A Quote by David Sedaris
After a few months in my parents' basement, I took an apartment near the state university, where I discovered both crystal methamphetamine and conceptual art. Either one of these things are dangerous, but in combination they have the potential to destroy entire civilizations.
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I didn't know anything about conceptual art when I left Kansas. I went to Cal Arts to be a painter, but the exciting stuff was happening elsewhere, so I took a holiday from painting for a few years.
It is of dangerous consequence to represent to man how near he is to the level of beasts, without showing him at the same time his greatness. It is likewise dangerous to let him see his greatness without his meanness. It is more dangerous yet to leave him ignorant of either; but very beneficial that he should be made sensible of both.
There is a good deal of art that in some traditions of conceptual work are anti-affect, in fact a very large chunk of mainstream art after 1950 took against affect art altogether because they said, "No, we hate affect art because this is how we get manipulated by totalitarianism and therefore artists shouldn't play that game." And a lot of artists agreed to play that game, which I personally believe is to the loss of art.
A few months after graduation I was working in films. It took off pretty quick.
A conceptual scheme is never discarded merely because of a few stubborn facts with which it cannot be reconciled; a conceptual scheme is either modified or replaced by a better one, never abandoned with nothing left to take its place.
People who look at art don't really - don't go with the artist. They don't sort of accept what he or she has done and kind of go with it. There are always - either there's too much color or not enough color, either it's not conceptual enough or it's too conceptual. In other words, most criticism isn't what the viewer expected that it would do based on what they think you have done and that's good as far as I'm concerned.
I wrote 'Echo' a few months after moving out of my sister's apartment in Atlanta. I was 17 and just finished high school. I didn't go to prom and didn't walk the stage. I just dipped.
I was a child of a single mother/art teacher, and a father who was an architect, so I've always been around the combination of art, fine art, and architecture my entire life.
I have been personally victimized by organized disruption of a public lecture on a university campus - at the University of North Carolina at Chapel Hill, Michigan State University, and Rhode Island's Providence College, to name only a few.
I loved surrealism and abstract painting, and anything related to those. I always thought painting was the highest form of art. What led me to drawing was seeing so much self-important, pretentious, conceptual-type art in university. I wanted to reject that by making quick, fun art.
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It is dangerous to explain too clearly to man how like he is to the animals without pointing out his greatness. It is also dangerous to make too much of his greatness without his vileness. It is still more dangerous to leave him in ignorance of both, but it is most valuable to represent both to him. Man must not be allowed to believe that he is equal either to animals or to angels, nor to be unaware of either, but he must know both.
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