A Quote by Natasha Trethewey
The more I've gotten interested in writing about history and making sense of myself within the continuum of history, the more I've turned to paintings, to art. I look to the imagery of art to help me understand something about my own place in the world.
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Think about it: you've already related it down to something that somebody else can understand. If art relates to something - it's like Picasso, it's like Mondrian - it's not. Art's supposed to be what it is. Using a reference of art history might help for some kind of sales, but it doesn't really help anybody. Art is what it is; it cannot be footnoted, until it enters the world. Then it has a history. Then the footnotes are the history, not the explanation.
Growing up in the '70s and '80s when my dad had an art gallery, one of the things that frustrated me was the world seemed so tiny, and to appreciate contemporary art, you needed a history of art, a formal education. I was more interested in the people, and that's why I went into the movie business in the first place.
I have a fondness for making paintings that go beyond just having a conversation about art for art's sake or having a conversation about art history. I actually really enjoy looking at broader popular culture.
When you look at the paintings at Chauvet Cave, they're not primitive or like children's little scribbles, it bursts on the scene fully accomplished and when you look through the faces of cultural history, art history, it has never gotten any better.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
I am not a historian, but I find myself being more and more fascinated by history and now I find myself reading more and more about history. I am very interested in Napoleon, at the present: I'm very interested in battles, in wars, in Gallipoli, the First World War and so on, and I think that as I age I am becoming more and more historical. I certainly wasn't at all in my early twenties.
If you look at the paintings that I love in art history, these are the paintings where great, powerful men are being celebrated on the big walls of museums throughout the world. What feels really strange is not to be able to see a reflection of myself in that world.
The history of art is not just the history of artists; it is also the history of the people who viewed art. And that wider perspective can help us see some of the reasons why the art of the ancient world should still matter to us.
Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.
I learned more from my mother than from all the art historians and curators who have informed me about technical aspects of art history and art appreciation over the years.
What is the art experience about? Really, I'm not interested in making Art at all. I never, ever, think about it. To say the word Art, it's almost like a curse on art. I do know that I want to try to get closer to myself. The older I get, the more indications I have about what it is to get closer to yourself. You try less hard. I just want to be.
I have always lived in a world in which I'm just a spot in history. My life is not the important point. I'm just part of the continuum, and that continuum, to me, is a marvelous thing. The history of life, and the history of the planet, should go on and on and on and on. I cannot conceive of anything in the universe that has more meaning than that.
If you study the history of mankind, it seems to be a history of violence. Certainly the history of art, whether you look at paintings or movies or plays or whatever, is just a litany of murder and death.
When I was at art school, a lot of art education is about art being a means of self-expression, and as an 18-year-old I didn't know if I had a huge amount I wanted to express. It was a big moment when I decided I wanted to shift the emphasis or the intention of my art from something I disgorged myself upon and something that actually fed me or made me see the world or understand the world.
I really wasn't about to get a Ph.D. in art history, you know, which you'd absolutely needed. And that was not something I wanted. And I loved art history, but not that way.
Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to; art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language.
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