A Quote by Hilton Als

In the contemporary world, artists are almost entirely self-referential. — © Hilton Als
In the contemporary world, artists are almost entirely self-referential.
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
We must avoid the spiritual disease of the Church that can become self-referential: when this happens, the Church itself becomes sick. It’s true that accidents can happen when you go out into the street, as can happen to any man or woman. But if the Church remains closed onto itself, self-referential, it grows old. Between a Church that goes into the street and gets into an accident and a Church that is sick with self-referentiality, I have no doubts in preferring the first.
I hear a lot of artists become kinda self-referential, and a lot of people that tour a lot tend to write about the perils of being on the road later in their careers.
Just the idea that we, these little collections of atoms and molecules, are part of the world, but a part that can look at the rest of the world and figure it out in a self-referential way, is kind of breathtaking.
To me, the greatest artists are almost entirely non-verbal.
All great contemporary artists, schooled or not, are essentially self-taught and are de-skilling like crazy.
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.
The Grameen clinics prove that a medical system 'for the poor' can be almost entirely self-supporting, and we hope we can make it fully self sufficient so we can expand it across Bangladesh.
Our culture is almost entirely prepared to not just help you create your false self, but to get very identified with it and attached to it. So, without some form of God experience, which teaches you who you are apart from that - we would say in the religious world, who you are "in" God, in the mind and heart of God - there's almost no way to get out of it.
The world of contemporary art has, in a way, exponentially expanded in the last couple of decades, and almost every major city in Europe and Asia and North America has fallen over themselves to have their own contemporary art museum.
I've never been at odds with the world of contemporary artists. If there is any animosity, it's one-sided.
We can no longer contemplate the subject - self - of contemporary art; it has been woven into infinite relationships, replaced by social movements, national image, and financial capital. The disappearance of the construction of the self of contemporary art makes it impossible to exist in the form of a subject. The subject of contemporary art that I speak of is a kind of naming event predicated upon the multiplicity of the environment. It includes politics, should have its own way of thinking, and can be perceived.
The artists could be dead, but some of them are not so distant from us, and make us feel as if they are alive with us. Such artists are worth calling "contemporary artists".
The problem of making artists talk about their work is that when they're making their work the left-brain is shut off. So if you talk to an artist about it, you're talking to someone who wasn't there. It's hopeless. And also it's insulting. It's implying that the work is not an adequate account of itself. To me, the greatest artists are almost entirely non-verbal.
I'm just worn down and weary of bands whose lyrics are cryptic and self-referential.
I don't think I've got a problem with nostalgia, because a lot of the time things are self-referential.
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