Jessica Stockholder Quotes

I hate artists who are not of their time.

New needs need new techniques. And the modern artists have found new ways and new means of making their statements... the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture.

I think of a piece, and then people who are competent fabricate it. But lately I've started finger painting, which probably should be a joke but isn't!

We are concerned with the relationship between art and life. Contemporary art is only intelligible in terms of its relationship to our life.

We may not like our times or many aspects of the time we live in but that is not the fault of art as such.

What is extraordinary about contemporary art is the energy - it has our energy. New energy. Pieces hundreds of years old are beautiful from an aesthetic point of view, but without our modern energy.

The problem is that once the rules of art are debunked, and once the unpleasant realities the irony diagnoses are revealed and diagnosed, 'then' what do we do?

One of the great currents in the contemporary experience of art is that it seems to come out of the experience of the author.

The way I make art - the way a lot of people make art - is as an extension of language and communication, where references are incredibly important.

In 2009, I began creating 'Waterworks' with the new vernacular coming from the 'Signs of Life' work in Las Vegas.

The trend in some of the contemporary movements in art, but by no means all, seems to deny this ideal and to me appears to lead to a purely decorative conception of painting.

The much-lauded visual artist Roni Horn got her Master's in Sculpture from Yale in the Seventies, but in the course of her career she has moved, among other media, from watercolors to photographs to floor-sized installations and mats of poured gold.

The most significant pieces for me are the ones that come from my drapings. It's emotional because they are created by my hand and then become a collaborative process in the atelier.

I've been criticized by my generation, artists from the '70s - and there's nothing more tragic than artists from the '70s still doing art from the '70s - because I blur all these borders between fashion and pop.

I have a fondness for making paintings that go beyond just having a conversation about art for art's sake or having a conversation about art history. I actually really enjoy looking at broader popular culture.

I think design is the expression of its time and culture.

My work participates in that really quick and easy and inexpensive material that's part of our culture. In that way, my work engages the means of production that we live with, even while it's classical and embodies some things from a very long time ago.

In a lot of ways, I wouldn't be an artist in another time. I need to exist in a time where high and low art mix easily.

In the contemporary world, artists are almost entirely self-referential.

A contemporary artist like Grayson Perry is brilliant partly because of his expert knowledge of art history, not despite it.

In sharp contrasts to traditional art, modern art does not hide the fact that it is something made and produced: on the contrary, it underscores the fact.

The art establishment has turned away from the old curriculum which puts beauty and craft at the top of the agenda.

Everything I do is a direct creation of my hands, whether it is made in wood, plaster or clay.

This grandiose tragedy that we call modern art.

Crafting is putting ideas into action and then holding them together with an inexpensive adhesive.