A Quote by Munira Mirza
A contemporary artist like Grayson Perry is brilliant partly because of his expert knowledge of art history, not despite it.
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Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.
I jog through the halls and then go upstairs to Jane’s locker and carefully slip the note I wrote last night through the vent: To: The Locker Houdini From: Will Grayson Re: An Expert in the Field of Good Boyfriends? Dear Jane, Just so you know: e. e. cummings cheated on both of his wives. With prostitutes. Yours, Will Grayson
I like art that challenges you and makes a lot of people angry because they don't get it. Because they refuse to look at it properly. Rather than open their mind to the possibility of seeing something, they just resist. A lot of people think contemporary art makes them feel stupid. Because they are stupid. They're right. If you have contempt about contemporary art, you are stupid. You can be the most uneducated person in the world and completely appreciate contemporary art, because you see the rebellion. You see that it's trying to change things.
I am mainly concerned with unqualified knowledge, by contrast with the varieties of expert knowledge: scientific knowledge of various sorts, legal knowledge, medically expert knowledge, and so on.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
Will Grayson, Will Grayson' is about two guys named Will Grayson who live in different Chicago suburbs who eventually meet each other.
'Will Grayson, Will Grayson' is about two guys named Will Grayson who live in different Chicago suburbs who eventually meet each other.
There's traditionally been a large disconnection in contemporary art between the audience and the artist. Generally, audiences are looking towards what they like, and I can tell you, that's the last thing on an artist's mind.
Despite the fact that he no longer dressed like the big dork he did then, despite the fact that he’d swapped the nerd wear for some much cooler clothes, despite the fact that he’d let his hair go all shaggy and loose to the point where it curved down into his face in that cool guy, slightly windswept, effortless way, despite the fact that every time I looked into his brilliant blue eyes I was totally reminded of the Zac Efron poster that used to hang on my old bedroom wall, it still didn’t make it okay for him to laugh at me the way he did.
That's the difference between the serious artist and the craftsman--the craftsman can take material and because of his abilities do a professional job of it. The serious artist, like Proust, is like an object caught by a wave and swept to shore. He's obsessed by his material; it's like a venom working in his blood and the art is the antidote.
As a working-class girl, receiving free school dinners, I studied art history. Having never had the chance to visit art galleries, I devoured the knowledge, and it has served me well as a practising artist.
I don't like most contemporary art. But I think if you talked to any person who's heavily involved in contemporary art, they'd say the same thing. If you go to a biennale, you don't expect to like much of it.
The artist is a strange being. I think it's safe to say that a real artist is conscious of having a personal singularity that is partly a blessing and partly a curse. An artist enjoys and suffers from isolation. As solitude, isolation can nurture. It can also destroy.
I don't like the idea of nationalism, but on the other hand, I do see that there is a difference between British art, German art and Chinese art. This is because of the history, because each country has different history and each country reads and teaches that history differently.
The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public.
The aim of every authentic artist is not to conform to the history of art, but to release himself from it in order to replace it with his own history.
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