A Quote by Kalup Linzy
It's interesting how as an artist you keep evolving, but if you can get into the contemporary art space, if the works are in institutions and museums, they keep living on and on and on, even if you move to a different space, that work is still operating.
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The base skill is listening: how I'm listening to the material, how I'm listening to the space. With electronic sound, it's a similar situation of how to produce it and place it so that it works in a space. The first consideration is adopting the space and having work that resonates in the space.
Why is there space rather than no space? Why is space three-dimensional? Why is space big? We have a lot of room to move around in. How come it's not tiny? We have no consensus about these things. We're still exploring them.
I think even in bad times it's good to keep some money going into research. And that's the purpose of the whole space program. It's not just exploration and going to see how far we can go out into space and keep people alive and bring them back, although exploration certainly has its place.
I really believe in empty spaces, although, as an artist, I make a lot of junk. Empty space is never-wasted space. Wasted space is any space that has art in it. An artist is somebody who produces things that people don't need to have but that he, for some reason, thinks it would be a good idea to give them.
When museums are built these days, architects, directors, and trustees seem most concerned about social space: places to have parties, eat dinner, wine-and-dine donors. Sure, these are important these days - museums have to bring in money - but they gobble up space and push the art itself far away from the entrance.
I'm interested in making works for museums in a way that make the space feel domestic, and I'm always thinking about how this work will be part of someone's daily life.
Gotta keep it peace like a buddhist
Nobody gonna Wesley snipe me
It's less than likely,
Move back,
Let I breathe Jedi knight,
The more space I get the better I write,
(Oh) Never I write, but, if, ever I write,
I need the space to say whatever I like.
I go to museums. I buy art, even. You should see my house; we don't have any wall space left.
Whatever an artist's personal feelings are, as soon as an artist fills a certain area on the canvas or circumscribes it, he becomes historical. He acts from or upon other artists. An artist is someone who makes art too. He did not invent it. How it started — "to hell with it." It is obvious that it has no progress. The idea of space is given him to change if he can. The subject matter in the abstract is space. He fills it with an attitude. The attitude never comes from himself alone.
Museums have traditionally been places that protect the art object. But in the last 40 years, a new type of museum has emerged - the Kunsthalle or alternative space which only presents temporary, contemporary shows. Yet art is not just about the future - it is about the future and the present, but it also can't forget the past.
I'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums.
I had always spoken about the space between the art object and the person looking at it as this dynamic space, which I referred to over and over. So the idea of the space between two things was sort of interesting to me.
The most important thing to do as an artist is to get out of your comfort zone and work with different people: people who can't read a note of music, people who have incredible classical skills, blues and jazz musicians, pop artists, visual artists, dancers and actors. Learn from people who are creative in a different way to you and you'll keep evolving.
But as Van casually directed the searchlight of backthought into that maze of the past where the mirror-lined narrow paths not only took different turns, but used different levels (as a mule-drawn cart passes under the arch of a viaduct along which a motor skims by), he found himself tackling, in still vague and idle fashion, the science that was to obsess his mature years - problems of space and time, space versus time, time-twisted space, space as time, time as space - and space breaking away from time, in the final tragic triumph of human cogitation: I am because I die.
There must be an open space in the paintings - an entry space for the viewer, or even for me. Just white space where you can get into it.
Our body is not in space like things; it inhabits or haunts space. It applies itself to space like a hand to an instrument. And when we wish to move about, we do not move the body as we move an object.
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