A Quote by Jandy Nelson
I have had this longstanding interest in going back to school to get a Ph.D. in art history. I was especially interested in exploring this idea of the ecstatic impulse in an artist.
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I do have a tendency to want to go back to school at all times in my life. Maybe I'll do the Ph.D. in art history when I'm 50, or maybe divinity school. I like teaching, too.
I was at one point thinking about being an art historian, when I was in school. And not being an artist, but I decided I was going to be an artist but I'm really mad for art history and the masters mostly.
I really wasn't about to get a Ph.D. in art history, you know, which you'd absolutely needed. And that was not something I wanted. And I loved art history, but not that way.
My family always encouraged my drawing ability. Kids in school who teased me about my reading would get out of their seats and stand behind my desk as I worked and go, 'Wow, you can really draw.' Later, I earned a degree in Fine Art and got a Ph.D. in Art History.
When I got out of the military, I finished up my education at the University of North Carolina at Wilmington, and I had some mentors who said, 'You got what it takes. You should consider going to graduate school, getting a Ph.D. in neuroscience.' I didn't think I had what it took until somebody who had a Ph.D. told me I had what it takes.
Since my high school years, I have been interested in history, especially in Roman history, a topic on which I have read rather extensively. The Latin that goes with this kind of interest proved useful when I had to generate a few terms and names for cell biology.
I had always had a deep interest in social science, history. So even when I was in high school, I was debating, and in college debating, and interested in contemporary events.
Slavery is the most insane thing... I don't know that we've ever seen in history, but it's got to be close. The idea of slavery is such a base impulse. It's like, "I'm going to kidnap you and then you're going to do everything I want." Like, what? And then there's the historical aspect. It had a huge effect on human history.
The best thing about Ikea - I'm going to do a quiz here - the names. Do you know what a Floria Fin (ph) is? It's a candle. A Pogestra (ph) - table. A Bar Grick (ph) is a plate, an Eterleeg (ph) is a wine glass and a Scuggle (ph) is the name of my third nipple.
Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.
As a working-class girl, receiving free school dinners, I studied art history. Having never had the chance to visit art galleries, I devoured the knowledge, and it has served me well as a practising artist.
The great thing about doing art shows is you get to meet the people who are interested in your art, and I think that when you're purchasing a piece of art it's a tremendous bonus to get to meet the artist because you get a chance to pick their brain a bit and find out first hand what the piece is about for the artist.
People were more interested in the phenomena than the art itself. This, combined with the growing interest in collecting art as an investment and the resultant boom in the art market, made it a difficult time for a young artist to remain sincere without becoming cynical.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
I'm definitely not an outsider artist. I'm very much an insider artist. I get written about in art magazines, and I'm not, like, in a mental institution. I'm a regular guy who went to art school.
Publishing has gone very middlebrow. It's turned its back on legacy of modernism and gone into a humanist mode. When people go through art school they are exposed to the history of the avant-garde, and there's a general understanding that what you're doing as an artist is to a large extent, not just regurgitating that history, but engaging with it. There's this denial of that in the mainstream publishing world.
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