Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important
Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important.
The mistake that was made in the '70s is we stopped policing the streets, we stopped cleaning the streets, we stopped cleaning the graffiti off buildings, we stopped supporting our cultural institutions and building parks and schools and all those kinds of things.
You can make clothing as art, but I like the idea of my clothes actually being worn and being useful to women.
Nobody stopped believing that other people were more guilty than they were. Why do people have so much trouble seeing their own faults but such an easy time seeing everyone else's?
But after a certain point in a marriage, you stopped having a certain kind of fight, Olive thought, because when the years behind you were more than the years in front of you, things were different.
I try to think about items that can be worn in different ways so they can be worn more than once.
In Paris, we call the people who make clothing 'couturiers' - they develop new clothing items - but actually, the work of designing is to make something that works in real life.
I've always been fond of the idea expressed in Buddhist art, that there are certain objects that, just by seeing them, can plant a seed for liberation in the individual. That class of objects is called "liberation through seeing." Certain Buddha images are like that, but if it were possible, I would like to find contemporary non-traditional sacred images. Maybe it sounds pretentious, but most spiritual paths point to the possibility that we all can access the deep, absolute dimensions of reality.
For so many of my characters, they were political in their own countries and they risked their lives for certain political beliefs that they had, only to be brought to America where they're not treated like Americans - they're just not really treated like anything.
When I started listening to Paramore, I was in high school, and they were, like, 15. Seeing somebody at such a young age have that ambition, I thought, holy crap, they were so young. They seemed like cool people, and I really liked the music.
There were details like clothing, hair styles and the fragile objects that hardly ever survive for the archaeologist-musical instruments, bows and arrows, and body ornaments depicted as they were worn... No amounts of stone and bone could yield the kinds of information that the paintings gave so freely
There are men and women still on the streets, and that's all they are saying Can you spare a quarter? I come from a crowd of people who were current on the outlook on life, who were social and knew where they were and had some input into how things seemed to be.
The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.
My grandmother ... came here, not only like so many others because of the streets 'being paved with gold' and all, but because she wanted to leave the place where the streets were paved with people who had not gone to America.
There are a couple of things that I'm sure people don't think are important, but I do. I don't like hair changes unless there's a reason for it. Clothing - I don't like to see an outfit worn more than one time in an hour - you can wear it again a few weeks later.