A Quote by Martin Freeman
Not all Peter Greenaway's stuff is sequential, narrative story. Some of it is like an art installation and I'm not particularly interested in being in an art installation to be honest. I'm interested in the story.
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All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art.
Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.
I think I'm really fortunate to be an installation artist who is heavily invested in photography: I don't have the emotional problems with the loss of work that some installation artists have. The photographs wouldn't exist without the installation... but at the same time, I think I'd kill myself if I only did installations. There's something deeply tragic about doing work that you know is temporal.
Art experts are unfailingly opposed to Art for the simple reason that they are interested in Art - but Art is not interested in Art. Art is interested in life.
I wanted to represent the world as a temporary art installation continuously changing. I wanted to consider it unreal and unfinished, judge and transform it, a possibility that only art gives us.
Lewis Carroll, you see, wasn't really interested in telling an exciting story. Well, he wasn't interested in things like cause and effect or a linear narrative. It's surreal, it's absurd, it's wordplay, it's satirical, it's analyzing itself, it's funny, it's an enormous challenge.
I'm extremely interested in art, every form of art, but I'm interested in it when it's good and interested in it when it's interesting.
Burning Man is like one big giant art installation in the middle of starkly beautiful desert landscape, and the attendees are creative in the way they dress.
I try to just put a blank stage in front of them, and say, "This is your space; you tell me where you're coming from and where you're going." At a certain point, it was interesting as the project started to become what it is now, The Source, which has a physical installation and also an online presence. As we started building the installation, I started thinking, "It's really strange that we're building this installation, this piece of architecture you can go into." It's almost strange because I suppose it's an artwork, but it's an artwork that's really constructed out of ideas.
I consider myself fortunate that photography exists, because otherwise I'd be stuck in the tragedy of ephemeralness that can come with installation art.
I have people working together, doing different things: architecture, art installation, photography, publishing, and curatorial works and design.
Jonathan Meese is not interested in the history of reality. Everything radical and precisely graphic is sustainable. Human ideologies like religions and politics are based on the past and therefore irrelevant to art. Art always transforms radicalism of the past into the future. Art is always the total time machine. Jonathan Meese is interested in the history of the future. Art is never nostalgic.
I'm interested in reality, and I'm interested in survival. I'm interested in people who aren't the lucky ones, who maybe have a tougher time surviving, and telling their story.
I think about art a lot only in two contexts. One is narrative... The other thing that I'm interested in, which is tangential, but not unrelated... All art to me is about problem solving.
That's not the part of the story that I'm interested in, anyway. The part that I'm interested in is all the personal stuff. I tried to base the powers on family archetypes.
I began my career creating art for an animated feature film, and it has been a life-long dream to tell some of the story of my own life - the story behind my art - through the medium of motion pictures.
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