A Quote by Yves Tanguy
I believe there is little to gain by exchanging opinions with other artists concerning either the ideology of art or technical methods. Very much alone in my work, I am almost jealous of it. Geography has no bearing on it, nor have the interests of the community in which I work.
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I believe there is little to gain by exchanging opinions with other artists concerning either the ideology of art or technical methods.
Geography has no bearing on it, nor have the interests of the community in which I work.
Very much alone in my work, I am almost jealous of it.
I always felt that my work hadn't much to do with art; my admirations for other art had very little room to show themselves in my work because I hoped that if I concentrated enough the intensity of scrutiny alone would force life into the pictures. I ignored the fact that art, after all, derives from art. Now I realize that this is the case.
Every work of art (unless it is a psuedo-intellectualist work, a work already comprised in some ideology that it merely illustrates, as with Brecht) is outside ideology, is not reducible to ideology. Ideology circumscribes without penetrating it. The absence of ideology in a work does not mean an absence of ideas; on the contrary it fertilizes them.
The Metropolitan Museum of Art some time ago held a display of contemporary art at which $52,000 was awarded to American sculptors, painters, and artists in allied fields. The award for the best painting went to the canvas of an Illinois artist. It was described as "a macabre, detailed work showing a closed door bearing a funeral wreath." Equally striking was the work's title: "That which I should have done, I did not do."
I've heard many times that with all good artists it's ultimately a self-portrait even if it's an abstraction. I feel my work is very much who I am. I didn't try to make it that way; it just is. It reflects who I am and also my interests.
There is a good deal of art that in some traditions of conceptual work are anti-affect, in fact a very large chunk of mainstream art after 1950 took against affect art altogether because they said, "No, we hate affect art because this is how we get manipulated by totalitarianism and therefore artists shouldn't play that game." And a lot of artists agreed to play that game, which I personally believe is to the loss of art.
I go into any movie that's historical fiction thinking, 'OK, I'm here to watch a work of art, something delivering a series of opinions, and if it's a good work of art, these opinions become so deeply embedded in complexity and richness that I won't even be bothered by the opinions. I'll make my own mind up.'
The big pay-off was to work as an artist and gain some shred of respect from your friends, who were also artists. But there was never any notion that you could make a living out of art. On the rare occasions you had a gallery show, and sold a little work, well, that was just gravy.
How will the family unit be destroyed? ...[T]he demand alone will throw the whole ideology of the family into question, so that women can begin establishing a community of work with each other and we can fight collectively. Women will feel freer to leave their husbands and become economically independent, either through a job or welfare.
The world is ruled by neither justice nor morality; crime is not punished nor virtue rewarded, one is forgotten as quickly as the other. The world is ruled by power and power is obtained with money. To work is senseless, because money cannot be obtained through work, but through exploitation of others. And if we cannot exploit as much as we wish, at least let us work as little as we can. Moral duty? We believe neither in the morality of man nor in the morality of systems. [p. 168]
Artists talk about art in sort of straightforward terms, more like the way you talk about plumbing fixtures. Does it function well? Does it bring the hot water up from the cellar efficiently, or does it lose too much thermodynamic energy in the process? Artists are also very ruthless with each other and can be very brutal in evaluating each other's work because their criteria is almost more mechanistic. Does it do what it's supposed to be doing in an efficient way? That doesn't mean that intention is not part of the conversation, but it's not the foreground.
I would like to try to understand what is. We know very little, and I am trying to do it by creating analogies. Almost every work of art is an analogy.
I'm very tolerant of other art and other artists. But what I truly appreciate, what I truly admire in contemporary art, is work that takes on more than it can sometimes handle - art that gets in over its head.
While I am overwhelmingly proud of work that I, believe me, did not do on my own, I can assure you that awards have very little bearing on my own personal happiness, my own sense of well-being and purpose in the world.
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