A Quote by Nate Berkus
When you have a bunch of comfortable upholstered pieces, a single bronze or brass chair really turns the energy up.
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If Romney were a chair, he'd be a squishy, expensively upholstered easy chair that bore the imprint of whoever last sat on it.
I've grown up in the Treme, and I played in a bunch of brass bands. My brother, James Andrews, had a brass band.
It's like when we get the transformer movies. It was all a bunch of smaller robot pieces and then you're on set, and you're watching them blow everything up and you see the movie and you say "wow there's a big giant spaceship crashes there and it turns into a transformer." It's stuff that you don't really see, because our involvement is so heavy.
There's no expectations at all. Every single person that turns up to a show, you really appreciate them. Every single radio interview you do - everything.
We are so impressed by scientific clank that we feel we ought not to say that the sunflower turns because it knows where the sun is. It is almost second nature to us to prefer explanations . . . with a large vocabulary. We are much more comfortable when we are assured that the sunflower turns because it is heliotropic. The trouble with that kind of talk is that it tempts us to think that we know what the sunflower is up to. But we don't. The sunflower is a mystery, just as every single thing in the universe is.
I grew up right in the heart of Treme, so it was a real music neighborhood, and there was a bunch of bands like the Dirty Dozen Brass Band around.
I like poor materials. I couldn't see myself making a bronze sculpture - it's not me. I like neon, because it's moving constantly and like drawing. The chemicals going through the neon turns me on really - it's sexy. I like fabrics, but one of the main things with objects is that I really have to love them before I can use them. I have to have the object around me a long time. The little chairs I used in my last White Cube show are ones that my dad bought for me. A sort of a psychometry with objects and things. It's like the pieces I've made are my things.
An ordinary chair is always more comfortable than the king's chair!
You know the first time I sat in the chair I felt anything but up, it was very emotional for me. I had a chair in my hotel room, a chair at rehearsal, and I was trying to spend as much time as I could in the chair.
I became comfortable with what I knew would be the process of trying to pick up the pieces of brain that were in the rubble and tried to make some mosaic out of the pieces and that that would be the trajectory.
In our house, my dad had a chair. It was a Barcalounger, big and comfortable. If we missed him or wanted comfort when he wasn't home, we'd just climb into the chair and let it envelop us.
When I was a kid, all I knew was that I felt more comfortable sitting in one chair than in another. And now I realize it was because one chair was older. I still respond directly to the age of things.
With me, growing up in a theater family and having them be so supportive, from the jump, and being a part of this theater community where the brass ring is working, wherever that is, and then to play a character where he's not really concerned with that and is really just concerned with the monetary aspect of the job, and then to be identified with someone who is the antithesis of your energy and where you come from, has been a very interesting and surreal ride.
For me reading a book is what I like doing, curled up in a corner in a comfortable chair.
What is extraordinary about contemporary art is the energy - it has our energy. New energy. Pieces hundreds of years old are beautiful from an aesthetic point of view, but without our modern energy.
You may name a bronze statue 'Liberty,' or a painted figure in a city hall 'Commerce,' or a marble form in a temple 'Athene' or 'Venus;' but what is really there is only a representation of a single woman.
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