A Quote by Charles Saatchi
Few people in contemporary art demonstrate much curiosity. The majority spend their days blathering on, rather than trying to work out why one artist is more interesting than another, or why one picture works and another doesn't.
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Meeting and talking to the artist adds a special element to collecting contemporary art that makes the work an irreplaceable treasure rather than just another possession.
You should know what makes one photo brilliant and another. Why one illustration is instructive and another is banal. Why one blurb is clever and another is trying too hard. Why one video is brilliantly entertaining and another is cheesy. Bottom line: you should want to do great work with a great team-no matter the cost.
An artist of understanding and experience can show more of his great power and art in small things roughly and rudely done, than many another in a great work. A man may often draw something with his pen on a half sheet of paper in one day . . . . and it shall be fuller of art and better than another's great work whereon he hath spent a whole year's careful labor.
When art works travel from place to place, what you have is the opportunity to engage with the intellect of another person who has made a thing that should have enough information in it in the way it's constructed to start thinking about why that picture got made - not why it is relevant to you.
Today it's not strange to see an artist 30 years old having her first retrospective! Different time, different speed. After having been the key point of recognition for an artist, the museum today is just another place to experiment and work, like we can do in any art fair. The king or queen of the moment is completely ignored and replaced by the new one a few years later. Contemporary novelty in art disappears faster than the seasonable changes of the fashion designs.
It's much more interesting to try and understand what binds two people together. Why we stay with each other is much more of a mystery than why we don't.
I don't think much new ever happens. Most of us spend our days the same way people spent their days in the year 1000: walking around smiling, trying to earn enough to eat, while neurotically doing these little self-proofs in our head about how much better we are than these other slobs, while simultaneously, in another part of our brain, secretly feeling woefully inadequate to these smarter, more beautiful people.
As Buddhists, statues are more than simply pieces of stone to us. We believe the statue of the Buddha has a kind of soul and is the Buddha in some sense. This is why we can pray to it. Clay is a very interesting and fundamental material - it's earth, it's water and - with fire - it takes on form and life. In fact, what is art? Art is giving to what you create a soul. That's why it is said God is like an artist.
When you go from one part of the Turkish community to another, it's like you're moving from one century to another. People look at each other in a strange way, as if looking at someone from another planet, rather than trying to understand and open space for them.
Governments would rather spend their money on another bomber than education, and why do we fear black men when every bit of suffering in our lives has a Caucasian face attached to it?
Words are the basic tools, if you are a writer. But why? Why do you choose one set of tools rather than another?
If I wanted to work financially, I would have made a series of different choices. I do get offered lots of movies which you could make a lot of money out of. And I always say, 'Why would I do that, when someone else could do it much better than me? Why would I want to do an action picture? Why?'
If I wanted to work financially, I would have made a series of different choices. I do get offered lots of movies which you could make a lot of money out of. And I always say, 'Why would I do that, when someone else could do it much better than me? Why would I want to do an action picture? Why?
Our task is not to find the maximum amount of content in a work of art, mush less to squeeze more content out of the work than is already there. Our task is to cut back on content so we can see the thing at all. The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us.
Everyone wants to understand art. Why not try to understand the song of a bird? Why does one love the night, flowers, everything around one, without trying to understand them? But in the case of a painting people have to understand. If only they would realize above all that an artist works of necessity, that he himself is only a trifling bit of the world, and that no more importance should be attached to him than to plenty of other things which please us in the world, though we can't explain them. People who try to explain pictures are usually barking up the wrong tree.
Riches, power and fame last only for a few years! Why do people cling so desperately to these transitory things? Why can't people who have more than they need for themselves give that surplus to their fellow citizens? Why should some people have such a hard time during their few years on this earth?
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