A Quote by W. Eugene Smith
I can’t stand these damn shows on museum walls with neat little frames, where you look at the images as if they were pieces of art. I want them to be pieces of life!
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But the difference between the little pieces and the big pieces - I'm not actually sure which are the little pieces. With some of the big pieces, it's a lot of musical running around, whereas the little pieces, you can say everything you want to say.
Once you put something like 'The A-Team' on the map, it does become part of the DNA of television. People grab little pieces of it. I certainly grabbed little pieces of other people's shows when I was creating my shows.
We look at our albums as stand-alone pieces of art and also as adverts for our live shows.
I want to make movies and pieces of television and pieces of art that crack everyone's assumptions.
Love is like a teacup that every day falls to the ground and breaks to pieces. In the morning the pieces are gathered and with a little moisture and a little warmth, the pieces are glued together, and again there is a little teacup. He who is in love spends life fearing that the terrible day will come when the teacup is so broken that it can no longer mended.
We can see an anthill or a roach or a flower or anything, but we have this frame where our mind recognizes an anthill and then moves on, without taking the opportunity to have the sense of awe that we could have if we really looked at it. The montage is about taking pieces of reality and rearranging them - creating new frames to make you have to stop and look at things in a fresh way. It's basically taking pieces of everyday reality and rearranging them to show people the magic that is inherent in all of these things already.
I brought a lot of images of pieces I got from my grandmother, pieces I collected over time and then we met with a designer and we tried to morph all my inspirations into one story.
I wrote a number of pieces in the year 1966 that were so bad that, although I'm a great collector of my own pieces, I have never collected them.
With a piece of classical music by Haydn, Mozart, or Beethoven, on first listening I'm referencing it with other pieces by them that I know. I think that most people do this - they listen to pieces through the filter of pieces they already know.
I think there's an interest right now in the performance aspect of artworks, instead of just hanging things on walls. We're in a moment when a lot of younger artists are looking at work from the '60s and '70s - they are looking at the pieces by Marina Abramovic or Vito Acconci. These pieces have a time element. They were performed live. To perform them again now isn't simply an homage, because it's a different audience, a different moment.
That's what I tried to create, even though they are new pieces. I wanted them to feel like very special pieces that you can hold on to for a long time. I didn't want them to be too high fashion, I wanted them to be more timeless.
Our main inspiration [with Alix MacKenzie], I think, came from the Field Museum of Natural History, because they had pieces which were selected not for art content but for their relationship to the anthropological history of mankind.
Women who have understood fashion and style for so long have always known it's not about having more pieces. It's about having the right pieces and having the pieces that are of a great quality and look like you know what you're doing. You don't have to have a million things on.
Cutting out images you like from art books and framing them is a great way of getting beautiful works on your wall. You can also frame magazine images or pick up inexpensive art at museum gift shops.
I have so many pieces that once belonged to my mom and both of my grandmothers. All of these pieces are very sentimental, and I love to wear them. I also have many pieces from my father that I probably cherish the most. I love wearing his dress shirts.
A saboteur in the house of art and a comedienne in the house of art theory, Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit, she has photographed pictures and objects in collectors' homes, in galleries, on the walls of auction houses, and off the walls, in museum storage.
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