A Quote by Rashid Johnson
When I was young, I remember feeling a real thirst for opportunities around the arts, for learning about how artists function and how institutions work.
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I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember. We rewrite memory much as history is rewritten. How can one remember thirst?
Remember how quickly our field [computer science] changes. That's why you want to focus on learning things that don't change: how to work well with other people, how to carefully assess a client's real - as opposed to perceived - needs, and things like that.
I'm just learning who I am and how relationships work and how to make them function. No different from anyone else.
I'm a recording artist who's traveled around the world so I have different opportunities than other people and people may decide how I should use my opportunities because my opportunities are public whereas I can't decide how people should use their opportunities because their opportunities are private. That's what we're dealing with - people feeling like they should be able to control celebrities.
I love knowing and learning about people around the world displaying my art online. Also, it's how I learn about new artists that are in various parts of the world. The positive thing about Tumblr and Instagram is that they're a fantastic platform for art lovers. I also like, when I search for my art and it says, "see also or related artists," and I see those other artists that relate to me, at least according to the internet. I think it's fascinating - it's interesting to see hashtags people are using in relation to my work. It's another tool of communication.
A lot of artists are much more concerned about how their work is used and how it's disseminated. That, to artists, is as important as the money, for some people.
Foreign aid, especially when there is a lot of it, affects how institutions function and how they change.
You know, I didn't write my books for critics and scholars. I wrote them for students and artists. When I hear how much my work has meant to them--well, I can't tell you how happy that makes me. That means that this great stuff of myth, which I have been so privileged to work with, will be kept alive for a whole new generation. That's the function of the artists, you know, to reinterpret the old stories and make them come alive again, in poetry, painting, and now in movies.
I think both science and art are impelled by curiosity: What's really happening? How do things really function? How can I really engage with the world around me? These are questions that artists and scientists both ask.
Individuality is founded in feeling; and the recesses of feeling, the darker, blinder strata of character, are the only places in the world in which we catch real fact in the making, and directly perceive how events happen, and how work is actually done.
Artists don't compare themselves to each other based on money. Nobody really knows what money other artists have. They don't care that much. The measure is the work and how you think your work is perceived. How the museums are. How you are doing.
I have engaged in hyper-male culture, and I'm learning about it, and I'm learning how I can change and help young boys and young men change.
Young children seem to be learning who to share this toy with and figure out how it works, while adolescents seem to be exploring some very deep and profound questions: how should this society work? How should relationships among people work? The exploration is: who am I, what am I doing?
Young children seem to be learning who to share this toy with and figure out how it works, while adolescents seem to be exploring some very deep and profound questions: 'How should this society work? How should relationships among people work?' The exploration is: 'Who am I, what am I doing?'
How strange it is. We have these deep terrible lingering fears about ourselves and the people we love. Yet we walk around, talk to people, eat and drink. We manage to function. The feelings are deep and real. Shouldn't they paralyze us? How is it we can survive them, at least for a little while? We drive a car, we teach a class. How is it no one sees how deeply afraid we were, last night, this morning? Is it something we all hide from each other, by mutual consent? Or do we share the same secret without knowing it? Wear the same disguise?
The people who fund the arts, provide the arts, and research the arts have all produced a consensus about the value of what they do, which hardly anyone challenges. But do the numbers add up? For all the claims made about the arts, how accurate are they?
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