Quotes of All Topics . Occasions . Authors
I have no interest in making a work that doesn't elicit a feeling.
Once you open up the Pandora's box of race and gender... you're never done.
I'm a sponge for historical images of black people and black history on film.
I never learned how to be adequately black. I never learned how to be black at all.
I knew I wanted to be an artist, but I didn't really know what it was I wanted to say.
Silhouettes are reductions, and racial stereotypes are also reductions of actual human beings.
I really love to make sweeping historical gestures that are like little illustrations of novels.
The silhouette says a lot with very little information, but that's also what the stereotype does.
The illusion is that most of my work is simply about past events: a point in history and nothing else.
Challenging and highlighting abusive power dynamics in our culture is my goal; replicating them is not.
I don't know how much I believe in redemptive stories, even though people want them and strive for them.
I took a political stance early on, but I don't think my work is overtly political. I respond to events.
To be a truly conscientious artist, you have to look at what's not working and challenge it. You riff on things.
If you're a Black artist, you could paint a wall of smiley faces, and someone will still ask you, 'Why are you so angry?'
I trust my hand. If I go into a space with a roll of paper, I can make a work, some kind of work, and feel pretty satisfied.
As a child, I was subjected to a lot of spaghetti Westerns and hated them. I wanted the Indians to win - or just not be so sad!
I don't think that my work is actually effectively dealing with history. I think of my work as subsumed by history or consumed by history.
My work is really abject and self-effacing sometimes. I mean, it's big and overwrought, but it's just paper dolls, and it's kind of silly.
The promise of any artwork is that it can hold us - viewer and maker - in a conflicted or contestable space, without real-world injury or loss.
I think really the whole problem with racism and its continuing legacy in this country is that we simply love it. Who would we be without the 'struggle?'
Humor's always been the problem of my work, hasn't it? When working, I feel satisfied when I surprise myself. And when I surprise myself, I wind up laughing.
Im not really about blackness, per se, but about blackness and whiteness, and what they mean and how they interact with one another and what power is all about.
I don't think that my work is very moralistic - at least, I try to avoid that. I grew up with that sermonising tendency, and I don't think visual work operates like that.
There's no diploma in the world that declares you as an artist—it's not like becoming a doctor. You can declare yourself an artist and then figure out how to be an artist.
I am performing this role of the artist and this role of the 'negress' coming into a white-box institution. It's kind of a self-appointed role: the self-designated negress.
I grew up partially around Stone Mountain, Georgia, and in that part of the country, there was always this aura of mythology and palpable sense of otherness about being a Southerner.
A lot of what I was wanting to do in my work and what I have been doing has been about the unexpected... that unexpected situation of wanting to be the heroine and yet wanting to kill the heroine at the same time.
There is something very strange and unsettling for me about making a work that doesn't fit with what's the norm or what's acceptable. There's something both liberating about it and challenging. I can imagine it doing more harm than good.
I'm fascinated with the stories that we tell. Real histories become fantasies and fairy tales, morality tales and fables. There's something interesting and funny and perverse about the way fairytale sometimes passes for history, for truth.
A lot of my work has been about the unexpected—that kind of wanting to be the heroine and yet wanting to kill the heroine at the same time. That kind of dilemma—that push and pull—is the underlying turbulence that I bring to each of the pieces that I make.
Sugar crystallizes something in our American Soul. It is emblematic of all Industrial Processes. And of the idea of becoming white. White Being equated with pure and ‘true’ it takes a lot of energy to turn brown things into white things. A lot of pressure.
Sugar crystallizes something in our American soul. It is emblematic of all industrial processes. And of the idea of becoming white. White being equated with pure and 'true': it takes a lot of energy to turn brown things into white things. A lot of pressure.
It feels like a game, this work I do. It is totally heartfelt, and I love the sticky terrain, the straight-up cartoons, how the irrepressible and icky rise to the surface. But I am not just trying to call forth bugaboos and demons for the sake of it, for fun.
I often compare my method of working to that of a well-meaning freed woman in a Northern state who is attempting to delineate the horrors of Southern slavery but with next to no resources, other than some paper and a pen knife and some people she'd like to kill
One of my earliest memories involves sitting on my dad’s lap in his studio in the garage of our house and watching him draw. I remember thinking: ‘I want to do that, too,’ and I pretty much decided then and there at age 2½ or 3 that I was an artist just like Dad.
I've seen people glaze over when they're confronted with racism, and there's nothing more, you know, damning and demeaning to having any kind of ideology than people just walking the walk and saying what they're supposed to say and nodding, and nobody feels anything.
I was making big paintings with mythological themes. When I started painting black figures, the white professors were relieved, and the black students were like, 'She's on our side.' These are the kinds of issues that a white male artist just doesn't have to deal with.
There was a manifesto in the late '60s/early '70s, and it basically laid out what 'black art' was and that it should embrace black history and black culture. There were all these rules - I was shocked, when I found it in a book, that it even existed, that it would demarcate these artists.
I know that in my family there are histories of violence that are internal family things and that are oftentimes dealt with internally. By internally, I mean inside the family group, but also partly inside ourselves. You know, self-hatred and hostility and rage and this cycle that won't break.
I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.
I didn’t want a completely passive viewer. Art means too much to me. To be able to articulate something visually is really an important thing. I wanted to make work where the viewer wouldn’t walk away; he would giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful