A Quote by Giorgio Armani
The idea of the museum is to show my work since the start, and I wanted to show all of it, not just to choose between different pieces. They are grouped together in themes - minimalism, androgyny, black and white, graphic, flowers, and so on - from the earliest designs to the most recent ones.
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My most recent project has been acting and dancing on VH1's TV series Hit the Floor. On the show, we perform at least one dance number an episode. They are all different themes and different dance styles and keep us literally on our toes. The show is exuberant, exciting, and full of scandal. Tune in and I know you'll get addicted.
As the lone black host at two different all-sports stations, black callers and listeners dominated my show. Black advertisers did not. The show was financially supported primarily by white businesses, and the largest demographic for listener growth was white males.
The very first pieces of film that I did were really graphic designs translated to film. Graphic designs that moved. That was a very new notion.
My comedy has no color, it's for everybody, black, white, Latino, Asian. It's not a pro-black show, not a def jam show; it's just straight, wholesome type of humor.
My most famous show is the 'Kitchen Show.' More famous than any gallery show or museum show I curated.
You can't have a show that's too ballad heavy. Those are the black and white logistics of putting together a show. You have to have some balance and some order.
Our respect for the dead, when they are just dead, is something wonderful, and the way we show it more wonderful still. We show it with black feathers and black horses; we show it with black dresses and black heraldries; we show it with costly obelisks and sculptures of sorrow, which spoil half of our beautiful cathedrals. We show it with frightful gratings and vaults, and lids of dismal stone, in the midst of the quiet grass; and last, and not least, we show it by permitting ourselves to tell any number of falsehoods we think amiable or credible in the epitaph.
'Power' is not a black show. It's not a white show. It's a New York show.
This great son of the world, Madiba, showed us the way. Whether you are white, black yellow or brown you are all God's children, come together, work together and God will show you the way.
I really do believe that was what I was put on this planet to do: to give to people and, through my performances, show them another world - in the case of '24,' to show them what a politician, black or white, should be. Basically, I wanted to be a service to others.
If I'm doing a logo, I'll do it in black and white. Once the form is feeling right, only then do I start exploring the color palettes. A good example was the process of rebranding the Salvador Dali Museum. I did at least 100 versions in black and white.
Most of the cast and crew on 'Mama's Family' have been together since the 'Carol Burnett' days, so we work really well together. It's like I'm being paid to pretend I'm in show business.
There is still a fundamental misunderstanding, when it comes to observing that when someone is black and someone is white, then that difference is enough to warrant the idea that they shouldn't be together. We are so much more alike in nature than we are different, and my ambition with the roles I choose to do is to break down that prejudice, by showing how much I - as a man - am just a man.
Just like every show has a tone, every show has different people on it playing different games. I don't say 'game' in a pejorative sense, I just mean, these are different stories that we tell ourselves when we go to work.
'The Cosby Show' was a show about black people that was fundamentally and unequivocally friendly to whiteness and to white people. The Huxtables had white friends.
I just wanted to show the migrants as complex humans with flaws and weakness, with good and bad things, and show that they're parents and family men. I wanted to show them with everything, as they are.
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