A Quote by Kehinde Wiley
One of my most strong memories was studying with Mel Bochner, one of the, I think, high water marks of American conceptual art.
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Mel [Bochner] sets a very high standard. He expects only the best and most thoughtful and rigorous examinations, not only of the history of art but your own practice.
I think one of the things that I took from Mel [Bochner] specifically was his ability to look at oneself and one's relationship to the history of art and the practice of art at arm's length, the ability to sort of clinically and coldly remove oneself from the picture and to see it simply as a set of rules, habits, systems, moving parts.
I'm not anti conceptual art. I don't think painting must be revived, exactly. Art reflects life, and our lives are full of algorithms, so a lot of people are going to want to make art that's like an algorithm. But my language is painting, and painting is the opposite of that. There's something primal about it. It's innate, the need to make marks. That's why, when you're a child, you scribble.
It would be obvious for me to do conceptual art, and I think I've done it already with smashing bass guitars and whatever - I consider that as conceptual.
The most important thing for any con artist is never to think like a mark. Marks think they can get something for nothing. Marks think they can get what they don’t deserve and could never deserve. Marks are stupid and pathetic and sad. Marks think they’re going to go home one night and have the girl they’ve loved since they were a kid suddenly love them back. Marks forget that whenever something’s too good to be true, that’s because it’s a con.
Mel [ Bochner] held large-form meetings with students. But the stronger points came through when we had the one-on-one critiques. And that's the system that works at Yale. There's the group critiques, and then there's the one-on-one critiques that happen in studio.
Mel Bochner was able to give me the tools to look at those types of experiences, register them with my own, but also hold them far enough away to see them 360.
Great art - or good art - is when you look at it, experience it and it stays in your mind. I don't think conceptual art and traditional art are all that different.
Intellectual culture seems to separate high art from low art. Low art is horror or pornography or anything that has a physical component to it and engages the reader on a visceral level and evokes a strong sympathetic reaction. High art is people driving in Volvos and talking a lot. I just don't want to keep those things separate. I think you can use visceral physical experiences to illustrate larger ideas, whether they're emotional or spiritual. I'm trying to not exclude high and low art or separate them.
Conceptual art might be, for better or worse, (definable as) the art most susceptible to lossy compression.
I think I give myself high marks being an entrepreneur and entrepreneuring a big idea about how popular social gaming could be. But I learned a lot of hard lessons on the CEO front... and do not give myself very high marks as a CEO of a large-scale company.
People who look at art don't really - don't go with the artist. They don't sort of accept what he or she has done and kind of go with it. There are always - either there's too much color or not enough color, either it's not conceptual enough or it's too conceptual. In other words, most criticism isn't what the viewer expected that it would do based on what they think you have done and that's good as far as I'm concerned.
You set us up!” “No! I swear—” Her face fell. “Mel. Mel must’ve told him.” “Right,” I grumbled. “Blame Mel.
There is a slight problem with being a conceptual artist these days: You won't get paid. But this levels the field and takes the art of money out of the field of serious art. The only conceptual artists who would conceive of making money on the Internet are a lowbrow species known as hustlers.
All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art.
I want to live with all of my memories, even if they’re sad memories. I believe that if I stay strong, someday I’ll overcome the pain, and then I’ll be glad that I have those memories. I believe that there are no memories that are okay to forget.
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