A Quote by Kiki Smith

I'm peripheral in Colab's history because others were involved in media, filmmaking, and music, and I was always a studio artist. — © Kiki Smith
I'm peripheral in Colab's history because others were involved in media, filmmaking, and music, and I was always a studio artist.
When studio art started being seen as important, I joined Colab, and then I became very involved.
I am so disconnected from the world of rock 'n' roll. I was always peripheral, partly because of the drug culture. I was not involved in that.
Sometimes it's hard for me to tell the difference between independent filmmaking and studio filmmaking because all the studios have these little independent satellites. It's interesting.
I'm old-fashioned. I think William Blake and people in the Renaissance people were multi. Look at da Vinci, he was involved in science; and Michelangelo was dabbling in poetry. Both of them were painters and sculptors but they also involved themselves with architecture. I honestly don't know what happened in the '60s and '70s. If you sang rock and roll in America at that time or were involved in expressing yourself through music like that, then many thought you couldn't possibly be an artist. That thinking is archaic.
With filmmaking in general, I have never absorbed the traditional knowledge of film history or filmmaking. It has always been just pick up the camera and go figure it out.
What is it that an artist does when he is left alone in his studio? My conclusion was that if I was an artist and I was in the studio, then everything I was doing in the studio should be art . . . . From that point on, art became more of an activity and less of a product.
As an independent artist it is so easy to get caught up in websites, social media, merchandise, when I am going to put out an EP, fining a producer, finding a studio to record in and you have to remember at the end of the day you should be writing music.
We both are the only women that beat Ronda Rousey. There's a history involved. Holly and I always were the underdog in our fights, so there's a history.
We with Komplizen Film believe very much in the writer-director and in the freedom of a filmmaker. I think it's always good to be involved where you spend the money. Filmmaking, you see in the picture what the money's spent for. I never had to leave a phase of filmmaking before being really happy, and that was really a big luxury. That could happen, I think, because I am my own producer.
Woodfall wasn't deliberately telling working-class stories, but John Osborne and other writers who were involved with them were writing those stories, which had never really been written before. The working-class person always had to have an accent before, was often a joker, and peripheral. At Woodfall, they were driving the film.
Whenever I play recitals, the part where I talk about music and my experiences of music, audiences always like it. They feel more involved with an artist who talks to them. It's a nice experience for me as well.
But you have to understand what that really did is that it opened these DVDs to be sources of oral history instead of puff pieces for the studio, because people involved with them being in fear of being sued by somebody, so it became another form of movie history. I mean I didn't plan it, but I'm proud that it happened. Which is probably why they didn't interview me for this DVD.
I think as consumers Europeans are a lot more artist loyal irrespective of the genre of music or the type of project or the collaborative effort, and Americans are more media-loyal, because they need to be fed that media to know what's going on, because we're so inundated with promotion and marketing and everything that's going on - advertising.
In the early eighties, there were a lot of artists involved with the music scene. All those young artists, before their careers took off, were into music. Robert Longo used to play some guitar. He had a band for a while. Basquiat had a band. I mean, people were always trying to mix music and art - in fact, I'm guilty of it myself.
I like to believe a true fan of music or an artist has a genuine respect for what the artist does and has a distinct understanding of their actions. In that buying an album they are helping the artist to continue making music. It's hard because everyone wants something to be free.
The only place where any artist feels liberated is doing independent music. I have had great experience making music for The Dewarists and Coke Studio. No actor, producer or label is telling me what to do with my music. I'm the boss. It is my life, my expression.
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