A Quote by Robert Barry
And when you see artists like Donald Judd and so forth being referred to as conceptual, what the hell does that mean? It's a totally meaningless term.
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My mother photographed Donald Judd in Marfa, Texas, right before he passed away. He was actually the first artist whose work I collected. I just loved the photographs that my mom had done of Donald Judd and the installations in Marfa.
Being holy . . . does not mean being perfect but being whole; it does not mean being exceptionally religious or being religious at all; it means being liberated from religiosity and religious pietism of any sort; it does not mean being morally better, it meas being exemplary; it does not mean being godly, but rather being truly human.
The definition of 'safe' is not strictly an engineering term; it's a societal term. Does it mean absolutely no loss of life? Does it mean absolutely no contamination with radiation? What exactly does 'safe' mean?
A lot of people are promoting records that are just throw-it-agains t-the-wall-see- if-it-sticks meaningless bullshit. Everybody has the responsibility to do the right thing and promote artists that mean something.
I've worked with Judd since 'Undeclared,' and once you work with Judd you never stop working with Judd.
It's actually now, more common to see conceptual productions of Shakespearian, which Hamlet is played as a Nazi, or a homosexual, or whatever concept is being laid over the play, then it is to see a production of Shakespeare in which there is no conceptual overlay and the play is simply being presented on its own terms.
What does it mean when you hook up your work to that of a late modernist giant working in a reductive vein - Ad Reinhardt, Agnes Martin, Robert Ryman, Ellsworth Kelly, Frank Stella, or Donald Judd, for example - like a caboose? I am not talking about engaging directly with another artist's work or ideas, but of perpetuating a look or, in the case of Wade Guyton, the various monochromatic, striped and geometric surfaces we associate with Minimalism.
The editorial board, who endorses candidates, is totally separate from the news side of the business. We don't consult one another. They have one job to do, we have a totally different one to do. So whether the Washington Post editorial board endorses Donald Trump or Hillary Clinton is meaningless to me.
I think the term 'conceptual art' is a useful term for writers, a basket to put people in, like Pop Art or Impressionism or whatever.
There is a slight problem with being a conceptual artist these days: You won't get paid. But this levels the field and takes the art of money out of the field of serious art. The only conceptual artists who would conceive of making money on the Internet are a lowbrow species known as hustlers.
Humans do not engage in activities that are meaningless. If you think you see people doing things you find meaningless, look again and try to understand what the activities mean for them.
I am not comparing myself to great artists, but when you see conceptual artists at work, on some level it's reassuring to know they can paint figuratively. Likewise, when you listen to the '50s jazz people who do these vast solos, you buy into it more if they open by playing a tune.
We believe being in long-term, deeper relationships with artists is a great strategy, we will be 100% pursuing it. There has never been a debate with Michael Cohl as to whether we should be in the Madonna business or be in long-term relationships, or be in more rights with artists.
If you look at how people use the term 'western,' you can only conclude that it means a movie that has big hats and horses. And if you really want to sound like you've been thinking, then you'll use a term like 'genre.' But all the hell it seems to mean is big hats and horses. Which is not all that deeply analytical.
It's impossible to talk without labels. "Dog" is a label, but that doesn't mean it's meaningless, nor does it mean there's no difference in a Shih Tzu and a Doberman.
A lot of young artists in particular think you can just do one great thing and then sit back and collect checks. Most artists, even people like Dan Clowes, who's one of my heroes, don't just do comics. He does paid illustration. He writes screenplays, and so forth, working and selling lots of different things.
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