A Quote by Kadir Nelson
What's important about the artists we learn about in art history and see in all the art books is that they have somehow pushed the boundaries of what people think art is or should be, and that's how they've made their work relevant. That's what I'm trying to figure out for myself.
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I love knowing and learning about people around the world displaying my art online. Also, it's how I learn about new artists that are in various parts of the world. The positive thing about Tumblr and Instagram is that they're a fantastic platform for art lovers. I also like, when I search for my art and it says, "see also or related artists," and I see those other artists that relate to me, at least according to the internet. I think it's fascinating - it's interesting to see hashtags people are using in relation to my work. It's another tool of communication.
The history of art is not just the history of artists; it is also the history of the people who viewed art. And that wider perspective can help us see some of the reasons why the art of the ancient world should still matter to us.
I didn't go to art school. So, I never had this moment of taking time to actually learn how to make things and learn about art history and learn about people that came before me.
Art is difficult. It's not entertainment. There are only a few people who can say something about art - it's very restricted. When I see a new artist I give myself a lot of time to reflect and decide whether it's art or not. Buying art is not understanding art.
Artists today think of everything they do as a work of art. It is important to forget about what you are doing - then a work of art may happen.
My definition of art has always been the same. It is about freedom of expression, a new way of communication. It is never about exhibiting in museums or about hanging it on the wall. Art should live in the heart of the people. Ordinary people should have the same ability to understand art as anybody else. I don’t think art is elite or mysterious. I don’t think anybody can separate art from politics. The intention to separate art from politics is itself a very political intention.
Art is nothing tangible. We cannot call a painting 'art' as the words 'artifact' and 'artificial' imply. The thing made is a work of art made by art, but not itself art. The art remains in the artist and is the knowledge by which things are made.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
Our time and attention is scarce. Art is not that important to us, no matter what we might like to believe... Our love of art is often quite temporary, dependent upon our moods, and our love of art is subservient to our demand for a positive self image. How we look at art should account for those imperfections and work around them. Keep in mind that books, like art museums, are not always geared to the desires of the reader. Maybe we think we are supposed to like tough books, but are we? Who says? Many writers (and art museums) produce for quite a small subsample of the... public.
It is a thoughtless and immodest presumption to learn anything about art from philosophy. Some do begin as if they hoped to learnsomething new here, since philosophy cannot and should not do anything further than develop the given art experiences and the existing art concepts into a science, improve the views of art, and promote them with the help of a thoroughly scholarly art history, and produce that logical mood about these subjects too which unites absolute liberalism with absolute rigor.
If you labor heavily upon a work of art, then part of what you are saying is, 'This is a heavy work of art.' If you happen to be trying to say something about lightness, then the art should be light as well.
Art movements are always linked to some kind of turmoil. We can look at history and see that [political turmoil is] fertile ground for art. I also think that it gives artists something, a way of kind of processing. My friends and I have all been super motivated to work and to do the work that we need to and want to and think should be in the world. Hard times are really a fire under your ass to prioritize and think, "Okay, how can I challenge myself to put something in the world that wasn't there that can reach other folks and help them to process"?
Art should walk a tightrope. That's what art should be. Art should be dangerous. You can't be scared to say something with it. People love to talk about how comics are real art and real literature, so why not use these characters to talk about real things, even if it is dangerous?
When I was in art school, I thought art was something I would learn how to do, and then I would just do it. At a certain point I realized that it wasn't going to work like that. Basically, I would have to start over every day and figure out what art was going to be.
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 became a question of taste. I have a certain taste in art history. And that - I had a huge library of art history books in my studio. And I would simply have the models go through those books with me, and we began a conversation about, like, what painting means, why we do it, why people care about it why or how it can mean or make sense today.
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