A Quote by Thelma Golden
I grew up going to museums. I was privileged to discover art and artists in a very personal way.
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I've watched so many women, from Kathleen Hanna all the way up to Taylor Swift, whether they're pop artists or rock stars or fine artists or writers, it is the subhistory of female artists that if you're going to make art, you're also going to have a full-time job of defending your right to make art.
I personally have never trusted museums. ... It is because museums, broadly speaking, live off of the art and artifacts of others, often art and artifacts that have been obtained by dubious means. But they also manipulate whatever it is they present to the public; hence, until Judy Chicago, in the 1970s ... few women artists were hung in any major museum. Indian artists? Artifacts only, please. Black artists? Something musical, maybe? And so forth.
I'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums.
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.
I grew up in an artists' community in New York, in a building that was government-subsidised for artists. No one made any money, but they made art for the sake of art.
I grew up in an artists community in New York, in a building that was government-subsidised for artists. No one made any money, but they made art for the sake of art.
I always try to have a book on hand, traveling is an excellent way of providing perspective, and studying Art History has made going to art museums way more fun than you can imagine.
Of course, museums and galleries and art spaces will continue to ground the art world. But certainly the public - as well as artists - also benefit when art is encountered in other everyday situations.
We do have Museums of African American Art in the United States, and there is a National Museum of Women's Art. However, I believe Latinos are best served by displaying their art next to the art of other groups, particularly North American, European, and even Asian artists.
The way I grew up, I had a lot of personal issues with art. It's an individual thing, but I also think it's kind of Midwestern: You do your thing, but you don't talk about it. You make sure it's not such a big deal, and keep it very low-key.
My feeling about growing up in New Jersey was, 'How come I'm not in New York?' That being said, I'm older and I have a better worldview now, and so I think I grew up in an incredibly privileged position. The town I grew up in is beautiful. I got a great education, and I'm very grateful for it.
I grew up in a middle to upper-class house with fairly liberal sentiments, but to me it was always very obvious that the society I grew up in was not ideal and needed to change. Since I was a kid it was apparent it was going to change. It wasn't sustainable the way it was going on.
I grew up on the beach and I grew up surfing and I grew up swimming in this very genuine beach town back in Australia, and it's just something I really want to reflect in my lifestyle and in the way I am, the way I represent myself, the way I dress and the music that I make.
Fine-art photography is a very small world associated with galleries, museums, and university art programs. It's not like rock music; the products of this world have never been widely seen because the artists are often exploring things that are not already coded in general consciousness. It's not that photographers don't want to be famous, it's just that very few of the views from the edges of culture make the mainstream. Ansel Adams was an exception.
Artists raise their kids differently. We communicate to the point where we probably annoy our children. We have art around the house, we have books, we go to plays, we talk. Our focus is art and painting and dress-up and singing. It's what we love. So I think you can see how artists in some way raise other artists.
I was privileged in terms of where I grew up, and I come from a very loving, supportive household. But when I began to go off the rails at boarding school, my behaviour wasn't a result of an upbringing but more something that was going on within me.
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