemporary art in order to make money. But in the manga world, everyone is invested in collaboration. The most important point is that the manga industry constantly encourages new creations and creators.
There are so many people who have a training in art history; and if you've spent time looking at old art, you become attuned to what art does through materiality and so you begin to look to that in contemporary art as well. And anyway, I do think that matching one's experience with what you're looking at and questioning what you're looking inevitably involves materiality, just like it involves the sense of place.
We can no longer contemplate the subject - self - of contemporary art; it has been woven into infinite relationships, replaced by social movements, national image, and financial capital. The disappearance of the construction of the self of contemporary art makes it impossible to exist in the form of a subject. The subject of contemporary art that I speak of is a kind of naming event predicated upon the multiplicity of the environment. It includes politics, should have its own way of thinking, and can be perceived.
My Picassos and Ferraris - those are kind of just toys. Those aren't the things that matter. What matters in the car collecting or the art collecting is to learn about it, and then actually not the acquisition but to put them into a collection that I think is curated. You know, so something of me in the collection that the artist actually created the work. If I was going to collect art, it had to be something of me, my eye, things that appeal to me so when I looked at it, it would really look like a collection, not just an accumulation of stuff.
I don't like most contemporary art. But I think if you talked to any person who's heavily involved in contemporary art, they'd say the same thing. If you go to a biennale, you don't expect to like much of it.
People don't like contemporary art, but all art starts life as contemporary - I can't really see a difference.
One of the great things about collecting contemporary art is that you mix with contemporary people.
It's easy to say "This year in art sucked." After all, about 85 percent of all shows of contemporary art are bad. But 85 percent of all art made in the Renaissance was bad.
Growing up in the '70s and '80s when my dad had an art gallery, one of the things that frustrated me was the world seemed so tiny, and to appreciate contemporary art, you needed a history of art, a formal education. I was more interested in the people, and that's why I went into the movie business in the first place.
There are no categories in contemporary art. There are no rules. Artists are given the freedom to make and create whatever they please and call it whatever they please. I identify with that system, or lack of system, much more than I do the landscape of contemporary publishing.
The world of contemporary art has, in a way, exponentially expanded in the last couple of decades, and almost every major city in Europe and Asia and North America has fallen over themselves to have their own contemporary art museum.
My art gives contemporary art a juvenile-delinquent phase. Its self-made style gleefully trashes conventions of beauty and society while pick-pocketing from the coolest underground styles and beliefs of the previous centuries.
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