A Quote by Jamie Hewlett
I don't go to enough exhibitions, purely because it intimidates me.
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I knew that I would have to be brave. Not foolhardy, not in love with risk and danger, not making ridiculous exhibitions of myself to prove that I wasn't terrified--really genuinely brave. Brave enough to be quiet when quiet was called for, brave enough to observe before flinging myself into something, brave enough to not abandon my true self when someone else wanted to seduce or force me in a direction I didn't want to go, brave enough to stand my ground quietly.
No one intimidates me because I'm not trying to do what you do, because I can't do what you do. I can only do what Mary J. Blige can do, so that relaxes me right there, and it gets me out of the competition and that whole thing.
I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
I have a publishing company of books by me and books of others. It drew people to poetry readings and photo exhibitions and painting exhibitions that I've been doing for years before that.
For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game.
Essentially, we humans live well enough and long enough, and are smart enough, to generate all sorts of stressful events purely in our heads.
Nobody intimidates me.
The crowd intimidates me, its breath suffocates me. I feel paralyzed by its curious look, and the unknown faces make me dumb.
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
I love life and nothing intimidates me anymore.
I write about what worries me and, hopefully, things worry me a little bit earlier than they do some other people, purely because I am a writer and it is my job to go out there and be worried by things.
Bernard [Leach] had acquired many [Shoji] Hamada works. Some of them, it was interesting - first of all, Hamada worked in St. Ives for about four years before returning to Japan to start his own pottery. He had exhibitions in London, and if these exhibitions didn't sell out, the galleries were instructed to send the remaining work down to the Leach Pottery, where they would go into the showroom for sale. If Bernard saw one that hadn't sold that he really admired, then he would take it (he would buy it), and it would go into the house.
Whenever I hear someone describe something as a 'kids movie' or a 'family movie,' it immediately has a negative connotation in my mind because I think, 'Well, as an adult, I wouldn't go see it by myself, because it's purely for children and it holds nothing for me and it's simplistic and it's kind of easy.'
"Please... don't ask me to go with you, because if you do, I'll go. Please don't ask me to tell Frank about us, because I'll do that, too. Please don't ask me to give up my responsibilities or break up my family"... "I love you, and if you love me, too, then you just can't ask me to do these things. Because I don't trust myself enough to say no."
I'm a black lady from the Lower East Side of New York. Not a lot intimidates me.
I want my kids to graduate from high school. But that's not enough. I also want them to go to college. Why? Because rich people's kids go to college. And if that's good enough for them, it's good enough for my kids. Because you know what? College graduates don't tend to go to jail as frequently as nongraduates.
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