A Quote by Cornelia Parker
I was selling bric-a-brac in Portobello and Camden Market. I love objects. But I was embarrassed by the idea of collecting, so I began using these things in my art.
Related Quotes
My flat is a bit like an oriental bazaar. It's filled with the oddest objects from all my travels, and you can't really move in it. I love collecting antiques and often spend weekends driving around bric-a-brac markets.
In a sense, Open City is a kind of Wunderkammer, one of those little rooms assembled with bric-a-brac by Renaissance scholars. I don't mean it as a term of praise: these cabinets of curiousities contained specific sorts of objects - maps, skulls (as memento mori), works of art, stuffed animals, natural history samples, and books - and Open City actually contains many of the same sort of objects. So, I don't think it's as simple as literary inclusiveness.
After I graduated, I carried on with my academic work, via grants but I often had a market stall on Camden Market selling hand-painted silk to make some cash.
For a male person bric-a-brac hunting is about as robust a business as making doll-clothes.
It took years of wear and tear before idealism crumbled like so much bric-a-brac.
Venice is a cheek-by-jowl, back-of-the-hand, under-the-counter, higgledy-piggledy, anecdotal city, and she is rich in piquant wrinkled things, like an assortment of bric-a-brac in the house of a wayward connoisseur, or parasites on an oyster-shell.
Poets suffer occasional delusions of angelhood and find themselves condemned to express it in the bric-a-brac tongues of the human world. Lots of them go mad.
When one reads hurriedly and nervously, having in mind written tests and examinations, one's brain becomes encumbered with a lot of bric-a-brac for which there seems to be little use.
The mind of the thoroughly well-informed man is a dreadful thing. It is like a bric-à-brac shop, all monsters and dust, with everything priced above its proper value.
Houses are the abiding joys; they are the most emotion-stirring of all things. An automobile is regarded with fond affection, a typewriter becomes the inseparable companion, clothes can stir sentimentality, and the bit of bric-a-brac is a toy one would weep to see torn away - but houses are real, deep, emotional things. How much excitement in the cutting of a window, what enormous importance in the angle of a roof!
An old market had stood there until I'd been about six years old, when the authorities had renamed it the Olde Market, destroyed it, and built a new market devoted to selling T-shirts and other objects with pictures of the old market. Meanwhile, the people who had operated the little stalls in the old market had gone elsewhere and set up a thing on the edge of town that was now called the New Market even though it was actually the old market.
I would begin by collecting lithographs and etchings. It's a way of coming in and benefiting from real quality art. Even younger artists make wonderful prints. Prints can become very valuable. That's how I began collecting.
I am not opposed to the art market. I have lots of friends who are collectors. But the whole idea of the art market is complex. Sadly we have a situation where auction houses and secondary market dealers are creating a lot of confusion and unnecessary pollution.
People were more interested in the phenomena than the art itself. This, combined with the growing interest in collecting art as an investment and the resultant boom in the art market, made it a difficult time for a young artist to remain sincere without becoming cynical.
That's what I like about the idea of the aesthetic experience, the idea of both enjoying looking at works of art and how they kind of talk to you, and also the process of making art, getting back to that idea of the aesthetic experience of making art is very important, It's another way of thinking. Instead of just using your brain, you're using your hands to think with. They're different connections, the brain that comes through the fingertips as opposed that comes through the eyes and ears.
There's a definite connection in terms of objects at hand - dealing with objects or material at hand. Pop art was very much enamored with popular imagery, and popular imagery was of course available and at hand. And land art was also using what was at hand.
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