A Quote by Laurence Graff

One of the great things about collecting contemporary art is that you mix with contemporary people. — © Laurence Graff
One of the great things about collecting contemporary art is that you mix with contemporary people.
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.
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 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.
People don't like contemporary art, but all art starts life as contemporary - I can't really see a difference.
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.
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 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.
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.
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.
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
"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.
For most of the movies that I've done, we've shot in a contemporary house, in contemporary clothes, speaking in a contemporary way. So, I really enjoy that. It really helps.
The Internet is just one of those things that contemporary humans can spend millions of "practice" events at, that the average human a thousand years ago had absolutely no exposure to. Our brains are massively remodeled by this exposure--but so, too, by reading, by television, by video games, by modern electronics, by contemporary music, by contemporary "tools," etc.
All great music is contemporary. If it's still alive and kicking, then it's contemporary. If it fades away, it was a period piece. It had its moment, and that was it.
In the last 20 years of collecting contemporary African art, I have been bombarded by incredible shapes and colors that I now want to translate into clothes.
Sometimes you get lit students that know a lot about the canon but virtually nothing about contemporary poetry and vice versa. I like to mix things up.
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