A Quote by Richard Phillips
There was a belief after World War I that painting could be an act of civil revolt. I want this exhibition, 'New Museum,' to be an act of civil disobedience. It's not so much about the New Museum on the Bowery, but the idea of challenging museums as projections of cultural authority. It's painting as insurgency.
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Yes, what has happened is we have moved from responding to these terrorist attacks as acts of civil disobedience to getting to the point after September 11 that we said, no, this is not just civil disobedience, this is an act of war.
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
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.
The state says: "Well, in order for it to be legitimate civil disobedience, you have to follow these rules." They put us in "free-speech zones"; they say you can only do it at this time, and in this way, and you can't interrupt the functioning of the government. They limit the impact that civil disobedience can achieve. We have to remember that civil disobedience must be disobedience if it's to be effective.
We always have a great time touring Germany, but one of my favourite museums in the world is Museum Ludwig, an incredible contemporary art museum in Cologne. I could spend all day in it.
I think about museums often. There are things that I want museums to do that they often don't. For me, I like it when there's a system within the museum that can continuously change - whether it's a museum that is nomadic or one that's designed so the building can shape-shift. I like restless spaces, and I want to be engaged.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
This is nothing new. We saw this with the Social Security Act, the Civil Rights Act and the Voting Right Act - constitutional challenges were brought to all three of these monumental pieces of legislation.
I have seen Colonial churches since I was very small, Colonial painting and polychrome sculpture. And that was all I saw. There was not a single modern painting in any museum, not a Picasso, not a Braque, not a Chagall. The museums had Colombian painters from the eighteenth century and, of course, I saw Pre-Columbian art. That was my exposure.
The first painting I remember selling was 'Panthera.' I made it while I was in residence at the Studio Museum in Harlem, and the museum actually purchased it directly from me.
I was at an art museum with my parents, and was quite taken with a [Vincent] Van Gogh painting. I stood admiring the painting for some time, and then realized that in addition to feeling moved by the beauty of the painting, I felt a little jealous of the painter.
The act of civil disobedience is the act of taking our anger and turning it into sacred rage. It is a personal and collective gesture of resistance and insistance.
[Before the Civil Rights Act of 1964], many governments in southern states forced people to segregate by race. Civil rights advocates fought to repeal these state laws, but failed. So they appealed to the federal government, which responded with the Civil Rights Act of 1964. But this federal law didn't simply repeal state laws compelling segregation. It also prohibited voluntary segregation. What had been mandatory became forbidden. Neither before nor after the Civil Rights Act were people free to make their own decisions about who they associated with.
Contrary to the claims of the supporters of the Civil Rights Act of 1964 and the sponsors of H.Res. 676, the Civil Rights Act of 1964 did not improve race relations or enhance freedom. Instead, the forced integration dictated by the Civil Rights Act of 1964 increased racial tensions while diminishing individual liberty.
Civil disobedience is not something outside the realm of democracy. Democracy requires civil disobedience. Without civil disobedience democracy does not exist.
I remember the first time I went to the Los Angeles County Museum of Art and saw a Kerry James Marshall painting with black bodies in it on a museum wall... It strengthened me on a cellular level.
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