A Quote by Trevor Paglen
It was a very strange time in the late 1950s/early 1960s, when people were putting things in space, but that language of spacecraft hadn't really congealed yet. A lot of artists at that time were looking at them as aesthetic objects.
Related Quotes
The 1960s were a time of cultural revolution in Poland. And I was a part of that revolution. For me, those years - the late 1950s and early 1960s - were the most fruitful.
I don’t have a theoretical language for music. I’m really inspired by sculpture, so I like to say, ‘you’re not making music, you’re creating a space. You’re building a room, putting some objects in it, and seeing what happens to the objects over time.’
The late Seventies was the death of the manufacturing age in the United States. It was also a time when the Pictures Generation artists were getting started. They co-opted the language of advertising. The factory disappeared, and weirdly, so did the art object - it was the age of making gestures, not objects.
It was the time of the Cold War and so there were was a lot of pressure on the - to get going and the Russians were claiming that they were - Soviets were claiming they were ahead of us in technology. And so it was against that backdrop that the early space flights took off.
We have these words 'space' and 'time,' but you can't touch them. They're not objects, they're not things, they go forever. Space and time are really tools of animal sense perception, the way we organize and construct information.
When I first started, in 2006, it was an exciting time. Independent, cool, weird artists were being successful, and magazines were writing about them, and people were getting played on radio that were, like, really good.
People tend to overlook the fact that North Korea's economy collapsed at about the same time as South Koreans lost faith in their own state. The late 1980s and early 1990s were a time when South Koreans were questioning the very legitimacy of their republic.
When you look at what we can call the golden era of concept albums, which starts in the mid or late '60s and ends maybe in the early '80s, it's an interesting time for music. You see all these very established and popular acts and bands and artists that were somehow on the top of their game but really trying to experiment.
I was a woman and younger. I started spending a lot of time in the mall doing a lot of qualitative research and really watching what consumers were doing. Were they gravitating towards the sales racks, or were they looking at the new fashions? Were they there to shop, or were they there to socialize?
When I was a kid, a lot of my parents' friends were in the music business. In the late '60s and early '70s - all the way through the '70s, actually - a lot of the bands that were around had kids at a very young age. So they were all working on that concept way early on. And I figured if they can do it, I could do it, too.
After World War II, a lot of people moved to the cities for work and abandoned the old vineyards. Then in the 1950s and 1960s, wineries were paid to produce volume at a cheap price. That's when the Lambruscos and bad Chianti were popular.
I remember early in my career with Disney, which was a very strange time in the company - there were a couple of executives who were very supportive of me and kind of let me do my own thing.
What's happening in the larger world always influences art. When I first started the gallery in 1959, one of the first things I learned was that most people assume artists know one thing and one thing only - that they were idiot savants. I found very quickly that most artists were very informed and very aware of what was happening in the world around them. So all of those things go together, especially for earthworks. And at that time there was such an intense interest in American art. So there was a great deal of attention paid to where it was going.
In one hundred years time people will look back and think 'these people were really worried about the environment, they were looking at things to do with global warming, and this is why they were making work about these issues'.
As far as Russia goes, they've been our partner for a long time now, since the early '90's. So you know, what's that, that's more than 15 years. And there have been times where things were a little tense, a little testy, but by and large, the partnership has been very successful. To give you two examples of that, when the Columbia accident occurred, the Russians supported us with their spacecraft faring our astronauts, including me, to the space station and also supplies.
In the early period of Left struggles, in the late nineteenth and early twentieth century, there were many different trajectories for the struggle, whether you call it 'syndicalism' or 'anarchism' or, at the time, 'social democracy', eventually 'Communism', these were different theories of struggle. But all of them shared a basic understanding that the people...experience exploitation, they experience oppression, but they're not prepared to rise up.
Related Authors
Ai Weiwei Quotes
Chinese
Artist
Andy Warhol Quotes
American
Artist
Claude Monet Quotes
French
Artist
David Hockney Quotes
English
Artist
Gerhard Richter Quotes
German
Artist
Henri Matisse Quotes
French
Artist
Kehinde Wiley Quotes
American
Artist
Leonardo da Vinci Quotes
Italian
Artist
Marcel Duchamp Quotes
French
Artist
Marina Abramovic Quotes
Serbian
Artist
Maurice Sendak Quotes
American
Artist
Michelangelo Quotes
Italian
Artist
Paul Cezanne Quotes
French
Artist
Robert Genn Quotes
Canadian
Artist
Robert Henri Quotes
American
Artist
Yoko Ono Quotes
American
Artist