A Quote by Viggo Mortensen

I have a publishing company of books by me and books of others. It drew people to poetry readings and photo exhibitions and painting exhibitions that I've been doing for years before that.
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
Culture has to be constantly on the vanguard, too. It should be educating people, as it does in Latin America: thousands of great theatres, art cinemas, millions of free books distributed by the governments, public poetry readings, free public lectures, and all sorts of bookstores are open until early mornings, exhibitions reacting to the needs and sorrows of society, concerts of engaged music.
I think my books are better than my exhibitions. If people don't like my books then I don't mind. I guess you like them enough to write an essay about them so that makes me pretty happy.
I would probably have been very content as a scholar to have carried on organising exhibitions and writing books and teaching.
I believe in originality, primarily. However, it's important to know what there has been before to aim in that direction. Art history informs us. It informs our mind. I like to look at books, exhibitions, paintings, as a computer, subconsciously taking on information.
For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game.
One of the most recent things we did [in Perceval Press] is a reissue of a fantastic documentary about Russian prison tattoo culture by Alix Lambert called The Mark of Cain. We've done books from Twilight of Empire, that actually has forewords by Howard Zinn and Dennis Kucinich and others, to books of poetry, photography, painting - all kinds of books.
Look at lots of exhibitions and books, and don't get hung up on cameras and technical things. Photography is about images.
I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
The current publishing scene is extremely good for the big, popular books. They sell them brilliantly, market them and all that. It is not good for the little books. And really valuable books have been allowed to go out of print. In the old days, the publishers knew that these difficult books, the books that appeal only to a minority, were very productive in the long run. Because they're probably the books that will be read in the next generation.
When I started painting 17 years ago, I never imagined that anyone would look at my work or buy my pieces. But now I do about 14 exhibitions each year.
The word 'Playboy' alone doesn't exactly give most women a warm, fuzzy feeling, yet many of the Playboy photos end up in the most praised photo and art magazines and in critically acclaimed photo exhibitions.
Bernard [Leach] had acquired many [Shoji] Hamada works. Some of them, it was interesting - first of all, Hamada worked in St. Ives for about four years before returning to Japan to start his own pottery. He had exhibitions in London, and if these exhibitions didn't sell out, the galleries were instructed to send the remaining work down to the Leach Pottery, where they would go into the showroom for sale. If Bernard saw one that hadn't sold that he really admired, then he would take it (he would buy it), and it would go into the house.
I just submitted what I had to the 'Octopus Books' contest open reading period, and they said they wanted to publish my poetry book. Then I started to publish more and more poetry because people would ask me to do readings or ask me submit something for their journal.
There have been too many miles on the road. I have been doing six or seven exhibitions a week, two or three a night sometimes.
For Borges, the core of reality lay in books; reading books, writing books, talking about books. In a visceral way, he was conscious of continuing a dialogue begun thousands of years before and which he believed would never end.
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