A Quote by Barry McGee

I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. It's the most radical thing. — © Barry McGee
I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. It's the most radical thing.
I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. Its the most radical thing.
I'm not really well educated - other than an art survey course at the High School of Art and Design in New York when I was, like, 15. I don't know the history of art, but I got over intimidation from the art world when I realized that I was allowed to feel whatever I want and like whatever I want.
I don't know the history of art, but I got over intimidation from the art world when I realized that I was allowed to feel whatever I want and like whatever I want.
Art is nothing tangible. We cannot call a painting 'art' as the words 'artifact' and 'artificial' imply. The thing made is a work of art made by art, but not itself art. The art remains in the artist and is the knowledge by which things are made.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
The wonderful thing about a book is that you have a canvas that is 300 pages wide, and it's all free space. You can make a piece of art as big as you want and whatever shape you want.
Jonathan Meese is not interested in the history of reality. Everything radical and precisely graphic is sustainable. Human ideologies like religions and politics are based on the past and therefore irrelevant to art. Art always transforms radicalism of the past into the future. Art is always the total time machine. Jonathan Meese is interested in the history of the future. Art is never nostalgic.
ART Art is that thing having to do only with itself—the product of a successful attempt to make a work of art. Unfortunately, there are no expamples of art, nor good reasons to think that it will ever exist. (Everything that has been made has been made with a purpose, teverything with an end exists outside of that thing, i.e., "I want to sell this", or "I want this to make me famous and loved", or "I want this to make me whole", or worse, "I want this to make others whole.") And yet we continue to write, paint, sculpt and compose. Is this foolish of us?
It is not logical for art to be logical. Art goes against the grain of the times as readily as it goes with it and at the very same moment. Instead of seeking the nearest exit, art responds to a new situation by uncovering a labyrinth of problems.
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.
Art is the suitcase of history, carrying the essentials. Art is the life buoy of history. Art is seed, art is memory, art is vaccine.
There's no such thing as sculpture or art or anything, it's just a bit of - it's just words, you know, and actually saying everything is art. We're all art, art is just a tag, like a journalists' tag, but artists believe it.
A lot of good and regular art gets made because of who you talk to. No one is immune to human contact and art is not made in a vacuum.
You think OWS is radical? You think 350.org was radical for helping organize mass civil disobedience in D.C. in August against the Keystone Pipeline? We're not radical. Radicals work for oil companies. The CEO of Exxon gets up every morning and goes to work changing the chemical composition of the atmosphere. No one has ever done anything as radical as that, not in all of human history.
Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to; art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language.
It is neither Art for Art, nor Art against Art. I am for Art, but for Art that has nothing to do with Art. Art has everything to do with life, but it has nothing to do with Art.
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