I started crying, because there's nothing like hearing that the artist who originally did the song likes your version.
In television, the 60-minute series, 'The Wire' and 'Mad Men' and so on, the writer is the primary creative artist.
The miniatures of the Mughal period are really the pinnacle of Indian artistic achievement. And not a single one of those paintings is done by an individual artist.
No art can be noble which is incapable of expressing thought, and no art is capable of expressing thought which does not change.
Among living artists, George Condo may be the most embraced by the powers that be.
Calling a young artist 'great' these days can give one the heebie-jeebies: The word has been denatured in the past decade.
Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.
Few contemporary artists mined the space between the ordinary and the strange better than Orozco did.
Giorgio Morandi's paintings make me think that artists may not totally choose, or even control, their subjects or style.
Once artists are expected to shock, it's that much harder for them to do so.
Robert Rauschenberg was not a giant of American art; he was the giant. No American created so many aesthetic openings for so many artists.
The German ueber-photographer Andreas Gursky was the perfect pre-9/11 artist.
These days, newish art can be priced between $10,000 and $25,000. When I tell artists that a new painting by a newish artist should go for around $1,200, they look at me like I'm a flesh-eating virus.
I see artists bored by light-without-heat, irked at gigantic galleries' pushing out art-as-product, leaving behind the over determined for the undetermined, guided by interior voices and bringing us out of a long tunnel to new blueness.
Only an artist as preternaturally acute and copacetic, as oddly visionary and just odd as Richard Artschwager would be able to lay out the whole course of human evolution and have it make some kind of sense while also seeming like a dazzling insight.
Rumors sound of galleries asking artists for upsized art and more of it. I've heard of photographers asked to print larger to increase the wall power and salability of their work. Everything winds up set to maximum in order to feed the beast.
Batty as it sounds, subject and style may choose artists, through some unfathomable cosmic means. How else to explain that even artists who enjoy what they do can be perplexed or even horrified that they're doing it?
Biennial culture is already almost irrelevant, because so many more people are providing so many better opportunities for artists to exhibit their work.
Every movement that slays its gods creates new ones, of course. I loathe talk of the sixties and seventies being a 'Greatest Generation' of artists, but if we're going to use such idiotic appellations, let this one also be applied to the artists, curators, and gallerists who emerged in the first half of the nineties.
Galleries began growing in both number and size in the late seventies, when artists who worked in lofts wanted to exhibit their work in spaces similar to the ones the art was made in.
I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
I don't plan out my visits rigorously, but I do have a list of about 125 New York galleries, alternative spaces, museums, and so forth that I visit regularly. That's the closest thing I have to a strategy: I go to a lot of places, many that artists don't visit.
I love art dealers. In some ways, they're my favorite people in the art world. Really. I love that they put their money where their taste is, create their own aesthetic universes, support artists, employ people, and do all of this while letting us see art for free. Many are visionaries.
I often find myself privately stewing about much British art, thinking that except for their tremendous gardens, that the English are not primarily visual artists, and are, in nearly unsurpassable ways, literary.
I see around 100 shows a month, going from Niketown-size palaces where you feel like yelling, to storefronts in Bushwick. Each has to pay the bills; keep artists happy; and cope with collectors (oy!), curators (ay-yi-yi), critics (woo-hoo!), and occasionally plumbers. That their fiscal life often hangs in the balance only adds to the energy.
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