कला उन कुछ तरीकों में से एक है जिनके जरिए हम उन चीजों से निपटते हैं जो हमें डराती हैं या गुस्सा दिलाती हैं।
Art is one of the few ways we have of dealing with things that frighten or anger us.
Art is one of the few ways we have of dealing with things that frighten or anger us.
मुझे मजाकिया बनना बहुत मुश्किल लगता है, कॉमेडी करने की तुलना में ट्रेजेडी (दुखांत) करना बहुत आसान है।
I find it very difficult to be funny, it's much easier to do tragedy than it is to do comedy.
I find it very difficult to be funny, it's much easier to do tragedy than it is to do comedy.
कला उन चुनिंदा जगहों में से एक है जहाँ आप अपनी भावनाओं को एक रचनात्मक रूप दे सकते हैं ताकि वे अंदर ही अंदर आपको न जलाएं और न ही किसी को ठेस पहुँचाएँ।
Art is one of the few places where you can put it in a constructive way where it won't burn you up inside or hurt anyone.
Art is one of the few places where you can put it in a constructive way where it won't burn you up inside or hurt anyone.
मुझे लगता है कि कला का अधिकांश हिस्सा वैसे भी अचेतन मन से जुड़ा होता है, कलाकार को खुद असल वजह नहीं पता होती कि वह ऐसा क्यों कर रहा है। वे बस अंतःप्रेरणा से आगे बढ़ते जाते हैं।
I think so much of art is unconscious anyway, the artist doesn't know the real reason they're doing it. They're just kind of going along with it intuitively.
I think so much of art is unconscious anyway, the artist doesn't know the real reason they're doing it. They're just kind of going along with it intuitively.
यदि आप कोई सड़क का पोस्टर बनाते हैं और उसे न्यूयॉर्क जैसे शहर में सचमुच सड़क पर चिपका देते हैं, जहाँ इतनी मिली-जुली आबादी है और इतनी घनी आबादी है, और वह पूरे एक हफ्ते तक लगा रहता है और किसी दूसरी चीज से ढंका नहीं जाता या फाड़ा नहीं जाता, तो पचास हजार लोग उसे देख चुके होंगे। यह समाज के सबसे गरीब तबके का कोई इंसान होगा—सड़क पर रहने वाला कोई बेघर आदमी उसे देखेगा और शायद उसकी सराहना करेगा, या फिर कोई व्यवसायी या मकान मालिक उसे देखेगा। हर कोई उसे देखेगा। और चाहे उन्हें इस बात का एहसास हो या न हो कि उन्होंने उसे देखा है, किसी न किसी स्तर पर यह उनकी चेतना को प्रभावित कर रहा होता है।
If you make a street poster and literally paste it on the street in a city like New York, where it's such a mixed population and so densely populated, and it stays up for a full week and doesn't get covered up by something else or pulled down, you will have fifty thousand people who will have seen it. It will be the poorest of the poor - some homeless man who lives on the street will see it and probably appreciate it, or some businessman or landlord will see it. Everyone will see it. And whether or not they even realize that they saw it, on some level it's affecting their consciousness.
If you make a street poster and literally paste it on the street in a city like New York, where it's such a mixed population and so densely populated, and it stays up for a full week and doesn't get covered up by something else or pulled down, you will have fifty thousand people who will have seen it. It will be the poorest of the poor - some homeless man who lives on the street will see it and probably appreciate it, or some businessman or landlord will see it. Everyone will see it. And whether or not they even realize that they saw it, on some level it's affecting their consciousness.
ग्राहक पूरी तरह संतुष्ट नहीं होता और फिर वैश्या भी हमेशा असंतुष्ट ही रहती है, बस अपना गुजर-बसर करने के लिए वह ऐसा कर रही होती है। और यदि आप फाइन आर्ट कर रहे हैं, यदि आप किसी गैलरी या संग्रहालय के लिए ऐसा कर रहे हैं, तो वह बहुत निर्जीव और कृत्रिम हो जाता है। वह एक बेहद बेजान माहौल होता है।
The client isn't quite satisfied and then the prostitute is always unsatisfied but is doing it just to make ends meet. And if you're doing fine art, if you're doing it for a gallery or a museum, it's so sterilized. It's such an antiseptic environment.
The client isn't quite satisfied and then the prostitute is always unsatisfied but is doing it just to make ends meet. And if you're doing fine art, if you're doing it for a gallery or a museum, it's so sterilized. It's such an antiseptic environment.
अधिकांश विजुअल आर्टिस्ट (दृश्य कलाकार), अधिकांश लेखकों की तरह, अकेले रहना पसंद करते हैं। कम से कम तब तो बिल्कुल जब वे कला का सृजन कर रहे होते हैं। हो सकता है कि उस सुबह उन्होंने कोई जंगली पार्टी की हो, लेकिन एक निश्चित समय पर वे सबको बाहर का रास्ता दिखा देते हैं और कहते हैं: "चलो, अब घर जाओ। हाँ, मुझे भी बहुत मजा आया।" और फिर आप दोबारा अकेले होते हैं, और फिर आप नए सिरे से प्रेरित और ऊर्जावान महसूस करते हैं।
Most visual artists, just like most writers, tend to be solitary. While they're doing the art, that is. They may have a crazy orgy that morning, but at a certain point they kick everybody out, and say: "Come, go home. Yeah, I had a great time too." And then you're alone again, and then you're freshly inspired and energized.
Most visual artists, just like most writers, tend to be solitary. While they're doing the art, that is. They may have a crazy orgy that morning, but at a certain point they kick everybody out, and say: "Come, go home. Yeah, I had a great time too." And then you're alone again, and then you're freshly inspired and energized.
सालों से पोस्टर कला, सामाजिक आलोचना वाली कला, हमेशा से वर्ग संघर्ष के इर्द-गिर्द घूमती रही है। यह यही बात साबित करने की कोशिश करती रही है कि हम उनसे संख्या में अधिक हैं। भले ही उनके पास बंदूकें, मिर्ची स्प्रे, हेलीकॉप्टर, एफ-16 और पूरी अमेरिकी सेना उनकी तरफ हो, लेकिन जब बात आखिर में आती है, तो हमारे पास संख्या बल (जनबल) होता है।
The poster art over the years, art with social critique in it, has always been on class war theme. It's been trying to make that point - that we are larger than they are. They may have guns and pepper spray and helicopters and F16s and the whole U.S. military on their side, but when it comes down to it, we still have the numbers.
The poster art over the years, art with social critique in it, has always been on class war theme. It's been trying to make that point - that we are larger than they are. They may have guns and pepper spray and helicopters and F16s and the whole U.S. military on their side, but when it comes down to it, we still have the numbers.
कलाकार वैसे भी किसी भी संस्कृति में हों, हमेशा हाशिये पर या संघर्षों के बीच ही जीते हैं। वे आमतौर पर ज्यादा पैसा न होने और थोड़ा कठिनाइयों में जीने के आदी होते हैं।
Artists always live in the cracks anyway, whatever culture they're in. They're usually accustomed to not having much money, to kind of roughing it.
Artists always live in the cracks anyway, whatever culture they're in. They're usually accustomed to not having much money, to kind of roughing it.
विडंबना यह है कि अमेरिका में लोग यूरोप या किसी भी अन्य औद्योगिक देश की तुलना में अधिक घंटे काम करते हैं। वे मई दिवस से पूरी तरह अनजान प्रतीत होते हैं, वास्तव में यह नहीं जानते कि यह क्या है - हमारा अपना इतिहास।
In the U.S., ironically, people work longer hours in the U.S. than they do in Europe or in any other industrialized country. They seem utterly oblivious to May Day, don't really know what it is - our own history.
In the U.S., ironically, people work longer hours in the U.S. than they do in Europe or in any other industrialized country. They seem utterly oblivious to May Day, don't really know what it is - our own history.
ज़रा देखिए: कला और सक्रियता। मैं हमेशा इस बात का सहारा ले सकता हूँ कि, "सवाल यह होना the चाहिए कि क्या राजनीतिक नहीं है? आप जो भी करते हैं वह राजनीतिक है, भले ही वह अमूर्त हो। आप अनजाने में ही सही, एक राजनीतिक बयान दे रहे हैं।" मुझे लगता है कि कला का बहुत कुछ हिस्सा वैसे भी अचेतन होता है, कलाकार को खुद नहीं पता होता कि वह इसे असल में क्यों कर रहा है। वे बस सहज रूप से इसके साथ बहते जा रहे हैं।
Let me see: art and activism. I can always fall back on, "the question should be, what isn't political? Everything you do is political, even if it's abstract. You're making a political statement even if it's unwittingly." I think so much of art is unconscious anyway, the artist doesn't know the real reason they're doing it. They're just kind of going along with it intuitively.
Let me see: art and activism. I can always fall back on, "the question should be, what isn't political? Everything you do is political, even if it's abstract. You're making a political statement even if it's unwittingly." I think so much of art is unconscious anyway, the artist doesn't know the real reason they're doing it. They're just kind of going along with it intuitively.
हम रोज़मर्रा की जिंदगी में लोगों के जीवन में इतनी सारी त्रासदियाँ देखते हैं कि हमें कुछ भी मनगढ़ंत बनाने की ज़रूरत नहीं पड़ती। हमें कुछ भी आविष्कार करने की ज़रूरत नहीं है। मेनू में दो ही चीज़ें हैं: कॉमेडी और त्रासदी।
There's so much tragedy in people that we see every day that we don't have to make anything up. We don't have to invent anything. There are two items on the menu: comedy and tragedy.
There's so much tragedy in people that we see every day that we don't have to make anything up. We don't have to invent anything. There are two items on the menu: comedy and tragedy.
जैसे-जैसे मैंने एक कलाकार के रूप में खुद को विकसित किया और कला इतिहास का अध्ययन किया, मैंने देखा कि सभी महान कृतियाँ मानवीय स्थिति से जुड़ी थीं। [कला] में हास्य था। इसमें कामुकता थी। लेकिन इसके साथ ही इसमें दुख का एक अंतःप्रवाह भी था।
As I developed as an artist and studied art history, I noticed that all the great works were dealing with the human condition. [Art] had humor in it. It had sex in it. But it also had sorrow running through it.
As I developed as an artist and studied art history, I noticed that all the great works were dealing with the human condition. [Art] had humor in it. It had sex in it. But it also had sorrow running through it.
हम कभी 1% अमीर लोगों को शासक वर्ग कहा करते थे, लेकिन अमेरिका इस शब्दावली का उपयोग करने में कभी सहज नहीं रहा है। वर्ग संघर्ष के बारे में बात करना एक वर्जना थी। अमेरिकी इस बारे में इस तरह बात करने में सहज हैं; हर कोई 99% का हिस्सा बनना चाहता है, यहाँ तक कि पुलिस वाले भी कहते हैं, "नहीं, नहीं यार। मैं भी 99% का हिस्सा हूँ।" कोई भी 1% का हिस्सा नहीं बनना चाहता।
We used to call the 1% the ruling class, but America's never felt comfortable using that terminology. It was taboo to talk about class war. Americans are okay talking about it like this; everyone wants to be part of the 99%, even the cops are like, "No, no, man. I'm part of the 99% too." No one wants to be part of the 1%.
We used to call the 1% the ruling class, but America's never felt comfortable using that terminology. It was taboo to talk about class war. Americans are okay talking about it like this; everyone wants to be part of the 99%, even the cops are like, "No, no, man. I'm part of the 99% too." No one wants to be part of the 1%.
हमने 97 की वसंत ऋतु में एलन गिन्सबर्ग के निधन से ठीक पहले उनके एक आखिरी प्रोजेक्ट पर उनके साथ सहयोग किया था, जिसका नाम इल्यूमिनेटेड पोएम्स था - यह एलन की कविताओं और गीतों का एक संग्रह था और मैंने उन पर चित्रकारी की थी। या यों कहें कि मैंने चित्रों और रेखाचित्रों के ज़रिए उनमें जान फूँक दी थी जो उनसे मेल खाते थे। आप चाहते हैं कि तस्वीर पाठ से इस तरह जुड़े कि वह उसकी नकल न लगे या सिर्फ उसका दृष्टांत न बन जाए, क्योंकि वह तो फालतू की पुनरावृत्ति होगी। आप पाठ द्वारा कही जा रही बात को एक नए दृष्टिकोण से दिखाना चाहते हैं।
We had collaborated with Allen Ginsberg on one of his last projects just before he died in the spring of '97, a book called Illuminated Poems - it was Allen's poems and songs and I illustrated them. Or, I illuminated them with paintings and drawings that bounced off of them. You want the picture to relate to the text without it slavishly regurgitating it or merely illustrating it, because that's redundant. You want to show another angle of what the text is saying.
We had collaborated with Allen Ginsberg on one of his last projects just before he died in the spring of '97, a book called Illuminated Poems - it was Allen's poems and songs and I illustrated them. Or, I illuminated them with paintings and drawings that bounced off of them. You want the picture to relate to the text without it slavishly regurgitating it or merely illustrating it, because that's redundant. You want to show another angle of what the text is saying.
चित्रकार आमतौर पर किसी बड़ी या व्यावसायिक चीज़ के लिए चित्र बनाते हैं, यदि सीधे तौर पर विज्ञापन न हो। यह एक तरह की वेश्यावृत्ति है, लेकिन यह ठीक है क्योंकि इसे लेकर हमारे मन में कोई नैतिक उलझन नहीं है।
Illustrators are usually illustrating something big or commercial if not outright advertising. It's a form of prostitution, but that's cool because we don't have any moral hang-up about it.
Illustrators are usually illustrating something big or commercial if not outright advertising. It's a form of prostitution, but that's cool because we don't have any moral hang-up about it.
कला लोगों को किसी चीज़ को दोबारा देखने पर मजबूर कर देती है और फिर, यदि वे तस्वीर को देख रहे हैं, तो शायद वे उसके नीचे लिखा पाठ पढ़ेंगे जिस पर लिखा होगा, "शुक्रवार को युद्ध-विरोधी बैठक के लिए यूनियन स्क्वायर आएं।" मैं तब से इसी तरह काम कर रहा हूँ - कि कला अपने आप में एक साध्य होने के बजाय किसी उद्देश्य को प्राप्त करने का एक साधन है। कला स्कूल में हमें हमेशा यही सिखाया जाता है कि कला अपने आप में एक साध्य है - कला के लिए कला, खुद को अभिव्यक्त करना, और बस इतना ही काफी है।
Art makes people do a double take and then, if they're looking at the picture, maybe they'll read the text under it that says, "Come to Union Square, For Anti-War Meeting Friday." I've been operating that way ever since - that art is a means to an end rather than simply an end in itself. In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.
Art makes people do a double take and then, if they're looking at the picture, maybe they'll read the text under it that says, "Come to Union Square, For Anti-War Meeting Friday." I've been operating that way ever since - that art is a means to an end rather than simply an end in itself. In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.
रेजिना स्पेकटर का वो गाना कौन सा है? संग्रहालय मकबरों जैसे होते हैं। अपने काम को किसी संग्रहालय में देखना एक ऐसी चीज़ है जिसकी हम कलाकार के रूप में इच्छा रखते हैं, लेकिन मुझे नहीं लगता कि यह कोई ऐसी बात है जिसके बारे में हमें जीते जी चिंता करने की ज़रूरत है। आमतौर पर आपका काम आपके मरने के बाद ही किसी संग्रहालय में पहुँचेगा। और शायद संग्रहालय का यही काम होता है। यह आपके मरने के बाद आपके काम का एक संग्रह होता है। लेकिन हमारे जीते जी, मैं इसे ऐसी जगहों पर देखना पसंद करता हूँ जहाँ यह रोज़मर्रा की ज़िंदगी से जुड़ा हो और बदलाव ला रहा हो।
What's that Regina Spektor song? Museums are like mausoleums. Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive. Typically your work will end up in a museum after you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead. But while we're alive, I like to see it in places where it's connected to day-to-day life and making a difference.
What's that Regina Spektor song? Museums are like mausoleums. Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive. Typically your work will end up in a museum after you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead. But while we're alive, I like to see it in places where it's connected to day-to-day life and making a difference.
जब मैं अपने शुरुआती बीसवें दशक में था, तब मैं अपनी इमारत में किराएदारों को संगठित कर रहा था - खासकर किराए की हड़ताल के लिए। मुझे लगता है कि इसी तरह मैंने पोस्टर कला बनानी शुरू की थी। यह एक बहुत ही ठोस चीज़ थी।
When I was in my early twenties I was doing tenant organizing - rent strikes, specifically - in my building. I think that was how I started doing poster art. It was something very concrete.
When I was in my early twenties I was doing tenant organizing - rent strikes, specifically - in my building. I think that was how I started doing poster art. It was something very concrete.
मुझे लगता है कि एक कलाकार के लिए अब तस्वीरें बनाने के लिए इतनी सारी चीज़ें हैं कि भले ही बाकी सब लोग परेशान हों, कम से कम कलाकार इन सब चीज़ों से प्रेरित ज़रूर होंगे।
I think for an artist there are so many things to make pictures of now, that everyone else may be suffering, but at least artists will just be stimulated by it all.
I think for an artist there are so many things to make pictures of now, that everyone else may be suffering, but at least artists will just be stimulated by it all.
अपने काम को किसी संग्रहालय में देखना एक ऐसी चीज़ है जिसकी हम कलाकार के रूप में इच्छा रखते हैं, लेकिन मुझे नहीं लगता कि यह कोई ऐसी बात है जिसके बारे में हमें जीते जी चिंता करने की ज़रूरत है।
Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive.
Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive.
कला लोगों को उनकी आँखों से खींच लेती है, उन्हें सम्मोहित कर लेती है। खासकर यदि तस्वीर बहुत सुंदर या बहुत कामुक या सचमुच बेहद अजीब हो, यदि उसमें कोई अलौकिक तत्व हो।
Art grabs people by their eyeballs, it seduces them. Especially if the picture is very beautiful or very sexy or just really weird, if it has some surreal element in it.
Art grabs people by their eyeballs, it seduces them. Especially if the picture is very beautiful or very sexy or just really weird, if it has some surreal element in it.
आप जो भी करते हैं वह राजनीतिक है, भले ही वह अमूर्त हो। आप अनजाने में ही सही, एक राजनीतिक बयान दे रहे हैं।
Everything you do is political, even if it's abstract. You're making a political statement even if it's unwittingly.
Everything you do is political, even if it's abstract. You're making a political statement even if it's unwittingly.
सड़क पर पोस्टर कला बनाने - या किसी ऐसी चीज़ को बनाने जिसमें सचेत सामाजिक आलोचना शामिल हो - की अजीब बात यह है कि कलाकार को लगता है कि उसका थोड़ा नियंत्रण है, वह ध्यान केंद्रित कर रहा है और एक खास बात रखने की कोशिश कर रहा है। लेकिन उसके बाद भी, जब आप कुछ साल बाद उसे देखते हैं, तो आपको एहसास होता है कि आप उस दौरान बस अपनी सामान्य भावनाओं से ही जूझ रहे थे।
The unusual thing about doing street poster art - or something with a conscious social critique in it - is that the artist thinks they're a little in control, focusing and trying to make a specific point. But even then, when you look at it a few years later, you realize you were just working through some of the usual feelings you were going through during that time.
The unusual thing about doing street poster art - or something with a conscious social critique in it - is that the artist thinks they're a little in control, focusing and trying to make a specific point. But even then, when you look at it a few years later, you realize you were just working through some of the usual feelings you were going through during that time.
हर कोई 99% का हिस्सा बनना चाहता है, यहाँ तक कि पुलिस वाले भी कहते हैं, "नहीं, नहीं यार। मैं भी 99% का हिस्सा हूँ।" कोई भी 1% का हिस्सा नहीं बनना चाहता।
Everyone wants to be part of the 99%, even the cops are like, "No, no, man. I'm part of the 99% too." No one wants to be part of the 1%.
Everyone wants to be part of the 99%, even the cops are like, "No, no, man. I'm part of the 99% too." No one wants to be part of the 1%.