A Quote by David Berman
The rules changed for art around 1989. We were all loosed upon the canon to clip and paste and borrow and update. Only thing is, unless you were in New York or in a cultural studies program, that new paradigm probably wasn't going to sink in until the Internet arrived.
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New Yorkers know how to borrow wildly. You know, Louis Armstrong was not a New York musician. He went from New Orleans to Chicago to New York, and when he arrived here, he taught those New Yorkers. New York needs that infusion.
We were going to do 'Reno 911!: New York, New York, Las Vegas,' which was like a 'Die Hard' set not in New York, but in the New York, New York casino in Las Vegas. We were really excited about being locked into the one casino and doing a bad action movie.
There was a kind of cultural life in New York that wasn't as solidified as it is now, it wasn't as money-driven. If you look at the size of the successful art galleries compared to the size of galleries now - there was no such thing as the Gagosian Gallery or Pace Gallery. But it was a time when magazines were a vital part of American life, and Esquire gave me a free pass to every world - I could get to the art world, the theater world, the movie world. It allowed you to roam through the cultural life of New York City.
When they released Sidewalks of New York, there were some shots with the towers they were going to take out, and Ed told them no. I don't think they can deny the towers were a part of New York.
New York has changed a whole lot. For worse I think because back when I was growing up in New York we were always the trendsetters. I don't care if it was from clothes to hip-hop music, to whatever. Right now New York is a bunch of followers. A lot of them are. It's really not the same.
A lot of the reason I left New York, in addition to being so broke, was that I just felt I was becoming provincial in that way that only New Yorkers are. My points of reference were really insular. They were insular in that fantastic New York way, but they didn't go much beyond that. I didn't have any sense of class and geography, because the economy of New York is so specific. So I definitely had access and exposure to a huge variety of people that I wouldn't have had if I'd stayed in New York - much more so in Nebraska even than in L.A.
An interesting thing happened in 1989, right as I was graduating: the stock market crashed and really changed the landscape of the art world in New York. It made the kind of work I was doing interesting to galleries that wouldn't have normally been interested in it
An interesting thing happened in 1989, right as I was graduating: the stock market crashed and really changed the landscape of the art world in New York. It made the kind of work I was doing interesting to galleries that wouldn't have normally been interested in it.
I'm a New Yorker. I was there during 9/11, and I saw how, not only New York City stopped for a moment, we all took an inhale and exhale at the same time - the world united at that time, and it changed my life. I think millions of people were forever changed.
What kind of motivated me to join the Black Panther Party was that I, along with some of the comrades that I was working with in New York, had heard about the Black Panther Party, and they were doing things that we wanted to do in New York, and we thought that would be a better vehicle than the vehicle that we had going on in New York. They were better organized, and they already had their Ten-Point Platform and Program, and people already heard about them. So we decided that we would join the party, when given a chance.
I was obsessed with New York early on. I was watching sitcoms that were set in or around New York, like 'The Dick Van Dyke Show.' I was always very fascinated with the people who were on 'What's My Line?' and I always had an incredible obsession with the city.
When you see reference to a new paradigm you should always, under all circumstances, take cover. Because ever since the great tulipmania in 1637, speculation has always been covered by a new paradigm. There was never a paradigm so new and so wonderful as the one that covered John Law and the South Sea Bubble - until the day of disaster.
Yeah, I was only in New York from the age of six months until five years old. But my very first memories are all of New York. I remember my first rainbow on a beach in New York. I remember jumping on a bed in New York.
Actually, New York is great for playing around. I made a lot of studies for New York-a big vacuum cleaner lying on the Battery in Manhattan.
I arrived at New York, and I went from being Andy Rannells from Nebraska to being Andrew Rannells in New York who was gay. And those were just the facts.
My parents were very humanistic, but where we lived was not the cultural center of the world. Hardly. So I came to New York for two reasons: to find my own kin and also to get a job. And that's what I came to New York for in '67.
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