A Quote by Jane Hirshfield
What we want from art is whatever is missing from the lives we are already living and making. Something is always missing, and so art-making is endless.
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I've always been interested in art and making things, but I chose not to go to art school because I thought I needed to do something else. Art was a tough way to make a living.
To the question, ‘Is the cinema an art?’ my answer is, ‘what does it matter?’... You can make films or you can cultivate a garden. Both have as much claim to being called an art as a poem by Verlaine or a painting by Delacroix… Art is ‘making.’ The art of poetry is the art of making poetry. The art of love is the art of making love... My father never talked to me about art. He could not bear the word.
I felt like I was missing something. Missing you more. Missing whatever was going to happen next.
That's what we're missing. We're missing argument. We're missing debate. We're missing colloquy. We're missing all sorts of things. Instead, we're accepting.
After all, the goal is not making art. It is living a life. Those who live their lives will leave the stuff that is really art.
What art is, in reality, is this missing link, not the links which exist. It's not what you see that is art; art is the gap.
Why do we make records? Because we want to say something. Why are you in art? Because you want to say something. The second you don't have anything to say, you stop making art - you might start making product. And I'm interested in being an artist.
That's what it's all about - making art is making something live forever. Human beings especially - we can't hold on to them in any way. Painting and art is a way of holding onto things and making things go on through time.
Making of poetry, music, dance and art as culture-making in the service of nation-making. You can find writings that make that purpose for art quite explicit.
When we even use the term 'specialized world,' we already have a problem! We're making art; they are making art... these worlds are not far apart from each other. For instance, pieces of art that hang on a wall can be seen in museums or can be used in a variety of commercial ways. That art is everywhere, so the message is that it's a part of everyday life.
I think that a lot of artists have succeeded in making what I might call "curator's art." Everybody's being accepted, and I always want to say, "Really? That's what you've come for? To make art that looks a lot like somebody else's art?" If I am thinking of somebody else's art in front of your art, that's a problem.
My personal philosophy is, talk about whatever you want on a show, but it better be good. And especially if it's something that challenges folks. You don't want to be on the side of power to demean a group that is at risk. Because that's propaganda. Whenever you're on the side of power, you're not making art. Art upends power.
Is being burnt a requisite for the making of art? Personally, I don't think it is. But art is poultice for a burn. It is a privilege to have, somewhere within you, a capacity for making something speak from your own seared experience.
I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.
I think that black people making art, women making art, and certainly black women making art is a disruptive endeavor - and it's one that I enjoy extremely.
The baby explodes into an unknown world that is only knowable through some kind of a story – of course that is how we all live, it’s the narrative of our lives, but adoption drops you into the story after it has started. It’s like reading a book with the first few pages missing. It’s like arriving after curtain up. The feeling that something is missing never, ever leaves you – and it can’t, and it shouldn’t, because something is missing.
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