"I have come to realize that my ideas are lodged in my body and the more I move the more my ideas present themselves to me."
Colette Copeland
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"If people can have meaningful discussions with others, rather than drawing lines and fighting, then I am glad that the work can be a catalyst."
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"One can fit a tremendous amount of emotional content in a screenplay just by typing: 'Enter Ghost.'"
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My friend summed it up succinctly by stating: “There’s no Vegas here.”
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"An artist's life is about continually challenging oneself... . It’s the complete antithesis of emotional and economic security. It’s about challenging people NOT to like what you do."
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"The art world needs to become more accessible and affordable or it risks becoming irrelevant."
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"Our ideas and imaginings of AI are clouded by the people and industries who develop the technology. This is why it is important that creative people — artists of all kinds — engage critically and imaginatively with emerging technology."
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Sometimes the technology seduces the viewer, providing a stimulating “eye candy” visual and immersive experience, but one that's conceptually vacuous. The 'Array' artists exceeded my expectations.
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"I believe artists need stop falling victim to 'progress' and make investments in ourselves, which means purchasing property and educating ourselves in civics."
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Going forward, what if Vignette moved away from the regionalized survey, and curators worked together on a conceptual theme, and artists proposed site-specific projects? We need to go a lot more rogue.
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Review
RECAP: Nasher Prize Dialogues Featuring Alfredo Jaar, Paul Ramírez Jonas, Jill Magid, Lauren Woods, and Ben Davis
This may have been the rock-star artist panel of the year in Texas.
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"What happens in Texas is often more resolved and extreme than elsewhere."
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As a non-native Texan based in DFW, this was my first visit to Waco and both the conference and city exceeded my expectations.
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"Having a conservative attitude towards taking risks does not yield good results for us."
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"We aspire to surprise and at times disorientate—what we want to provoke is a moment of genuine feeling."
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In advance of her show, Jeanine Michna-Bales talks to Glasstire about her acclaimed and haunting photographs of the vestiges of the Underground Railroad.
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One of my questions before going to see the show was about the relationship between Teresa Margolles’ and Hermann Nitsch’s work, beyond the obvious commonality of blood and performance.
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“Camp is the lie that tells the truth.”
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Using humor and absurdity as a tactic to engage the audience is one of Richards’ signature strategies. It also serves to balance the theoretical component of his work.
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"The trick is to orchestrate a project that is easy enough for people with little art experience to participate in while maintaining the visual integrity of the object."