A Quote by Victoria Coren Mitchell
I can't believe that 100% of the people who stand in art galleries looking at art are thinking, 'Well, here I am, looking at art.' They must be having some sort of other, unselfconscious experience.
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There are so many people who have a training in art history; and if you've spent time looking at old art, you become attuned to what art does through materiality and so you begin to look to that in contemporary art as well. And anyway, I do think that matching one's experience with what you're looking at and questioning what you're looking inevitably involves materiality, just like it involves the sense of place.
Can space break? I mean the space of art galleries. Over the past 100 years, art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors.
Maybe this is a utopian view of art but I do believe that art can function as a vehicle, that it isn't just a cultural pursuit, something that happens in art galleries. Unless art is linked to experience and the fear and joy of that, it becomes mere icing on the cake.
I don't believe too much in originality... you learn art from other art and then looking into somebody's face or landscape is the point of departure to do your work of art.
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.
Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.
Our experience of any painting is always the latest line in a long conversation we've been having with painting. There's no way of looking at art as though you hadn't seen art before.
I have a fondness for making paintings that go beyond just having a conversation about art for art's sake or having a conversation about art history. I actually really enjoy looking at broader popular culture.
I think art is good at looking back and looking forward. I don't think art is good at looking head-on. At the end of the day, people are more important than paintings.
Art makes people do a double take and then, if they're looking at the picture, maybe they'll read the text under it that says, "Come to Union Square, For Anti-War Meeting Friday." I've been operating that way ever since - that art is a means to an end rather than simply an end in itself. In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.
Because I'm an art historian, I have some experience of writing that comes out of close attention. That's what really art history is. You're looking at something very closely, and you try to write in a meticulous way about it.
It is neither Art for Art, nor Art against Art. I am for Art, but for Art that has nothing to do with Art. Art has everything to do with life, but it has nothing to do with Art.
The problem is we're looking for something that doesn't exist. We're looking for authenticity. There is no such thing as authenticity. There is either good art or bad art. Art is never about its content. It's about its scaffolding.
Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There's likely more combined square footage for the showing of art on one New York block - West 24th Street between Tenth and Eleventh Avenues - than in all of Amsterdam's or Hamburg's galleries.
As a working-class girl, receiving free school dinners, I studied art history. Having never had the chance to visit art galleries, I devoured the knowledge, and it has served me well as a practising artist.
I absolutely consider fashion a form of art. Of course, there is some fashion that is not art at all - it's utilitarian, made for the purpose of covering up. And there are a lot of people out there who put a lot of effort into looking awful. But there are also people putting the same amount of energy into making bad art.
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