A Quote by Nick Lowe
The number of contemporary artists who appeal to me is infinitesimal.
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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.
The artists could be dead, but some of them are not so distant from us, and make us feel as if they are alive with us. Such artists are worth calling "contemporary artists".
Some comic artists I've known are better than most contemporary artists with work hanging in Tate Modern.
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.
When the magazines talk about artists they talk about the Paul McCartneys, the Paul Simons, they never talk about me. So their readers and contemporary artists are never going to check me out because they're not reading about me.
There are no categories in contemporary art. There are no rules. Artists are given the freedom to make and create whatever they please and call it whatever they please. I identify with that system, or lack of system, much more than I do the landscape of contemporary publishing.
I'd been watching documentaries about early rock where white artists took 'race records' from blues and soul musicians to achieve mass appeal. I wanted to flip that and do an EP covering only white artists.
I know I'm not the kind of person who's gonna wind up a walking jukebox, like many rock 'n' roll artists. They just play their hits and that's it. That doesn't appeal to me.
If liberals can seize our guns because they are dangerous, we have no chance of holding on to our cars and our homes. The total number of accidental fatalities (the majority of which are hunting accidents) of all types of firearms is infinitesimal compared to the number of fatalities from car and home accidents. More children die from playing with cigarette lighters than from playing with loaded guns.
It's not like I have anything against it, I just chose the kind of films that appeal to me, and mindless entertainers don't often appeal to me.
As a general habit and general tendency, I prefer not to bog a piece down with a great number of transitory, contemporary references, because in the end, I'm concerned, not in an abstract way, but an actual way, with creating a world which has a universality to it - even though what goes on is made up of texture and detail, contemporary detail.
I don't listen to the contemporary pop artists. They all sound alike, anyway.
Mother's interest in contemporary American artists emerged during the 1920s.
In the contemporary world, artists are almost entirely self-referential.
There are some commercial artists that have number one after number one, and you go to their show, and the show's one-note. Yeah, they're all hit songs. But there's no emotion, because they're the same kind of hit songs, because they're what works at radio. That kills live shows for me.
The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.
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