A Quote by Yasumasa Morimura
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
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The artists could be dead, but some of them are not so distant from us, and make us feel as if they are alive with us. Such artists are worth calling "contemporary artists".
Leonard de Vinci, for example, is a great artist, but he is living in the past. However, I don't feel John Cage and Matsuzawa Yutaka as artists who live in the past. Their ideas are still alive in our world because they express the very important concerns of our age. That is why I could trust them as "contemporary artists".
When the magazines talk about artists they talk about the Paul McCartneys, the Paul Simons, they never talk about me. So their readers and contemporary artists are never going to check me out because they're not reading about me.
I like the idea of the museum world and the university-academic situation where artists talk to each other or where artists or art students study with artists.
There are dance artists, painting artists and writing artists. Authors are writing artists. You can practice art in whatever medium you choose, and words are mine.
Some comic artists I've known are better than most contemporary artists with work hanging in Tate Modern.
During the last 35 years, the artists multiplied, the public grew enormously, the economy exploded, and so-called contemporary art became fashionable. All these parameters changed the art world form its previous aspects and fundamentals - the explosion of museums and institutions, explosion of Biennales and Triennials, explosion of money, explosion of interest, explosion of artists, explosion of countries interested in contemporary exhibitions, explosion of the public. Not to see that is to be more than blind.
Artists look at the environment, and the best artists correctly diagnose the problem. I'm not saying artists can't be leaders, but that's not the job of art, to lead. Bob Marley, Nina Simone, Harry Belafonte - there are artists all through history who have become leaders, but that was already in them, nothing to do with their art.
Sometimes there are painters or very famous artists who start to become artists after they are dead because an audience or a public know about their art after they die.
I think the entrepreneurial activities that make art visible and attractive are what lure people into the amusement park that SoHo has become or that Bushwick or Williamsburg has become. It's not that outsiders come to an area because they hear artists are living there. A lot of people came who were not that interested in living with artists, but they were interested in living like artists and socializing the way that they thought artists socialized.
I've worked with jazz artists, country artists, classical artists, pop artists. I never wanted there to be categories, because when I was a kid there weren't.
People who are artists professionally are not artists because they want to be artists; they have to be artists. They're compelled to get that creativity out and to share that with others.
Artists don't talk about art. Artists talk about work. If I have anything to say to young writers, it's stop thinking of writing as art. Think of it as work.
Men talk about art, and artists make art, but should artists talk?
Revolt is designed to be a home for the next generation of musical artists, and we are investing in the artists and fans of the future. Revolt is for artists, by artists. This won't just be the P. Diddy network.
People had an idea of what R&B artists or pop artists usually say, which was like, 'Talk about sex, talk about partying, and be positive; don't be too much of a downer.'
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