Avant-Garde Art Quotes

We were terribly excited, and I think we took it on our shoulders that we were creating the 21st century in 1971. That was the idea. And we wanted to just blast everything in the past, rather like the vorticists did at the beginning of the century in the Britain or the dadaists did Europe, you know. It was the same sensibility of everything is rubbish, and all rubbish is wonderful.

One morning, one of us ran out of the black, it was the birth of Impressionism.

I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.

I've always enjoyed feeling a connection to the avant-garde, such as Dada and surrealism and pop art. The only thing the artist can do is be honest with themselves and make the art they want to make. That's what I've always done.

I'm coming from a place that's more experimental and indulgent already, so for the last 10 years, it's been more like, "How can I defend my own sensibilities by writing a nugget of a little catchy pop song?" That's how I'm stretching myself, by writing something really simple.

Theo van Doesburg wanted to teach in the Bauhaus in 1922. I refused, however, to appoint him since I considered him to be too aggressive and too rigidly theoretical: he would have wrought havoc in the Bauhaus through his fanatic attitude, which ran counter to my own broader approach.

I always wanted to experience what performance would be like without the fourth wall, so I formed a company in Australia, and we did avant-garde theater, playing with gender norms, conversations about race - we just had a box of issues that we wanted to subvert with our stories, with dance.

Avant-garde art jousts with propriety, but takes care never to unseat it.

Instead of stubbornly attempting to use surrealism for purposes of subversion, it is necessary to try to make of surrealism something as solid, complete and classic as the works of museums.

In my home country, there was a little shop with old books, but it was really in the countryside. You couldn't find English books. I found this very avant-garde American art book that had information about Georgia O'Keeffe. I was very much impressed by her.

Great art stretches the taste, it doesn't follow tastes.

As far as art's concerned, I probably like modern art more than traditional art.

There are artists with palettes and easels selling the kind of modern art that Soviet art critics used to critique with bulldozers. Judging by the paintings I saw, the Soviets were right the first time.

My mother was a Bloomsbury figure: a great friend of TS Eliot, Duncan Grant, Vanessa Bell. My grandmother, Mary Hutchinson, gave her life to works of art, being an admirer of Matisse and Giaometti, whom I collected as a young man because of her.

I am fascinated a) by transgressive art and b) what happens beyond the boundaries.

Avant-garde music is sort of research music. You're glad someone's done it but you don't necessarily want to listen to it.

Even as a teenager we got interested in the Beats, Dada, and Surrealism, and so on. What drew us to those was that their lives were their art. It wasn't something they did separately. Reading biographies of artists of that kind was what was fascinating to me, more than the stuff they made. We became convinced that life and art is really the same thing.

Roman Candles was shown in a church, and so was Eat Your Makeup, so was Mondo Trasho, and so was Multiple Maniacs (1970). It's hard to imagine that churches showed these movies but a few in the '60s, like St. Mark's Church, or on the Bowery, they always were left-wing.

Some of the most radical work is being done in the most commercially pop venues, and some of the most boring work is being done in avant-garde territory.

I'm super into dudes like Megazord, Jon Rafman, Rasmus Emanuel Svensson, Tabor Robak, and Michael Willis to name a few.

And then there is that one-man movement, Marcel Duchamp for me a truly modern movement because it implies that each artist can do what he thinks he ought to a movement for each person and open for everybody.

I watched a lot of avant-garde films, like Maya Deren's work, and I love film's technical ability to do things that are impossible in real life. It's related to the way collage allows you to manipulate reality and the hierarchies that are inherent in our awful but amazing world.

We also have a lot of the same influences - we both read a lot of the beatniks. And yet what we actually do is almost exactly the opposite. His [ Hunter S. Thompson] political stuff is just wonderful, but basically nothing happens.

Well, I'd say that the beginning of this thing came through with Art of This Century, Peggy Guggenheim's, where she opened this gallery and began showing some things that caused a little talk, amongst a lot of other things.

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