A Quote by Yoko Ono

I like artists who have something to say, not wallpaper. — © Yoko Ono
I like artists who have something to say, not wallpaper.
I learned a long time ago to be honest when I'm talking to other artists. Up-and-coming artists used to come and say something, they would have a demo reel, and I would try to tell them the truth. I don't go up and say something unless I really feel it.
So it's a majorly important thing for young artists, as well as older artists like myself, to know that not only do we have the right to say no, but if we don't say no, we're gonna die.
I feel like nowadays it's almost become a corny thing to say that you want to be a role model or do something good for the world, but the artists I've looked up to - like Michael Jackson, Whitney Houston, and Prince - were about something.
I think art, if it's meaningful at all, is a conversation with other artists. You say something, they say something, you move back and forth.
Comic artists have always been part of my social circle. I just like hanging out with artists, and I always see them at conventions or a store signing or something. "Hey, we should do something together."
Every time I'm in the studio, I always think of my professor in undergrad. He was like, "There are so many artists in the world. If you're going to be an artist, make sure you have something to say. Don't just be an artist and put out bullshit. Have something to say." I guess that would be my philosophy and something I think about all the time. Every day when I'm in the studio I hear him and I see him. I remember him saying it in class. So that's something that I always want to make sure I have: I'm saying something with the work.
I hate working with artists who don't have something to say or when they have something that sounds cool but isn't really them.
I got into architecture via fine arts, and I was a sculptor myself, and I have always involved artists in my projects. When I say 'involved,' I mean I always bring artists in at the beginning projects before they're built and say, 'Will you do a room? Will you do a sculpture floating in mid-air? Will you make a chimney? Will you do something?'
There's a lot of variety of musicians in Korea. I cannot say they are the best in the world, but I can say that Korean artists are really dynamic artists, so I am going to show that from now on.
Precocious and eccentric are okay. But I think that people in the arts represent something integral and kind of secretive in everybody else. So the reason people like some artists is because they're saying or doing something that they would like to do or say, but they don't have the balls or the means. People are really afraid to put their ass on the line. Just to put your face on a poster and put your name in big print and say "Come see me," that takes some cojones, you know? Ambition is nothing to be ashamed of.
You can't expect somebody to speak out on a certain subject. If they want to say something about it, then say something about it. But artists have a choice. It's their choice. I choose the stuff I talk about, but it's not my responsibility to do it.
I think it's bad for human beings to be artists. It's awful. You want to do something but you're constantly trying to decide what you want to do. Let's just say it's no place like Hawaii.
I like to break down barriers and I think that Hollywood is doing the same thing over and over. I want to do something new and say, "Let's evolve as artists!"
This is so lame to say in a magazine, but I just grabbed some pink wallpaper. I find it to be a very relaxing color.
My tiny baby blossoming art collection is comprised of works by artists I have either assisted or been mentored by, artists I am friends with, or artists I have traded with. As much as I want to and aspire to acquire works from established artists, I love acquiring works from my contemporaries in order to participate in this moment in time. The advice I would give is know what you like, take your time, and invest in things you feel connected to, as opposed to buying something because it seems cool or "of-the-moment."
I would have conversations with European artists. Meaning, people look at my painting and one person would say, "Oh, your painting is just like so-and-so!" Another person would say, "It's just like so-and-so." But at the end, it's a chain of relay like a marathon. There are so many so-and-so's that eventually it becomes mine. My dialogue was completely European, with the '40s, '50s, '60s artists, but on the exterior side I do big painting. It's post-Pollock. It's current. It's a meeting of the time. The Chinese side just comes out.
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