“What do you think an artist is? An imbecile who has only eyes if he is a painter, ears if he is a musician, or a lyre in every chamber of his heart if he is a poet? On the contrary, he is at the same time a political being, constantly aware of the heartbreaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. How could he be indifferent to other people and withdraw into himself? In the serene atmosphere of studios and libraries, he does not forget that the world is out there. No, painting is not done to decorate apartments. It is an instrument of war.”
Pablo Picasso Guernica 1937 oil on canvas 137.4 in × 305.5 in
“What I never wanted in art – and why I probably didn’t belong in art – was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don’t know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.” — Vito Acconci
In January 1972, Acconci staged one of the decade’s most notorious performance art pieces at the Sonnabend Gallery in SoHo. Gallery visitors entered to find the space empty except for a low wood ramp. Hidden below the ramp, out of sight, Acconci masturbated, basing his fantasies on the movements of the visitors above him. He narrated these fantasies aloud, his voice projected through speakers into the gallery: “you’re on my left … you’re moving away but I’m pushing my body against you, into the corner … you’re bending your head down, over me … I’m pressing my eyes into your hair.” Seedbed was a seminal work that transformed the physical space of the gallery through minimal intervention to create an intimate connection between artist and audience, even as they remained invisible to one another.
Vito Acconci Seedbed 1972 Gelatin silver print 7 7/8 x 11 11/16 in.
“I don’t think it’s necessary to be original. It’s necessary to be honest.”
Martin Creed: What’s the point of it? is the first major retrospective of Creed’s ingenious and often highly provocative work. Since the beginning of his career, when he made small objects that could be placed anywhere, Creed has made work that questions the very nature of art and challenges taboos. His work takes on a multitude of forms—from sculpture, paintings, neons, films and installations, to music and performance—appearing both in the art gallery and in broader public circulation. At once rigorous and humorous, his art continually surprises, disrupts and overturns our expectations. It reflects on the unease we face in making choices, the comfort we find in repetition, the desire to control, and the inevitable losses of control that shape existence.
Martin Creed Work No. 88 1995 A sheet of A4 paper crumpled into a ball.
“Anyhow, the older I get, the less impressed I become with originality. These days, I’m far more moved by authenticity. Attempts at originality can often feel forced and precious, but authenticity has quiet resonance that never fails to stir me.” — Elizabeth Gilbert
Do Not Destroy NFT Store: Word Series: What It Means To Be Authentic Poster (Black)
“You have to learn to be human first… before you can learn art.” — Silpa Bhirasri
This sentence conveys the idea that art is not just a technical skill or creative ability, but also something that deals with deep humanity, such as emotions, thoughts, spirit, experiences, and moral values. If an artist lacks an understanding of humanity—such as empathy, understanding the complexities of life, or having a broad and deep perspective—the art created may lack the true meaning of the dimension.
“Learning to be human” here can mean many things, such as:
Understanding oneself and one’s own emotions
Understanding society, culture, and history
Recognizing the suffering and joy of others
Developing empathy and ethical awareness
Great art often comes from communicating humanity on a deep level, whether it’s pain, hope, love, or the changes in life. Therefore, this sentence may serve as a reminder that art practice should not only be based on technique, but also on understanding life and humanity.
