A Quote by Jemima Kirke
But I'm interested in the Barnes Collection in Philadelphia. I hear there are some of the worst Matisses there. I like seeing bad art by good artists. It's inspiring. I'm able to identify with them. It makes them real.
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I've started doing book reviews for Barnes & Noble! They saw that I did a lot of book reviews on the site, and they figured that it might not be a bad thing if they got me to do some for them as well. I gave them five categories I'd be interested in reviewing, from art to fiction to music.
I don't know why we're not interested in seeing good people. I think we like seeing good people, but only if bad things happen to them. Which is weird, isn't it?
It's always good to be able to identify with the characters that you're watching and not just easily put them in the bad box or the good box. They're real people that you care about, and you invest in their journey.
First let me report that the art in the Barnes Collection has never looked better. My trips to the old Barnes were always amazing, but except on the sunniest days, you could barely see the art. The building always felt pushed beyond its capacity.
Some like them hot,some like them cold. Some like them when they're not to darn old Some like them fat,some like them lean. Some like them only at sweet sixteen. Some like them dark,some like them light. Some like them in the park,late at night. Some like them fickle,some like them true, But the time I like them is when they're like you
This is why improvisational music and comedy is so inspiring: You are seeing something being born, and that energy, there is no substitute for. These songs, most of them, are about a minute old when you hear them.
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.
Hear the birds? Sometimes I like to pretend that I'm deaf and I try to imagine what it's like not to be able to hear them. It's not that bad.
You do an awful lot of bad writing in order to do any good writing. Incredibly bad. I think it would be very interesting to make a collection of some of the worst writing by good writers.
I prefer to be part of a positive statement. I'm not interested in the psyche of a serial killer. What I'm interested in is creating a situation in which people get some emotional exercise, which makes them feel like human beings and makes them understand that they are part of the human community with all its responsibilities.
When I play a good guy, I try to explore them and figure out what shapes them and makes them interesting. When I'm playing a bad guy, I try to explore everything that makes them good. No one ever really thinks that they're a bad guy.
Actually, I identify with all my characters, good and bad. I have to do that in order to make them genuine. I have to understand them even if I don't approve of them. Not completely - it's impossible; complete identification is, in fact, not desirable.
What makes 'The Wire' a beautiful story is how true to life it is. In other shows, you have a good guy and a bad guy. In 'The Wire,' bad guys are trying to be good, good guys are doing bad. You have real life. The people who do bad get bad things done to them.
I feel like there are a number of indie artists... as they grow, it makes the most sense for them to pivot to pop, to become bigger artists. And I feel like that's when people get really bad, you know? I didn't want to fall into that pitfall.
I hope that through my work, artists will take some chances, break some rules, and make art that comes from inside of them. I would like to be remembered as a kind person, a great Mom, and a bit unruly - in a good way!
Obviously, the duty of artists is there, but it's more an indictment of the political system that someone like Zinn views artists as the seers, idealizing them as the people responsible for inspiring change.
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