In fact I always disliked conceptual art, because my work is about anarchistic humor.
I am good in the fact that most of my reviews have been very positive really. I get pretty good reviews. There have been some that aren't - critical. I think they are extremely - the people that wrote them really don't understand what they are looking at quite frankly or have a very preconceived notion of what conceptual art should be or where I am at or the fact that I may change what I have done from what I did 20 years ago. But there is always some reason that they just sort of get it wrong. And so it certainly doesn't affect my work.
One of my most strong memories was studying with Mel Bochner, one of the, I think, high water marks of American conceptual art.
I always thought there was a - even in the most, quote, "conceptual art," there is always a physical aspect to it. I never knew what the term meant.
What art is not processed? "Conceptual art." Somebody making a painting has to conceive of the size. I don't understand where these words came from. I can't accept the fact that the concept of art as our concept of humanity is expanding.
Conceptual art might be, for better or worse, (definable as) the art most susceptible to lossy compression.
All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art.
Obviously my own work comes from a conceptual art tradition, but I love the graffiti artists, and I feel spiritually closer to them than to most contemporary art; they make the city a free space of diverse voices and we shouldn't get all cynical about them just because Banksy made some money. I collaborate sometimes with Krae, who is an old school east London graffiti writer.
I am particularly interested in creating a relationship between ideas of reception in conceptual art and theater.
I didn't want to be criticized for taking low-quality photographs, so I tried to reach the best, highest quality of photography and then to combine this with a conceptual art practice. But thinking back, that was the wrong decision [laughs]. Developing a low-quality aesthetic is a sign of serious fine art-I still see this.
John Baldessari, the 79-year-old conceptualist, has spent more than four decades making laconic, ironic conceptual art-about-art, both good and bad.
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