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quote of note

Quote of Note | Frank Gehry

frank g“I’ve always talked to artists about designing art museums. I’ve always heard the same thing, which is the opposite of what Glenn Lowry [of MoMA] and those people always push for: the white pristine box. I guess they don’t know any better. Most of the artists I know complain about that, and younger artists today are refusing to be in that white box—it’s imposing a ‘purity’ that is in fact intrusive. You can see that those galleries at MoMA have failed; they have to redo them now….I’ve been listening to artists for 40 years about what galleries they want. Every artist I know loved Bilbao. Every museum director I know hated Bilbao.”

Frank Gehry, in a recent interview with Jori Finkel for The Art Newspaper

Quote of Note | Marc Newson on Carlo Mollino

mollino bisiluro 1955

“I discovered the work of Carlo Mollino at the beginning of my career, about twenty-five years ago. The piece that really got me excited was the ‘Bisiluro’ (pictured), which was essentially a racing car that looked like a four-wheeled motorcycle, like two motorcycles bolted together. It was a fantastically brilliant thing: two pontoons joined by a metallic membrane. He raced them. They were his obsession, though he designed them not merely to look cool, but also to be functional and aerodynamic. What subsequently attracted me to his work, more than the furniture, was his general multitasking ability. Aviation, architecture, automotives, photography, furniture—he created all of those things, and he practiced across several disciplines at a time when not many other people were doing that. He eluded any job description.”

-Multitasking designer Marc Newson in the fifth (fall/winter 2014) issue of CR Fashion Book

Quote of Note | John Currin

courbet 1871
Detail from Gustave Courbet, Apples, Pears, and Primroses on a Table, 1871-1872.

“I’ve always had this thing about yellow—I don’t like cadmium yellow. I always liked chrome yellow instead of cadmium, which are real bright, chemical-looking yellows, and they weren’t really available to painters before 1870, 1850. So I thought, it’s tacky. It’s like a polyester shirt to use those yellows. And then I was just looking at this Courbet still life and it’s filled with chrome yellow and chemical yellows. So I’m starting to realize that this whole thing about being genuine and authentic is ridiculous. And I’m not conscientious or methodical enough to work that way.”

-Artist John Currin in his recent conversation with James Cuno, president and CEO of the J. Paul Getty Trust, at the Getty Center. Watch a video of their entire talk below.
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Quote of Note | Robert Gober

(Jonathan Muzikar)
Installation view of Robert Gober: The Heart Is Not a Metaphor, on view through January 18, 2015 at the Museum of Modern Art. (Photo: Jonathan Muzikar)

“With the sink, only after I was making it as a series did I realize that I had had, years before, a recurring dream about finding a room within my home that I didn’t know existed. That room was full of sinks, but it was very different—there was sunlight pouring in the room, and there was water running in all the sinks. They were functional. So it was an image that I had a recurring dream about, but it’s not like I woke up and I said, ‘Gee, that would make an interesting sculpture.’ It’s after-the-fact. You look back and you see all these different influences: dreams, people you’ve known, things you’ve read.”

-Robert Gober in a 1989 interview with Craig Gholson for BOMB Magazine

Quote of Note | Neville Brody

neville brody“To me, the most inspiring kind of design comes from people who are not professional designers. Things like seven-inch reggae album art from the ’70s and ’80s. These people had cheap printing and bad technology, but still made impactful work. There’s something inspiring in that innocence—raw, direct, and unafraid to make mistakes.”

-Graphic designer Neville Brody in the fifth (fall/winter 2014) issue of CR Fashion Book

Quote of Note | Mick Rock on Daft Punk

daft_punk

“They’ve got this aura based on the fact that nobody knows anything about their private lives. They’re just two skinny little French guys: totally nonaggressive, very sweet, quiet, a little bit shy—until they hit the stage with their suits on and they become monsters. Monsters in the high art sense.”

-Photographer Mick Rock in an interview with Matthew Kassel in the New York Observer

Quote of Note | Pete Wells on Keith McNally

cherchemidi

“[O]f course, he worries about the interiors. Cherche Midi’s is lovely. Outside is a dystopian intersection. You’d never know it in the dining room, which feels intimate, almost private, although of course every face is on display, bathed in light the color of apricot jam.

For three decades, Mr. McNally has been rooting around in the same Lego kit: distressed mirrors, chipped subway tiles, bottles backlighted to look like stained glass. In his hands, these well-worn tricks give restaurants the battered nobility of a vintage Saab. When anyone else tries, they end up with a 1986 Ford Escort. Sets and lighting will never be the whole show.”

-New York Times restaurant critic Pete Wells in his recent review of Keith McNally‘s Cherche Midi, which opened in June on the corner of Houston Street and the Bowery in NYC

Quote of Note | Edward Mendelson

applescript“AppleScript was invented during the Great Schism of 1985-96, when Steve Jobs was banished from Apple and building a rival computer system called NeXT. When Jobs reclaimed infallible authority in Cupertino, he killed off most of the projects begun in his absence, but he had the good sense to preserve and encourage AppleScript, perhaps because it recalled his own countercultural beginnings. Unlike the dignified messages typically displayed by Apple’s software, one of AppleScript’s error messages reads: ‘Way too long, dude.’ Today, in the advertising photos on Apple’s web site almost all of the faces belong to beautiful, generic teenagers ecstatically networking with their posses. In contrast, the only face visible on the web page describing a recent AppleScript offshoot, Automator, belongs to the gray-bearded, broad-cheeked, and admirable manager of both Automator and AppleScript, Sal Soghoian, looking pleased to be his middle-aged, jazz-playing self.”

-Edward Mendelson in “Faith and Works at Apple” on The New York Review of Books blog

Quote of Note | Emmanuelle Alt

vogue paris jj14

“This story [for the June/July 2014 issue of Vogue Paris] began with Inez [van Lamsweerde] and me exchanging images by e-mail. Sometimes it comes from almost nothing; it might just be a color. When you’re shooting in the sun—you know that strong blue sky in St. Barths—you need a contrast. So I might say, ‘What do you think about red and white?’ And Inez is like, ‘Oh, yeah, sure!’ I’ll send a picture of a red shoe and a René Gruau illustration, which is full of red, and just a silhouette or a little sketch. It’s not always photographs—often it’s a painting or a frame-grab from a YouTube film. Very quickly, we’ll start to build up an image of a woman, and then we can discuss the casting. Some photographers will keep changing their casting or think they need a stronger idea. But Inez isn’t someone who hesitates. It’s like three phone calls and everything is booked.”

-Vogue Paris editor-in-chief Emmanuelle Alt in an interview with Penny Martin, editor of The Gentlewoman, that appears in the latest, fashion-themed issue of Aperture

Quote of Note | Fran Lebowitz

(Rodolfo Martinez)“This is an era of immense originality and innovation in machinery. Which is very sad to a person like me, because I don’t care. I’m not saying it’s a bad thing, but it’s not interesting to me. These things weren’t imaginable when I was young. It’s almost as if all of humanity is concentrated on this, and we’re being used for the transmission of these things; that’s what bothers me. You’re 25. Do something that angers me, or surprises me. Don’t keep rediscovering things. Now the culture is made of old things, it’s a collage. Art made out of art is not art. You’re supposed to make art out of life. You go into studios and you see these mood boards or whatever? You think you saw that at Saint Laurent‘s studio? It’s other people’s art. I call that stealing.”

Fran Lebowitz interviewed by Paper‘s David Hershkovits

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