Sid Sriram Quotes

My number-one hero in terms of interdisciplinary art is Laurie Anderson, but I've always admired anyone who can think way beyond any one medium.

With regards to music, I don't want to pigeonhole myself and say I am a musician or a visual artist, because I feel like it's all-encompassing, and I feel like every bit of my art is related to the other.

Malevich, Lissitsky, Kandinsky, Tatlin, Pevsner, Rodchenko... all believed in the social role of art... Their works were like hinged doors, connecting activity with activity. Art with engineering; music with painting; poetry with design; fine art with propaganda; photographs with typography; diagrams with action; the studio with the street.

Alex Poots has always made a bridge between highly experimental and the mainstream.

Because I went to Chouinard, which then became CalArts, I became a multi-discipline artist - it wasn't just about painting, it was about media and performance.

I hope to make the process of producing my take of the Biennial a transparent and interesting one for artists.

I've done art on my own, and I've also collaborated with other people to make art. And collaborating with other people is always interesting because you end up doing things you probably wouldn't do otherwise.

I consider all my films experiments.

Much good art got made while money ruled; I like a lot of it, and hardship and poverty aren't virtues. The good news is that, since almost no one will be selling art, artists - especially emerging ones - won't have to think about turning out a consistent style or creating a brand. They'll be able to experiment as much as they want.

For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game.

From my standpoint, being an artist, I want to see what the new construction is between artist and audience.

A canon is antithetical to everything the New York art world has been about for the past 40 years, during which we went from being the center of the art world to being one of many centers.

In Japan, I am famous in certain special circles - mainly as someone who is trying to break down and enlighten the conventions of Japanese art.

The more far-out artists, the better.

The people have allowed me to - they've respected my choice of wanting to be like, a little, you know, a baby alchemist, and just trying to mix different cultures together and things that I think are interesting.

I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it's visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.

I'm really interested in the form, putting one piece up against another and finding something corroborative in another voice. I've done a lot of that.

The idea of turning an album into a living piece of art and adding new installations is really intriguing. It expands the journey.

There are some millennial artists that I totally get and understand, and I know what they're talking about. People who I've worked with and who I'd like to work with. But there's a whole element of artists that I can't explain what they're talking about.

On the ridge where the great artist moves forward, every step is an adventure, an extreme risk. In that risk, however, and only there, lays the freedom of Art.

Malevitch discovered abstraction as an experimental principle that can propel creative work to previously unheard levels of invention; this abstract work allowed much greater levels of creativity.

When John Heartfield and I invented photomontage in my South End studio at five o'clock on a May morning in 1916, neither of us had any inkling of its great possibilities, nor of the thorny yet successful road it was to take. As so often happens in life, we had stumbled across a vein of gold without knowing it.

I think that just the nature of art education in schools, it's about packs, you know? Like, we're young wolves running together, creating a consensus. And consensus is antithetical to the art process.

The arts are encroaching one upon another, and from a proper use of this encroachment will rise the art that is truly monumental.

Artists in various fields are always the first to discover how to enable one medium or to release the power of another.