A Quote by Hans-Ulrich Obrist
When I was 17, I met many artists, and it started to become this conversation with artists out of which all of my exhibitions grew.
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People who are artists professionally are not artists because they want to be artists; they have to be artists. They're compelled to get that creativity out and to share that with others.
Artists look at the environment, and the best artists correctly diagnose the problem. I'm not saying artists can't be leaders, but that's not the job of art, to lead. Bob Marley, Nina Simone, Harry Belafonte - there are artists all through history who have become leaders, but that was already in them, nothing to do with their art.
With my friends in Brooklyn, many of them started out as artists. I saw many of these friends move into late middle age, still struggling without health insurance or a cushion. I saw people who had given up being artists. Being an artist necessitates a compromise or living on the edge.
I thought, 'A biennial needs artists. I'm going to do an international biennial; I need artists from all around the world.' So what I did was I invented a hundred artists from around the world. I figured out their bios, their passions in life and their art styles, and I started making their work.
The evolution of art is not only driven by artists, but by a conversation between the artists and the audience.
I think the entrepreneurial activities that make art visible and attractive are what lure people into the amusement park that SoHo has become or that Bushwick or Williamsburg has become. It's not that outsiders come to an area because they hear artists are living there. A lot of people came who were not that interested in living with artists, but they were interested in living like artists and socializing the way that they thought artists socialized.
During the last 35 years, the artists multiplied, the public grew enormously, the economy exploded, and so-called contemporary art became fashionable. All these parameters changed the art world form its previous aspects and fundamentals - the explosion of museums and institutions, explosion of Biennales and Triennials, explosion of money, explosion of interest, explosion of artists, explosion of countries interested in contemporary exhibitions, explosion of the public. Not to see that is to be more than blind.
I've worked with jazz artists, country artists, classical artists, pop artists. I never wanted there to be categories, because when I was a kid there weren't.
When I first started blogging, it was about getting out new music and capturing artists working in the studio. This was before artists were so social. They weren't so hands-on then.
Bernard [Leach] knew Ben Nicholson, Barbara Hepworth, Terry Frost, Peter Lanyon, Johnny Wells. I can think of a number of people that we met there just because we were living with Bernard. Some of them became our friends, particularly the younger artists, but we were privileged to at least meet and talk with the older artists also. And they would come to dinner, and we would simply be included in the conversation, which was quite fascinating.
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I didn't have to be a pop singer with a certain look. When I started, there was really a revolution in natural artists with blues and folk artists crossing over; otherwise, I wouldn't have been able to get started.
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There are dance artists, painting artists and writing artists. Authors are writing artists. You can practice art in whatever medium you choose, and words are mine.
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