A Quote by Jerry Saltz
Every movement that slays its gods creates new ones, of course. I loathe talk of the sixties and seventies being a 'Greatest Generation' of artists, but if we're going to use such idiotic appellations, let this one also be applied to the artists, curators, and gallerists who emerged in the first half of the nineties.
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While the space for artists and curators has increased enormously, maybe, just maybe, that's left room for too many people calling themselves artists and curators who are simply not up to the term.
The very paradigm of revolution, of right versus wrong, good versus bad, is a relic with no bearing on the present. Yet artists, exhibitions, and curators valorize the sixties. People who wrote about these artists 30 years ago still write about them in the same ways, often for the same magazines.
The kids I talk to are convinced their generation will make the best music. And the greatest artists have yet to be discovered. I walk around with that thought every day.
Prog didn't really go away. Just took a catnap in the late Seventies. A new generation of fans discovered it, and a whole new array of bands and solo artists took it on into the new millennium.
Too many younger artists, critics, and curators are fetishizing the sixties, transforming the period into a deformed cult, a fantasy religion, a hip brand, and a crippling disease.
It's not curators, it's not critics, it's not the public, it's not collectors who find great artists - it's other artists.
Revolt is designed to be a home for the next generation of musical artists, and we are investing in the artists and fans of the future. Revolt is for artists, by artists. This won't just be the P. Diddy network.
The problem of making artists talk about their work is that when they're making their work the left-brain is shut off. So if you talk to an artist about it, you're talking to someone who wasn't there. It's hopeless. And also it's insulting. It's implying that the work is not an adequate account of itself. To me, the greatest artists are almost entirely non-verbal.
My thing with New York was that it felt so insular. When I went to L.A., everybody I knew was a cool, amazing musician. In New York, they'd be hunkered down trying to form a band. But in L.A., guys in bands were also playing with other artists, touring with other artists, and collaborating with other artists.
In the seventies, a group of American artists seized the means not of production but of reproduction. They tore apart visual culture at a time of no money, no market, and no one paying attention except other artists. Vietnam and Watergate had happened; everything in America was being questioned.
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
I like the idea of the museum world and the university-academic situation where artists talk to each other or where artists or art students study with artists.
I love the Nineties because more than any other period of time, there was such an eclectic mix of styles going on. More so than in the Sixties and Seventies, when there was an overriding look and sound.
I believe, as artists, I do think we have a responsibility, and there's also a place for a lot of different artists. It is nice when music captures the honesty of the time but also what we're going through in that moment.
I've bought clothes based on record covers. Particularly from the formative music that turned me onto it in the first place when I was a kid, with the Beatles and the Small Faces. A lot of those Sixties soul artists were in really sharp sharkskin or mohair suits, and Motown artists looked amazing.
I've watched so many women, from Kathleen Hanna all the way up to Taylor Swift, whether they're pop artists or rock stars or fine artists or writers, it is the subhistory of female artists that if you're going to make art, you're also going to have a full-time job of defending your right to make art.
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