A Quote by Manny Farber
I get a great laugh from artists who ridicule the critics as parasites and artists manqués — sucha horrible joke. I can’t imagine a more perfect art form, a moreperfect career than criticism. I can’t imagine anything more valuableto do.
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When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
Critics are more committed to the rules of art than artists are.
I would love to see more dialogue around the "responsibilities" of art consumers - how can audiences better financially support artists we love, artists who are doing the work, so that artists have a more solid foundation upon which to make art?
Criticism really used to hurt me. Most of these critics are usually frustrated artists, and they criticise other people's art because they can't do it themselves. It's a really disgusting job. They must feel horrible inside.
Criticism really used to hurt me. Most of these critics are usually frustrated artists, and they criticise other people's art because they can't do it themselves. It's a really disgusting job. They must feel horrible inside
The art I like concentrates on the body. I don't have a feel for Poussin, but for Courbet, Velásquez - artists who get to the flesh. Visceral artists - Bacon, Freud. And de Kooning, of course. He's really my man. He doesn't depict anything, yet it's more than representation, it's about the meaning of existence and pushing the medium of paint.
With almost no exceptions, art by men is much more expensive than art by women. Even great women artists, like Louise Bourgeois and Lee Krasner, are only fully embraced very late in their career.
I believe that any form of art is a species of exploration and transgression. ... Art by its nature is a transgressive act, and artists must accept being punished for it. The more original and unsettling their art, the more devastating the punishment.
More and more in the art world are becoming moralistic, telling artists and critics what they should and shouldn't write, do, or make art about. Never mind the intellectual hypocrisy of this: Those who violate the clublike code are made out to be wrong, immoral, corrupt.
I can't imagine anything more debilitating, anything more challenging, anything more thrilling than to get on a stage and do any kind of play. It is such a vulnerable place for any actor to be in.
When artists find other artists that they love to work with, they more than likely will continue to work with them throughout their career.
Right before I went to Pacifica, I had written and performed a one-woman show and I consider that to be my original art form. Spaulding Grey and Karen Finley and other spoken word artists and performance artists really very much interested me, that art form.
I certainly don't delude myself that there aren't certainly more important things to do in life than make people laugh, but I can't imagine anything that would bring me more joy.
It's not curators, it's not critics, it's not the public, it's not collectors who find great artists - it's other artists.
During the last 35 years, the artists multiplied, the public grew enormously, the economy exploded, and so-called contemporary art became fashionable. All these parameters changed the art world form its previous aspects and fundamentals - the explosion of museums and institutions, explosion of Biennales and Triennials, explosion of money, explosion of interest, explosion of artists, explosion of countries interested in contemporary exhibitions, explosion of the public. Not to see that is to be more than blind.
I'm just hoping that, as more black artists take control of the narratives that are out there, more opportunities will come around for artists of colour. We want to make the same waves that the white artists do.
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