A Quote by Jerry Saltz
A saboteur in the house of art and a comedienne in the house of art theory, Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit, she has photographed pictures and objects in collectors' homes, in galleries, on the walls of auction houses, and off the walls, in museum storage.
Related Quotes
I think what happened in the last 10 or 15 years in the art market is that all the players - and that includes artists, dealers, art advisors, everyone - basically became dealers. We've had old-school collectors morph into speculators, flipping works. We've seen auction houses buying works directly from artists or from sleazy middlemen. The last step before the crash was the artists themselves supplying the auction houses. Dealing themselves, you know? The art world is as unregulated as any financial market there is.
Studying art history is actually one of the few ways of getting a good job in the arts sector. It's hard to be a museum curator without it, work in any senior position in an auction house or gallery, or become a serious art critic.
Andy was a nonverbal person; you couldn't get directions out of him. All he knew was what was modern in art was what wasn't art: The telephone was art, the pizza was art, but what was hanging on walls in museums wasn't art.
I don't collect art at all. I'm fascinated by art. I receive a lot of presents. My house is full of things, but I am not a collector; it's just that people I work for, and friends, give me a lot of things. There are pictures all over the walls, sculptures, mobiles and paintings. I am embarrassed because I wonder what I should do with them.
I am not opposed to the art market. I have lots of friends who are collectors. But the whole idea of the art market is complex. Sadly we have a situation where auction houses and secondary market dealers are creating a lot of confusion and unnecessary pollution.
I have a study at the back of the house, overlooking our garden. It's tiny, just wide enough to fit my desk in. The walls are covered with pin boards and art postcards from galleries all over the world, including Tate, MoMA, and Lenbachhaus.
Hard information on the quantity of bogus art sold is difficult to come by, in part because fraud, when discovered by dealers and auction houses, is usually kept secret to boost public confidence in the art market.
All art, from the paintings on the walls of cave dwellers to art created today, is autobiographical because it comes from the secret place in the soul where imagination resides.
What strikes me is the fact that in our society, art has become something which is related only to objects and not to individuals, or to life. That art is something which is specialized or which is done by experts who are artists. But couldn't everyone's life become a work of art? Why should the lamp or the house be an art object, but not our life?
but art is not relative to perfection in any tangible sense. It is our coarse antennae trembling blindly as it traces the form of Origin, tastes the ephemeral glue welding us, yearning after the secret of ineluctable evolution, and wonders what this transformation will mean. In my mind, here was the best kind of art-the kind hoarded by rich and jealous collectors in their locked galleries; hidden from the eyes of the heathen masses, waiting to be shared with the ripe few
I realise the power of art that does not hang on the walls of galleries.
An art book is a museum without walls.
You don't own art. What does that mean? We are trustees of art. Art is in transit with us. That is why an auction is a wonderful thing. You clap your hands and the objects fly away like doves and find other places where they will be protected, loved. That's what I believe.
I have a storage unit, as I moved out of a bigger house into a smaller house in L.A. I put all my stuff in a storage unit, where I have the most amazing collection of bad paintings, which took me 10 years to put together.
When objects are presented within the context of art (and until recently objects always have been used) they are as eligible for aesthetic consideration as are any objects in the world, and an aesthetic consideration of an object existing in the realm of art means that the object's existence or functioning in an art context is irrelevant to the aesthetic judgment.
We had all these smiley family pictures all over the walls of my house, but I always found those pictures to be odd because we weren't smiling all the time. I don't want to paint the picture of a total dysfunctional house, but there were a lot of arguments in that house. A lot of pain.
Related Authors
Andrea Dworkin Quotes
American
Critic
bell hooks Quotes
American
Critic
Charles Lamb Quotes
English
Critic
Charlie Brooker Quotes
English
Critic
Chuck Klosterman Quotes
American
Critic
Elvis Mitchell Quotes
American
Critic
Henry Giroux Quotes
American
Critic
Henry Louis Gates Quotes
American
Critic
Howard Rheingold Quotes
American
Critic
Kimberly Guilfoyle Quotes
American
Critic
Mike Gallagher Quotes
American
Critic
Roger Ebert Quotes
American
Critic
Roland Barthes Quotes
French
Critic
Terry Eagleton Quotes
English
Critic
Walter Benjamin Quotes
German
Critic
William Hazlitt Quotes
English
Critic