A Quote by Rachel Kushner
I get the feeling that people from outside the world of contemporary art see it as deserving of mockery, in an emperor's-new-clothes sort of way. I think that's not right and that it's just because they don't understand the discourse. The art world is filled with vibrancy.
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I get the feeling that people from outside the world of contemporary art see it as deserving of mockery, in an emperor's-new-clothes sort of way. I think that's not right and that it's just because they don't understand the discourse.
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.
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.
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.
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.
The art world is filled with vibrancy.
I'm afraid we get a great deal of our exposure to art through magazines and through slides and I think this is dreadful, this is anti-art because art is direct experience with something in the world and photography is just a rumor, a kind of pornography of art.
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 cast people from right around me. I was at my alma mater. It's special to have most of the graduate students in it [and] one professor, because I feel like in terms of this school, I was one of the few students lucky enough to break into the art industry or the contemporary art world.
It makes me happy to think that this world of art-as-investment is a minuscule fraction of the art world overall. Most people who create, trade and own art do it for a much simpler reason. They just like it.
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.
Before I started LimoLand, I mainly bought my clothes in Harlem, where I found clothing my size in fun colors. I still like to go there and see the vibrancy and colors of the neighborhood. I am also very influenced by the colors of my contemporary African and Japanese art collections.
Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.
People think that the art market is about opportunists and hedge-fund managers getting broken art, but what really happened is that there was a new configuration of bourgeois values in the U.S. and an acceptance among the bourgeoisie of contemporary art as an idea. I think that bourgeois people are horrible.
I think when people try to use their art for political views, I think they're art becomes smaller, less interesting. And so for me, as an artist, I'm trying to speak about things in a universal way and not be pedantic or small-minded and try to convince other people of my political views. But having said that, every day I live in sort of complete terror because of what I read in the newspaper and what is going on in the world. I'm constantly, as I think many of us are, overwhelmed by the sort of, mass psychosis that's occurring.
I love knowing and learning about people around the world displaying my art online. Also, it's how I learn about new artists that are in various parts of the world. The positive thing about Tumblr and Instagram is that they're a fantastic platform for art lovers. I also like, when I search for my art and it says, "see also or related artists," and I see those other artists that relate to me, at least according to the internet. I think it's fascinating - it's interesting to see hashtags people are using in relation to my work. It's another tool of communication.
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