A Quote by Damien Hirst
Museums are for dead artists. I'd never show my work in the Tate. You'd never get me in that place.
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Some artists leave remarkable things which, a 100 years later, don't work at all. I have left my mark; my work is hung in museums, but maybe one day the Tate Gallery or the other museums will banish me to the cellar... you never know.
I personally have never trusted museums. ... It is because museums, broadly speaking, live off of the art and artifacts of others, often art and artifacts that have been obtained by dubious means. But they also manipulate whatever it is they present to the public; hence, until Judy Chicago, in the 1970s ... few women artists were hung in any major museum. Indian artists? Artifacts only, please. Black artists? Something musical, maybe? And so forth.
Some comic artists I've known are better than most contemporary artists with work hanging in Tate Modern.
When I do a T.V. show, I hear all these artists in their dressing rooms doing scales - I've never done it because I've never had voice training. What I do to prepare is get in my car and sing along to the radio for about 20 minutes.
As long as you have imagination, you never need to work. You never get bored. You could just walk around and go to museums and check out new movies. You could be busy in New York city for 10,000 years.
Tate grabbed me, hugging me so hard, I knew I'd have bruises. He was probably unaware of it, not having had much time to get used to his new strength. I pushed at him, "Tate...you're squeezing me too hard." He let go of me so fast I almost staggered. "Oh Christ, I can't do anything right!
But we cannot rely on memorials and museums alone. We can tell ourselves we will never forget and we likely won't. But we need to make sure that we teach history to those who never had the opportunity to remember in the first place.
And at the place where time stands still, one sees lovers kissing in the shadows of buildings, in a frozen embrace that will never let go. The loved one will never take his arms from where they are now, will never give back the bracelet of memories, will never journey afar from his lover, will never place himself in danger of self-sacrifice, will never fail to show his love, will never become jealous, will never fall in love with someone else, will never lose the passion of this instant of time.
What's that Regina Spektor song? Museums are like mausoleums. Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive. Typically your work will end up in a museum after you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead. But while we're alive, I like to see it in places where it's connected to day-to-day life and making a difference.
I would never discredit anyone that is working their way up on a show like "American Idol." I think they work so hard overcoming all of the obstacles to get on the show in the first place and then every week they are judged in front of all of America... I give them complete credit for getting up on stage... I think they deserve all the success that they get.
Can you just saw his arm off while we're here and get me loose? (Amanda) I could do that, but he needs his more. I'd cut yours off before I did his. (Tate) Oh, great, what are you, his Igor? (Amanda) Wrong movie, Igor was Frankenstein's flunky. Renfield is the one you're thinking of, and no, I'm not Renfield. Name's Tate Bennett. Parish coroner. (Tate)
Showing weakness will encourage your opponents. It inspires them. It encourages them to hit harder. To come faster. But when you don't show any fear, or when you don't show any hurt, you have the opportunity to discourage your opponent. You discourage your enemies. The bottom line is, if you think properly, you don't even have to think about all of that. All you have to think about is that guy across from me is human, and so am I. And he'll never out-work me. He'll never out-think me. And if you can't out-work me, and you can't out-think me, you'll never beat me.
I never know what I'm going to talk about until I get on stage. I never give the same lecture twice, which is why I'll have people follow me from place to place like Deadheads.
I never drink while I'm working, but after a few glasses I get ideas that would never have occurred to me dead sober.
At every show, people I've never seen approach me with the same story: how experiencing my work changed their lives and made them artists or writers or law enforcers or attorneys, believe it or not. It's very humbling and gratifying.
When I was a teenager, I never knew anything about art. I think in South Africa at that stage, no one was really exposed to it. There were no museums that had great artists in them.
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