156 quotes found
"Pollock.. ..left us [c. 1958] at the point where we must be preoccupied with and even dazzled by the space and objects of our everyday life, either our bodies, clothes, rooms, or, if need be, the vastness of Forty-Second Street [New York].. ..Objects of every sorts are materials for the new art, paints, chairs, food, electric and neon-lights, smoke, water, old socks, a dog, movies, a thousand other things which will be discovered by the present generation of artists.. ..All will become materials for this new concrete art."
"Around late 1961 to 1962, right around there, somewhat unevenly and sort of spottily, I began to do pieces that were based upon a short text of actions that only involved a handful of friends or students at some specific site — a site that was not marked as an art site, a ravine somewhere, or a roadway, or somebody's apartment, or the telephone, that is, the places of everyday life, not designated as sites of art. And the work itself, the action, the kind of participation, was as remote from anything artistic as the site was.. ..I chose the word Happening from its normal language usage somewhat earlier for that philosophical reason, but I didn't categorize that as lifelike until much later. But in fact, looking back, that's exactly what Happening meant."
"Well, you know, a lot of work nowadays [c. 1991] tends to be illustrative of theory already written, and some of it tends to be quite consciously didactic, as if the determination is to teach somebody something. And letting that go for the moment, as far as its value is concerned, it's exactly the opposite of what I seem to find most useful, and that is to leave things open and not determine anything except the very clear form. The form is always very simple and clear. What is experienced is uncertain and unforeseeable, which is why I do it, and its point is never clear to me, even after I've done it. So that's a very, very different way of looking at the nature of our responsibility in the world."
"[something like] a badly constructed or repaired motor, or like that wonderful event of Tinguely's, where he made a huge contraption in the backyard of the Museum of Modern Art called 'Homage to New York', which was a machine that destroyed itself in various humorous ways. It's that breakdown system along with slippages that you can't predict I find most interesting, not because I want to make a point about society as being a broken down system or that all life is entropic — I don't, but rather that its process is unforeseeable."
"Most humans, it seems, still put up fences around their acts and thoughts – even when these are piles of shit – for they have no other way of delimiting them. Contrast Paleolithic cave paintings, in which animals and magical markings are overlayed with no differentiation or sense of framing. But when some of us have worked in natural settings, say in a meadow, woods, or mountain range, our cultural training has been so deeply ingrained that we have simply carried a mental rectangle with us to drop around whatever we were doing. This made us feel at home. (Even aerial navigation is plotted geometrically, thus giving the air a 'shape')."
"It's not what artists touch that counts most. It's what they don't touch."
"You can't teach colour from Cézanne, you can only teach it from something like this bubble-gum wrapper."
"The line between art and life should be kept as fluid, and perhaps indistinct, as possible."
"A walk down 14th street is more amazing than any masterpiece of art."
"The problem with artlike art, or even doses of artlike art that still linger in lifelike art, is that it overemphasizes the discourse within art."
"In retrospect I would say from Donald Duck I have learned more about life than from all the schools I ever attended."
"Opening my first Donald Duck comic book felt like seeing the daylight again for someone who had been trapped underground by a mine-disaster for many days. I squinted cautiously because my eyes hadn't gotten used to the dazzlingly bright sun of Duckburg yet, and I greedily sucked the fresh breeze into my dusty lungs that came drifting over from Uncle Scrooge's money bin. I was back home again, in a decent world where one could get flattened by steam-rollers and perforated by bullets without serious harm. A world in which people still looked proper, with yellow beaks or black knobs instead of noses. And it was here that I met the man who would forever change my life - Donald Duck."
"When I started to paint, I painted children because I just felt that I wanted to take their side. What always upset me was how children are getting abused simply because they are physically weaker and not capable of defending themselves – how they get raped, enslaved and killed. I never understood why some people seemed to have fun causing pain to someone smaller."
"My question always was: why do people always cause so much pain to other people? Why does everybody look so hurt? When I started to paint I didn’t feel I had any message. My art was not an answer – it was a question."
"Imaginations and illusions are always so much more powerful and bigger than this mediocre and boring thing called reality."
"Art is a weapon for me, with which I can strike back."
"When I look at a work of Art I ask myself: does it inspire me, does it touch and move me, do I learn something from it, does it startle or amaze me - do I get excited, upset? That is the test any artwork has to pass: can it create an emotional impact on a human being even when he has no education or any information about art? I’ve always had a problem with art that you can only understand if you have a degree in art history, and I have a problem with theories. Most of them are bullshit anyway. Most critics and theorists have little respect for artists, and I think the importance of theory in art is totally overrated. Real art is self-evident. Real art is intense, enchanting, exciting and unsettling; it has a quality and magic that you cannot explain. Art is not logic, and if you want to experience it, your mind and rational thinking will be of little help. Art is something spiritual that you can only experience with your senses, your heart, your soul."
"The first time I saw a picture of Elvis - I was in a state of shock, because I couldn't believe that a human being could be so beautiful."
""High" and "low" are completely arbitrary and artificial distinctions that some bloated assholes invented to make life more complicated. Comics are considered "low", but when Roy Lichtensein comes and picks out one panel of a comic, projects and paints it on a canvas then it's suddenly "high" art? Give me a break. The only thing that I care about in art is quality, intensity. Is a work of art capable of touching and moving me? Does it cause an emotional impact on me? Does it startle, surprise, upset, excite me? Does it make me think? Does it inspire me? Does it stimulate my imagination? Does it change the way I view the world to some degree?"
"Most societies are ruled by mediocre people that have no vision and no imagination. Most rulers are scared of creation and creative people. Artists are funny people. All they want is to touch and move, challenge and surprise others. But dictators hate surprises more than anything else. All they want is to turn their territory into a neat little toy prison camp and play with their little toy people. Push them around, rip a leg or a head off now and then or throw them into the garbage when they are tired of their stupid, little doll faces."
"Warhol is the pre-Helnwein."
"The grimaces on these mocking distorted faces signalize disobedience, opposition and turmoil, as well as a kind of childlike autonomy in the depraved world of adults. The grin found on the faces of ill-treated children, a grotesque picture puzzle which includes both the martyrdom and subversion of mankind is entirely Helnwein’s invention. It is manifested in the metamorphic images of injured bodies. It is an obsessive pattern which is repeated in Helnwein’s pictoral representation of the world and in his staged artistic actions, serving as a metaphor for the invulnerability and invincibility deeply seated in man."
"How does a friendly person like Helnwein stand making his — excellent — painting into a mirror of the terrors of this century? Or is it that he can't stand not doing it? Does his mirror just reflect the attitude of the century? Terror without end is better than ending in Terror."
"Helnwein is one of the few exciting painters we have today."
"It is the function of the artist to evoke the experience of surprised recognition: to show the viewer what he knows but does not know that he knows. Helnwein is a master of surprised recognition."
"Helnwein is a very fine artist and one sick motherfucker."
"Gottfried Helnwein's paintings evoke complex layers of history and psychology. Working with extraordinary technical sophistication, Helnwein seamlessly fuses traditional craftsmanship and contemporary conceptual investigations."
"Well, the world is a haunted house, and Helnwein at times is our tour guide through it. In his work he is willing to take on the sadness, the irony, the ugliness and the beauty. But not all of Gottfried's work is on a canvas. A lot of it is the way he's approached life. And it doesn't take someone knowing him to know that. You take one look at the paintings and you say "this guy has been around." You can't sit in a closet — and create this. This level of work is earned. As an artist my strongest reaction to Helnwein's work is that it challenges me to be better at what I do. There are very few people that achieve utter excellence in what they do. And I think that Gottfried Helnwein is certainly one of those people."
"Gottfried Helnwein is my mentor — on any artistic thing I've done. His fight for expression and stance against oppression are reasons why I chose him as an artistic partner. An artist that doesn't provoke will be invisible. Art that doesn't cause strong emotions has no meaning. Helnwein has that internalized."
"The most powerful images that deal with Nazism and Holocaust themes are by Anselm Kiefer and Helnwein, although, Kiefer's work differs considerably from Helnwein's in his concern with the effect of German aggression on the national psyche and the complexities of German cultural heritage. But Kiefer and Helnwein's work are both informed by the personal experience of growing up in post-war German speaking countries... William Burroughs said that the American revolution begins in books and music, and political operatives implement the changes after the fact. To this maybe we can add art. And Helnwein's art might have the capacity to instigate change by piercing the veil of political correctness to recapture the primitive gesture inherent in art."
"Helnwein's subject matter is the human condition. The metaphor for his art is dominated by the image of the child, but not the carefree innocent child of popular imagination. Helnwein instead creates the profoundly disturbing yet compellingly provocative image of the wounded child. The child scarred physically and the child scarred emotionally from within."
"Of all his paintings, the most disturbing is Epiphany (1996), for which he dips into our collective memory of Christianity's most famous birth. This Austrian Catholic Nativity scene has no magi bearing gifts. Madonna and child are encircled by five respectful Waffen SS officers palpably in awe of the idealised, kitsch-blonde Virgin. The Christ toddler, who stands on Mary's lap, stares defiantly out of the canvas. Helnwein's baby Jesus is Adolf Hitler."
"Helnwein has always said that he paints children because they symbolize humanity better than adults. This may be so, but perhaps Helnwein's images are so profoundly disturbing because of the disparity between the portrayal of children- in all their idealized purity- and the portrayal of suffering. His work is a mesmerizing commentary not only on the exploitation of children in our culture, but also on emotional vacancy and moral torpor, which too often implicate us in the pain of others."
"If anyone from Austrian fine art of the last fifty years could be called a star, then there is only one person who meets all the criteria: Gottfried Helnwein."
"Architects have always hoped to find a way to skip that stage between design and finished building."
"Is it my role as an artist to say something, to express, to be expressive? I think it’s my role as an artist to bring to expression;it’s not my role to be expressive. I’ve got nothing particular to say, I don’t have any message to give anyone. But it is my role to bring to expression, let’s say, to define means that allow phenomenological and other perceptions, which one might use, one might work with, and then move towards a poetic existence."
"I think I’ve had three or four moments in my work over the last twenty-five years that have been real discoveries. The pigment pieces felt to me as if they were a discovery about an object and what an object can be; how an object can be and not be. Then, of course, the void pieces. The idea that if I empty out all the content and just make something that is an empty form, I don’t empty out the content at all. The content is there in a way that’s more surprising than if I tried to make a content. So, therefore, the idea that subject matter is somehow not the same as content. Then, in a different sort of way, moving from matte surfaces to shiny surfaces. In terms of the fact that the traditional sublime is the matte surface, deep and absorbing, and that the shiny might be a modern sublime, which is fully reflective, absolutely present, and returns the gaze. This feels like a new way to think about the non-objective object."
"Red is a colour I’ve felt very strongly about. Maybe red is a very Indian colour, maybe it’s one of those things that I grew up with and recognise at some other level. Of course, it is the colour of the interior of our bodies. Red is the centre."
"I am interested in sculpture that manipulates the viewer into a specific relation with both space and time. Time, on two levels; one narratively and cinematically as a matter of the passage through the work, and the other as a literal elongation of the moment. This has to do with form and colour and the propensity of colour to induce reverie. Consequently, I hope, an elongation of time. Space is as complex, the space contained in an objectmust be bigger than the object which contains it. My aim is to separate the object from its object-hood."
"It is precisely in those moments when I don’t know what to do, boredom drives one to try …a host of possibilities… [to] either get somewhere or not get anywhere."
"Jerusalem is all about a very special relationship between the ground and the sky. This work attempts to bring the two together."
"Do you know there’s a wonderful Christian idea in which Thomas stretches his hands out to try to touch Christ’s wound and Christ says ‘Noli me tangere’ (do not touch me). What your eyes see your hands will always try to affirm. Much of dealing with the non-material is about this confusion between the hand and the eye, the ear and the eye, when the thing that you look at is uncertain, your body demands a kind of readjustment, it demands certainty. Something happens to where you are, to space; time changes. Time, I think, becomes slower. The mystical truth of art is time."
"I’m thinking about the mythical wonders of the world, the Hanging Gardens of Babylon and the Tower of Babel. It’s as if the collective will comes up with something that has resonance on an individual level and so becomes mythic. I can claim to take that as a model for a way of thinking. Art can do it, and I’m going to have a damn good go. I want to occupy the territory, but the territory is an idea and a way of thinking as much as a context that generates objects."
"Artists don’t make objects. Artists make mythologies."
"I think I understand something about space. I think the job of a sculptor is spatial as much as it is to do with form."
"The idea is that the object has a language unto itself."
"There’s something imminent in the work, but the circle is only completed by the viewer."
"It is a conjunction of images I have always loved in his Sonnets to Orpheus and this work is, in a way, a kind of eye which is reflecting images endlessly"
"One of the influences in his design for the tower was the Tower of Babel the sense of building the impossible” that “has something mythic about it. The spaces inside the structure, in between the twisting steel, are “cathedral like”, according to Balmond, while according to Kapoor, the intention is that visitors will engage with the piece as they wind “up and up and in on oneself” on the spiral walkway."
"Germans have a rather healthy respect for the arts and artists, [could] not be more different from the British perspective."
"In Germany, it seems that the intellectual and aesthetic life are to be celebrated and are seen as part of a real and good education, whereas in Britain, traditionally – certainly since the Enlightenment – we've been afraid of anything intellectual, aesthetic, visual."
"In the UK, while the arts are the second biggest sector after banking, they probably form less than one tenth of 1% of government spending. It's completely scuzzy."
"The UK has two things, the arts and education, and both of them it pushes into the corner. It's the hugest, hugest mistake. Why do British ministers meet anyone from the arts other than to cut them? Compared to Germany, Britain has got quite a long way to go there, frankly."
"It's a building with a curious, difficult history that is inexorably linked to the history of Berlin, [he said] That's very potent. You can't make a show here without some reference to all of that. And it certainly makes a show here so much more interesting."
"I've never met Ai Weiwei but he's a colleague, an artist. In a very simple way he is heroically recording human existence. All he's done is to record death by administration, death by corruption, inefficiency. I don't even think he's pointing that sharp a finger, frankly."
"It is more than a month that he's been completely disappeared. It is a true tragedy. Accuse him of something. Give him a lawyer. Let him defend himself …"
"This is a terror of a space, probably much more difficult than the Turbine Hall. It's three times the size, huge horizontally and vertically and above all the light is a killer. It's almost brighter than it is outside."
"It's a shame that I haven't done an exhibition in India till now. But I am working on one in Delhi for January 2005. If things go well, there will be another in Mumbai too."
"It was there [India] I realised that engineering was not my cup of tea. I proceeded to London to look for avenues and got myself enrolled into Hornsey College of Art there. Initially, there was no hope for me, but one exhibition in 1979 made me. That proved to be extremely lucky for me."
"I wake up early, does some meditation, take my children to school, and then go to the studio to begin my day's work. The food for his soul is typically India, but with lots of salad on the side."
"It is almost as if the 49-year-old global Indian was an alien in his place of birth."
"Anish Kapoor and Cecil Balmond's Orbit is a daring, imaginative and exhilarating work of art. It does not deserve to be pilloried – on the contrary, if all British public art were like this, it would be an age of glory."
"This is why Kapoor and Balmond have emerged as embattled heroes of public art. Their Orbit tower is not consensual, or easy to make sense of. It is wild and unexpected. It is, I believe, the most exciting British public artwork since House. Those who commissioned and created it deserve acclaim for choosing electricity over dull consensus."
"A drunken party animal of a building and ultimately a celebration of the people of London."
"Everything about the process by which public art is commissioned today militates against the commissioning of good artists and the creation of good art."
"A piece of vainglorious sub-industrial steel gigantism, signifying nothing.... [artists] may be imaginative... not more than a poet. Poets do not make millions."
"A ground-breaking exhibition that challenges, intrigues and excites’"
"This rare and inspiring exhibition could hardly help but elicit wonder."
"The artist is a magician... nothing short of extraordinary … this is a staggering exhibition by a major artist."
"Discover how Kapoor’s continual experimentation with structure and medium has led him to work with a wide variety of materials from clay, fibreglass and paint pigment, to steel and wax, creating beautiful, strange and intriguing works that counter conventional ideas of art."
"It looks stunning and it does exactly what we hoped.”"
"It’s magnificent, it’s really great. It is quite simple and quite a pure piece."
"We picked him because he is a great sculptor. The flip side is it makes it quite interesting to work with him because not only was he born in India – he has an Indian father and a Jewish mother of Iraqi heritage – but he lived in Israel for a few years as a young man before he moved to the UK."
"So that actually adds another dimension but that’s not the reason (why he was commissioned). We really felt that the spiritual and immaterial aspects of his work would really make for a strong statement with respect to a work paying tribute to Teddy.[ Teddy Kollek, long-time Mayor of Jerusalem]."
"We have known Anish for a long time. The museum acquired his work in the early 1980s initially and there was always talk of trying to think of an appropriate site specific commission with him. What actually happened is that after Teddy died, a dear friend of Teddy who is also close to the museum offered a grant to commission a sculptural work in Teddy’s memory. And it occurred to us almost on the spot that this might be just the moment to commission something from Anish.”"
"He came up with this very simple idea which was recognising that the location which we identified, which is an axial view straight up the main promenade of the museum at its highest point, would be the place where a simple hour glass form would offer the opportunity to invert the Jerusalem sky and built landscape. And that’s what he created – and it’s a superb thing."
"It will remain (shiny) most definitely.It will need periodic polishing – (but) it’s there (permanently)"
"Mr Kapoor's work dates from his breakthrough using this medium of hyper-reflective polished and was created in a decade that witnessed Mr Kapoor winning the Premio Duemilla Prize for his British Pavilion at the Venice Biennale in 1990, winning the Turner Prize in 1991 and staging a major retrospective at the Hayward Gallery in 1998."
"Sotheby's was proud to offer the monumental work by Anish Kapoor, which manifests all the pioneering ingenuity in material and spatial possibilities that characterise the very best output of the world-renowned sculptor."
"These include a select group of Mr. Kapoor's early pigment sculptures, beguiling mirror-polished stainless steel sculptures and cement sculptures on display for the first time,""
"The exhibition also includes highlights such as the monumental work Svayambh, which in Sanskrit, means 'self-generated'."
"SHELLEY JACKSON: You began as a writer, moved to performance art, then architecture. I’d like to follow the traces of writing through your career, and see whether your late work could be rethought as a radically materialist practice of writing. What made you want to write?"
"When I thought of myself as a writer in the 1960s, I questioned what made me go from the left to the right margin, from one page to another. As I thought of the space I was also thinking about time. Then I thought: ‘Why am I limiting myself to a piece of paper when there’s a world out there?’ I focused on performance in the early 1970s because the common language of the time was ‘finding oneself.’ In a time like that, what else could I do but turn in on myself and then go from me to you? Photography, film, and video were sidesteps–spaces in front of you–whereas I was more interested in the space where you were in the middle. Now I’m involved with peopled spaces–that’s design and architecture."
"Vito Acconci’s extraordinary career—poetry, art, architecture: a sort of triathlon of the arts—began in the Bronx, where as an aspiring author of seven years he wrote stories about cowboys and athletes. At his Catholic college, he published sexy stuff about priests and nuns that got the school magazine banned for three issues running. He went on to write fiction in the Iowa Writers’ Workshop. But when he came back to New York in the early ’60s, something changed, and he began writing poems. Highly conceptual constructions, they did not tell stories, express feelings, or evoke a fictional world. They were not representational. Maybe you could call them presentational: this is a word, this is a sentence, you are reading."
"All my work is informed by personal experience. It is the seed to which I apply a transcendent dialogue. The idea for my first bubble machine was rooted in a complex combination of many memories. During the Second World War I was in my sister’s arms when I saw a young Filipino guerrilla shot by a Japanese soldier. The young guerrilla ran into our garden. The sight of him lying there dying, red blood bubbles foaming from his mouth, made a strong impression on me. Flying over the Grand Canyon on my first trip to America, visiting a soap factory at the bottom of Notre Dame de la Garde in Marseilles, a visit to a brewery in Edinburgh in Scotland: these left deep impressions as well. My mother cooking “guinataan”, a Philippine dessert made of coconut milk and tropical fruit, and the movement of clouds over Manila Bay near where I was born, inspired me to create a work of art that would express and embody the motion of clouds."
"In the 1960s the works of and Tinguely were experiments with different forces, both magnetic and kinetic. My work differed from theirs, for although my kinetic art works used machines, the works themselves moved in random organic ways and avoided the monotonous repetitive movements of most machines. My land art projects and all the rest of my cosmic propulsions were born out of the organic and my relation with the dynamics of nature. When I first exhibited with Liliane Lijn at the Indica Gallery in London in 1967 I called my artworks bio-kinetic sculptures. Some of my artworks in that show are featured in the film I’ll Never Forget What’s’isname by the English director Michael Winner."
"Few weapons are more political than the body."
"As much as I try to isolate death desires from my life, they have accompanied me since I can remember."
"I was born to be sad. I was born to suffer."
"When I regained consciousness, I was transferred to a psychiatric clinic. I stayed there for twenty-two days. Against previous diagnoses, which identified a bipolar disorder, I was diagnosed with a personality disorder. Again, I was medicated enough to practically not be able to speak. I remember walking through those halls more dead than alive."
"Working with pain and the body to the limit, living with wounds and a mental illness, sleeping awake invaded by night terrors, all this entails a spirit of resistance."
"Life without provocation would be summed up in resignation, skepticism and mental asepsis."
"My mother is as protagonist of my work as myself. My mother, my work and I are something indissoluble."
"I will never forget my mother's words when she told us that before giving birth she tried to abort me up to three times. For me it is the greatest act of love that no one will ever do for me."
"How is it necessary to be born just for the sake of being born? I should never have been born."
"Losing a mother seems to me one of the cruelest acts of nature. I have lost three."
"Each of my works is a regression to the past. This way it becomes tangible. Having the ability to expose and revisit it, allows us an update, reconstruction and critical look."
"I was born on April 1, 1988. Birth certificate 2841329, dated December 2, 1991, proves that I legally did not exist until I was about four years of age."
"Abortion is one of the greatest measures for child protection."
"I have always found the unhappiness of people attractive, because if not, I would not trust them."
"Binarism or God are not concepts to deconstruct, they are concepts to destroy."
"All my extreme movements, all of them, are allied with madness."
"I am not as afraid of anything as myself."
"My life and work feed back to such an extent that creating is living, and living is not possible without creating."
"I fervently believe that art must be a tool with which the artist and the visitor or spectator must be intimate. In some occasions, with the approval of the visitor and in others, without it. It is the artist's responsibility to transform the viewer who visits an exhibition of his in a museum or gallery. It would be a total irresponsibility to allow the visitor to leave the museum, the exhibition or the performative experience in the same way that he has entered."
"I don't currently have any kind of family and I have had to learn to live each of my artistic and vital processes in total solitude."
"It is truly frightening for a young woman artist to separate herself from the patriarchal artistic discourse that she learnt from, that does not support her and that she would like to be part of."
"I rather consider myself as the pursuer of the ideas and artistic movement of Hungarian feminism that started prior to WWI."
"I was a follower of the historical feminist movement in Hungary and of the liberating force of the new dance movement which developed within its artistic context, and which I named “free dance”."
"In my analysis of the art discourse emerging from the cross-section revealing the interlacement of patriarchal power and knowledge, I was greatly influenced by Valéria Dienes’s feminist writings, who could reconcile her thoughts on psychology, philosophy, and semiotics with the choreography of the art of movement – i.e., the mind with the body, and knowledge with feelings."
"I was born immediately after WWII, in 1946. I decided to become an artist at the age of 10, after my father’s death."
"When I arrived at the Hungarian University of Fine Arts in 1970, my intention crystallized."
"By holding on to my independence and autonomy, I decided to make art that I felt authentic, art that was based on the recognition that as a woman, as a woman artist, I feel, see, and think differently."
"I was alone with my intention and could only find precursors in the historical Hungarian feminism that my mother had passed on to me (in the wake of periodicals such as A Nő és a Társadalom [Woman and Society, 1907‒1913] and A Nő [The Woman, 1914‒1917]."
"There was no contemporary circle that would support me in these ideas."
"But there was patriarchal communist political propaganda: “equality,” “emancipation of women” that voiced the political and social rights of women."
"Despite and along with this, censored feminism and the art of new dance, the movement art that pleaded the “divine” body resonated in me when I contrasted the experiences of my “bodily existence” with traditional and patriarchal representation of the woman’s body."
"Orsolya Drozdik (artist Orshi Drozdik) is the first feminist artist in Hungary."
"Individual Mythology was created in the mid-seventies; the series analyses the representation of the female body in general and the illustration of the artist’s body in particular."
"Her work can be found in several major collections such as the Museum Moderner Kunst (Vienna) and the Ludwig Museum Budapest."
"Using her own body for representative methods or simply analyzing herself trough mental work, Drozdik reflects herself in all of her projects."
"Well aware of the irony of her own situation, Orshi Drozdik can’t seem to escape the construction of herself."
"While consistently applying her perspective as a woman, an increased interest in the scientific representation of the body becomes evident in her work."
"She denounces and deconstructs science by showing its role in the creation of gender roles and reveals the construction behind the myth of the female identity and the objectivity of science."
"By overlaying pictures of famous dancers with Drozdik’s own dance moves and projecting images of Hungarian history on her body, she examines herself as an artist, a women and a Hungarian citizen."
"Individual Mythology already displays several characteristics of Drozdik’s way of work."
"Drozdik works primarily in series, which can be developed over decades, complementing or evolving from one another."
"As much as Pinky Pinky is a perpetrator of violence, it also seems a victim of, and scapegoat for, violent, uncivil actions – a constructed 'something' to blame for social problems."
"I believe that encounters with lively matter can chasten my fantasies of human mastery, highlight the common materiality of all that is, expose a wider distribution of agency and reshape the self and its interests"
""I was always interested in objects as carriers of meanings beyond themselves, they are physical traces of time, of people's lives and social histories, like an archive, which I use similarly to how I use film...its an ephemeral art really. The objects get taken down and become like paint tubes again"."
""The constant evolution of the installations and the meanings made from them functions as a generative force in Siopis's work. One thing nestled next to another or dropped over another, creating countless relationships. They're endless these bits of relationships between things and objects and spaces"."
"The material process of the paintings is a fluid affair; the glue’s capacity to change its form and colour when it comes into contact with other forces – air, gravity, water, my gestures – imbues it with a presence that holds onto itself as ‘something other’, yet can simultaneously take on the guise of an image."
"With global warming, what do we imagine? Burning? Drowning? Absolute alterity? And what forms – or formlessnesses – do we imagine this through?"
""Penny Siopis is one of the few artists in the world today who can weave a material web of marks, gestures, voices, words, found things and painted surfaces to entangle the brute forces of history with the delicate threads of human vulnerability"."
"From the outset, her attitude to painting has been simultaneously modernist and counter-modernist in its complex irreverence to the purity of both creative act and the physical medium."
"Many of these prosthetics are "traditionally" flesh colour, a kind of dirty pink. There is irony here, as flesh colour is not just a category of colour, but nothing less than a western conceit in which whiteness (pink) becomes the universal colour for flesh"
""Sopis's Will is the ultimate time piece...We are able to glance back on a life-in-formation and recognize the subject as discursively produced, 'as project, something to be built"
"Well you know, sometimes I get so irritated with audiences, especially male audiences who will say stupid things like “that’s a nice ass” or something like that. For me, I think as long as the performer knows exactly what the intention is with the body everybody will get over everything else. There are some people who just don’t get it, and that’s ok too. I know what my body is loaded with. I know what it is and I know how to use it. I know I’ve gotten to the point where I know how it works. I don’t necessarily care anymore."
"You are born here, and yet you can’t speak one vernacular language is an issue for me. You’ve had the chance, I mean you are surrounded by people, are you telling me that as a white person you are honestly not going to make that effort. I know how to speak English, I wasn’t born around people who speak English, and I was born around people who speak isiXhosa, isiZulu. Yet I know how to speak seSotho, which is totally different from my own language, and you are telling me it’s difficult to speak one. So I’m just not buying it. I’m not interested. I title my work in a language that resonates with the work. It is also to exclude, because I know you can’t speak it, and I know that most of the audience coming in need a translation, which forces you to engage with the work even further. So it’s also a conscious decision – it might be a bad strategy, but at this point in time I don’t really care – I’m going to continue doing it.""
""The simplest thing, I could literally just have an exhibition by putting this bowl down. For me, that would be enough. But for some people they’ve always got to go extra, extra, extra. I don’t feel the same way."
"The first performance I did at the Theater Spektakel was basically around reparations, how we take back the land, and I used the student protests as the starting point. I started with video pieces of these different camps for Boere (Afrikaans) guys who run the camp because they think black people are going to invade and kill them all, and then I move on to the student protests, and after that I go to the land matter. It’s also about how the female black body is viewed in protests, how black women have protested certain things, and how they are kept out of protest history. If women must protest they must protest not to make a mark, you know, it’s not like you can be a part of the ANC and be there with Mandela."
"I don’t think so, I think there are really strong individuals and people will be surprised when we show individually. The thing is, they don’t give people a chance. That’s the main problem."
"If these were the works universally exalted across America’s art museums, if these were the images filling the heads of American children over generations, what would America’s conversations about race, gender and sexuality sound like today?"
"I'm in the world. Artists are in the world . . . My role is to get artists’ work out into the world, and excite people about it [while] being respectful [and] finding artists people won’t be familiar with."
"Through the themes of the body, sexuality, self-representation, motherhood, beliefs, the exhibition questions how the question of intimacy in black women reveals unspoken words and manifests their relationship to the world. It offers a reflection where the notions of memory, family, spirituality and imagination are intertwined. The creations presented - painting, pottery, photography, video, performance, embroidery etc. - celebrate the emancipatory energy of the "power of their hands"."
"Reconciliation is needed more than ever. We see Black Lives Matter demonstrations throughout the world, calling attention to inequality, racism and senseless violence. Inflammatory language on social media and even in politics serves to increase social polarisation. All too often, the world is shocked by extreme acts of violence prompted by prejudice against those of a certain religion, ethnicity, sexuality or gender identity."
""Living, Forgiving, Remembering | Museum Arnhem." www.museumarnhem.nl. Retrieved 27 March 2025."
"I am trying to reconstruct a vision of District Six as it was in the 1960s,"
"As far as was possible, I worked from old archival photos of the district, first engraving, then inking up the areas with etching ink, and finally cleaning the ink from the surface, so that only the ink in the lines remained. I used a tin of ink I discovered in my studio, dating from the 80s and made by the incomparable T E Lawrence of London."
"Standing at the window through many different weathers, trying to reconstruct that vanished landscape, many visitors to the gallery came up to me to chat, and recall their memories of District Six, or asked me what exactly I was doing."
"I enjoyed these encounters. As an artist, one so seldom knows what the reaction of visitors to a gallery really is, or if they understand what one is trying to do."
"Trained as a printmaker, Williamson also works in video, photography and installation. Her work addresses the media, social issues and aspects of contemporary history."
"Williamson also writes and lectures about art, and is the author of the classic ‘Resistance Art in South Africa’ (1989). In 2009, she published ‘South African Art Now’ (HarperCollins, New York)."
"Throughout her career artist Sue Williamson has asked viewers of her photos, videos, urban graffiti and other pigeonhole-resistant labours to critically think about how and where they live."
"Williamson is a social commentator and combines slick aesthetic devices with hard, cutting edge facts of life. This is almost contradictory, yet it is precisely in this tension, that we are both lured into the artwork and then come away thinking about the issues, the image thus returns to text as it were."
"Williamson ran a series of workshops where she explored the power of place and its identity to various citizens. At the end of the workshop, a consensus was reached on how best to exemplify their feelings around that particular place."