A Quote by Jerry Saltz
I often find myself privately stewing about much British art, thinking that except for their tremendous gardens, that the English are not primarily visual artists, and are, in nearly unsurpassable ways, literary.
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I'm so in awe of what visual artists do and I do understand the differences of what visual artists do. I have a small art collection I hope to expand.
I often envy my friends who are visual artists. Visual artists have other things to work with. Other media. I envy my sculptor friends: they have hunks of matter. Marble. Wood. It's physical, which I find very appealing. What we have is nothing, is just glaringly blank.
You will hear people say the C-word. Except, it's a regional language: in British English, c - t has much less of an inflammatory sense than it does in North American English. You can hear someone on British TV called "a c - ting monkey" or a man being called a c - t. The particular fascination of profanity is how culturally specific it is and how it evolves.
I don't see many artists who are not trying to bring their work to the public - -to the contrary I see artists nearly desperate to get attention for their art and, failing that, often for themselves.
My fiction has been influenced by the visual arts, though not in obvious ways, it seems to me. I don't offer tremendous amounts of visual information in my work.
My favorite thing is landscaping. I love landscaping. And so what I'll do is, mostly I put language into search engines, and if I want to look, like, at tulip gardens, or, like, Georgian gardens, i love English gardens, how they're laid out. Japanese gardens, Asian gardens. So, I'm kind of a frustrated landscaper.
"Facilitate my thinking" means thinking about who I am as a human being in relation to the world around me. It's how I position myself, how I navigate through this world. That to me is thinking. It is also exhausting to constantly be making art that in some ways responds to the conditions of the world around you. I gave myself permission to turn all of that off, and to lose myself in work.
I thought of myself as an outsider in a lot of ways as I was growing up. Not in a bad way; more as an observer. I often find myself thinking as an observer of science fiction rather than as a participant.
I am often talking about the ideas collected in Normal Life in contexts that are not academic, or that are full of people who are not primarily engaging as theorists or theory-readers. Being able to make ideas visual, especially critical ideas about movements that can be difficult to hear because of attachments we have to certain national narratives, or because of ways that we see ourselves, is especially useful.
I think I went through early years of my career sort of thinking, "Well, maybe I'm just not British enough." And I always remember my father saying to me, "Don't think you're English, because however English you feel, some Englishman is going to remind you that you're not." Now, for him it must have been a much more acute experience, because he immigrated to England. I was born there, so I kind of felt I had the right to assume that I was British, but it's true. The English are a very warm and welcoming people, but there's a streak in there that reminds you, occasionally.
I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it's visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.
Artists don't talk about art. Artists talk about work. If I have anything to say to young writers, it's stop thinking of writing as art. Think of it as work.
It present to allow me to ask myself questions about what I'm doing. I think that's what visual art does - it either reminds you of something or allows you to question something. I don't know why Robert Motherwell; I love so many different artists.
There's a limit of any form of representation; it's the same about writing about visual art. I still think it's useful for people to think through things in a deeper way, and use adjectives even if they're not sufficient, you know? I always find it interesting what terms they use to refer to the work. It's always different, and that's kind of intriguing. Sometimes it's clichés, but often it's really creative ways of paraphrasing or reformatting what to mean seems something else. I like that, personally.
Artists don't often know much about writing... but they don't bray so much about writing as writers do about art.
An academic discipline, or any other semiotic domain, for that matter, is not primarily content, in the sense of facts and principles. It is rather primarily a lived and historically changing set of distinctive social practices. It is in these practices that 'content' is generated, debated, and transformed via certain distinctive ways of thinking, talking, valuing, acting, and, often, writing and reading.
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