A Quote by David Salle
No one's quite figured out how to make the images come to the viewer. I guess if they put it on a conveyor belt, you could stand in one place like at sushi restaurants. That could be a next generation of museums. Someone should try that. I think ideally you want to have a contemplative space for the viewer. And shuffling around like a chain gang does work against that.
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I want the viewer to be overwhelmed. I want the space to feel like it is caving in on the viewer and that they are forcibly entering the world of my paintings. I want there to be a feeling of overpowering decadence to the work, that is almost too much to take. I don't want them to be subtle.
A lot of the pieces I've done over the years have involved alterations of scale and the idea of the viewer's relationship to the object and how we see things by either enlarging or reducing objects, it causes the viewer to look at them again. It's hard to do because our culture is so bombarded by images and media. How do you make something fresh for a viewer? That's a real challenge.
How'd we come up with the robe? Was some guy just like, 'Hey, I've got an idea! Why don't we make a coat out of a towel? You can have a little belt that goes around. You could dunk the belt in the toilet! Have a toilet belt.'
I am very conscious of the viewer because that's where the art takes place. My work really strives to put the viewer in a certain kind of emotional state.
The need to look behind the curtain is great for a filmmaker. But whether you want to deconstruct what you like as a viewer, what you like and don't like, I wish we could let films stand on their own a little bit.
Art is the space between the viewer and the rectangle that hangs on the wall. Unless something of the person that created the work is there, there's nothing for the viewer to take away.
Art objects are inanimate sad bits of matter hanging in the dark when no one is looking. The artist only does half the work; the viewer has to come up with the rest, and it is by empowering the viewer that the miracle of art gains its force.
What intrigues me is making images that confound and confuse the viewer but that the viewer knows, or suspects, really happened.
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
Parents who don't like Success should find a school they do like. For someone to enroll their child at Success and insist we change our model is like a person walking into a pizzeria and demanding sushi. If you want sushi, go to a sushi restaurant!
I want to create objects that will stimulate the viewer in ways that I am stimulated by these objects. Now that's an ideal situation and the artist has no control over what his audience is going to think, but they can try to communicate some quality, some poetry through the work and just hope that the viewer has something in the vicinity of a similar experience.
My camera, my intentions stopped no man from falling. Nor did they aid him after he had fallen. It could be said that photographs be damned for they bind no wounds. Yet, I reasoned, if my photographs could cause compassionate horror within the viewer, they might also prod the conscience of that viewer into taking action.
But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think-to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work.
The only thing that I can do is hold a mirror in front of men and women, in front of the viewer in the theater, to reflect. There is nothing but reflection that I could intend to offer the viewer of the film.
I made the rules I figured I could be the one to break them. I thought I would write about xenophobia, a hatred of foreigners. After I stated writing the story there was not a foreigner to be had. I did not want to just stick one in there so I could get a title out of it since it seemed like cheating. I never figured out how I could get out of this dilemma so I just called it X and weaved X traits into the story.
I don't believe that people are robots. I think you should try to get personal, try to put yourself in the film in a deep way, and try to give that to the viewer, even if some of them will not connect with that kind of universe and surreality.
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