A Quote by Brice Marden

I'm very much involved with Asian art and its theory and practice, mainly Chinese because that was quite sophisticated. I tend to look at that more than I look the Western.
It's very difficult to be asking other people for opportunities. It is much more empowering to be creating opportunities, to be the one who is saying, 'Look, I'm going to take this from the ground up and create a story that is meaningful to me as an Asian American and cast it with Asian Americans and have Asian Americans writing it.'
I tend not to look too much back; I tend to look forward. So, I suppose, I know, I've had probably most of my life, and there's less going forwards than there is going back, but I prefer to look in the future.
When you look at the Asians, the Asian is very gifted in creation, creativity and inventions. If you go to Japan or any Asian country, they can turn a television into a watch. They're very creative. And you look at the Indians, they have been very gifted in the spirituality.
People tend to view land art as something that happened at a certain historical moment - like minimal art, which I was also very much involved with. But it still goes on. It's very much alive.
Remember, how often the great art of the past didn't look great at first, how often it didn't look like art at all; how much easier it is, decades or centuries later, to adore it, not only because it is, in fact, great but because it's still here; because the inevitable little errors and infelicities tend to recede in an object that's survived the War of 1812, the eruption of Krakatoa, the rise and fall of Nazism.
A thing may look specious in theory, and yet be ruinous in practice; a thing may look evil in theory, and yet be in practice excellent.
My theory is because I'm Asian and white I sort of look like the future. I'm the melting pot.
The Western Idea of practice is to acquire a skill. It is very much related to your work ethic, which enjoins us to endure struggle or boredom now in return for future rewards. The Eastern idea of practice, on the other hand, is to create the person, or rather to actualize or reveal the complete person who is already there.... Not only is practice necessary to art, it is art.
I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.
At the time we did 'Night,' I was a director of television commercials. Some of them cost a lot more than our whole movie. They were very slick, sophisticated... we wanted the opposite look for 'Night.' We wanted it to look like a newsreel.
I hope that when people see Asian women, they realize we are all different. A lot of time with Caucasian people, they just group us together as Asian. But even with different cities in China, people have different personalities... We look Asian, but we still look different. We don't look the same.
In Mexico, muralism is an important part of the artistic vocabulary, and it has a very different place than it does in the US. Here, you see mainly commercial signage and dead slick graphic works, or murals that are incredibly narrative and littered with too much content - bad political art. But in Mexicali, all kinds of artists work with mural art. In Mexicali, the social practice of art existed in a completely authentic and unselfconscious way.
You can keep counting forever. The answer is infinity. But, quite frankly, I don't think I ever liked it. I always found something repulsive about it. I prefer finite mathematics much more than infinite mathematics. I think that it is much more natural, much more appealing and the theory is much more beautiful. It is very concrete. It is something that you can touch and something you can feel and something to relate to. Infinity mathematics, to me, is something that is meaningless, because it is abstract nonsense.
The theory of free speech, that truth is so much larger and stranger and more many-sided than we know of, that it is very much better at all costs to hear everyone's account of it, is a theory which has been justified on the whole by experiment, but which remains a very daring and even a very surprising theory. It is really one of the great discoveries of the modern time.
I don't think I ever really decided I was an artist. I went to college to learn how to think and look at art. In the end, I developed a more sophisticated misunderstanding of art.
Sometimes I read that I'm not 100 per cent Chinese, because I don't look all that Chinese. That's a strange one - I am Chinese.
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