Tag: NAMOCA
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Chris Ofili
You know, when I saw it upstairs I thought, “It’s not that offensive.” — Chris Ofili, in conversation with Massimiliano Gioni, ART IN AMERICA
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Eleanor Antin
I remember the time I stopped an artwork and for me, that’s one of the 8 deadly sins, censoring an artwork. I had asked the students to make a criminal artwork, to do a crime, as it were, but not to hurt themselves or anybody else. One kid brought in a thriving rubber plant and…
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Shimamoto Shozo
I would like to tell you about how some grown-up painters I know have fun. In October of this year, these painters had an exhibition at the Ohara Kaikan in Tokyo. One of them, Murakami [Saburo]̄, thought this up: he blocked the entrance to the exhibition with a huge sheet of paper so that nobody…
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Marcel Duchamp
This is a ready-made dating back from 1916. It is a ball of twine between two plaques of copper, brass. Before I finished it Arensberg put something inside of the ball of twine, and never told me what it was, and I didn’t want to know. It was a sort of secret between us, and…
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Lee Krasner
I became a member of the American Abstract Artists, a group that was formed for the sole purpose of exhibiting, although we did meet to have discussions on art as well. One winter during the period that I was a member, Mondrian and Léger were invited to participate in our exhibitions and they accepted. Mondrian…
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Tony Shafrazi
I went uptown, saw Leo [Castelli], the Jasper Johns show. There are four paintings in that room. I walk into the room, I have a spray can in the pocket of my leather jacket. I look at those paintings. Right away, I have thoughts in my head, and I say: “Truth, Honor, Power, Glory.” These…
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John Currin
I went to the Met one day in 1997, and I was looking at that painting by Velázquez, of the little girl with the butterfly things in her hair. I thought, That’s an odd color on the forehead, and I realized there was an underpainting, with a vermillion glaze over it. You could see the…
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John Baldessari
It’s a dramatic gesture, carpeting the whole gallery with clouds, and… covering the ceiling with this freeway pattern. I’m going to have all the guards wearing bowler hats. — John Baldessari on his design for a 2006 exhibition, Magritte and Contemporary Art: The Treachery of Images, LACMA
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David Hockney
When I went to see Pearblossom Highway at the Getty, I was quite amazed. I could see it through two dimly lit photography galleries. I could see it from far away. In fact, it looked like a big painting. Any collage previous to that would not work that way, and they weren’t done that way…