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I think we cannot have a double standard. We cannot see our art as different from the reality. We cannot use two different sets of judgment.
All the rich people collect traditional Chinese art. So it's very natural for Chinese families to still see art as the highest human performance and send their children to this field.
My work is always a ready-made... cultural, political, or social, and also it could be art - to make people re-look at what we have done, its original position, to create new possibilities.
I firmly believe that the only reason why I'm on this planet, the only reason why I live, breathe, and exist is, that it's my duty to be as honest as possible in my art.
Trauma happens in relationships, so it can only be healed in relationships. Art can't provide healing. It can be cathartic and therapeutic but a relationship is a three-part journey.
Without the sense of fellowship with men of like mind, of preoccupation with the objective, the eternally unattainable in the field of art and scientific research, life would have seemed to me empty.
Art, I suppose, is only for beginners, who have made up in their minds to be content with symbols rather than with what they signify, with the elegantly composed recipe in lieu of actual dinner.
I do believe - and I know I shouldn't - that art transcends money and success and any of that. You can still do it if you're not clinging to the notion of nobility.
Despite all that I know rationally, and everything that I can put into words, I can say that I have difficulty giving up the notion of the nobility of art.
I've read books in school that were written by ideological rote - they were brainwashers. Therefore, any art, any literature, that has a clearly defined political goal is repellent to me.
In 1989 I came to New York to go to the School of Visual Arts. Then, after two years, I switched over to the New School for Social Research and did cultural anthropology in the graduate school there.
I wanted to contribute to the landscape tradition in art. By now I guess we are comfortable with the thought that man has been everywhere or affected everything in nature.
The magician depends for the success of his art upon the credulity of the people. Whatever mystifies, excites curiosity; whatever in turn baffles this curiosity, works the marvelous.
Love, Hope, and Joy, fair pleasure's smiling train, Hate, Fear, and Grief, the family of pain, These mix'd with art, and to due bounds confin'd Make and maintain the balance of the mind.