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Course: The Museum of Modern Art > Unit 1
Lesson 6: Artist interviews- Andrés Jaque: COSMO | Young Architects Program 2015
- Gilbert & George: The Early Years
- Cai Guo-Qiang | Borrowing Your Enemy's Arrows
- Richard Serra | Equal
- "Weaving the Courtyard" by Escobedo Soliz | Young Architects Program 2016
- Artists Experiment 2014 | MoMA
- THIS IS ISA GENZKEN | MoMA
- Isaac Julien, Ten Thousand Waves | MoMA
- James Rosenquist, "F-111," 1964-65
- Lee Quinones on graffiti
- Studio Tour: Thomas Lanigan-Schmidt
- Richard Serra, "Intersection II"
- Richard Serra, "Torqued Ellipse IV"
- Richard Serra, "Band," 2006
- Wolfgang Laib, "Pollen from Hazelnut"
- Gabriel Byrne revisiting "The Quiet Man"
- Carolee Schneemann, "Up to and Including Her Limits"
- Dorothea Rockburne: Drawing Which Makes Itself
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Studio Tour: Thomas Lanigan-Schmidt
Thomas Lanigan-Schmidt brings us into his NYC studio. To learn more about what artists have to say, take our online course, Modern and Contemporary Art, 1945-1989. Created by The Museum of Modern Art.
Want to join the conversation?
- ~2:18- "good taste is the last refuge of the unimaginative" - Does he mean that people who like the ancient masters are unimaginative?(1 vote)
- I think he means that taste is a personal thing, and to label something as good is to judge it and deem it as somehow better than another work of art. Perhaps he calls it unimaginative because it's easier to shun art or ideas that confront someone's point of view, rather than stepping out and trying to understand it and contextualise it. Like, it can be easier to call some more modern installations as 'stupid' or in 'bad taste' rather than take the time to understand the intent of the artist and what they are trying to communicate. There's no reason to step outside the box. Someone can just label it and move on without a second thought. It takes more imagination to try to stand conceptually where the artist is standing, and I think that this is what he's getting at. He's by no means criticizing the ancient masters, but he's also not holding them above other artists like Hesse or Picasso or Pollock.(6 votes)
- At2:05, Lanigan-Schmidt says that he occasionally uses gesso in his work. Does anyone know if he uses gesso for anything other than as a base for paint (i.e. how gesso is usually used)?
I'm just curious because he seems like the type of person that employs his materials in a lot of unconventional (and creative) ways.(1 vote)- Including its common use as a binder of materials used in paints (pigments, gypsum, chalk, etc.), gesso is also used as a preparatory material that is put over surfaces such as wood and sculpture, and serves as the base layer for the paint and other materials that will be applied over it.(2 votes)
- Was that skull a human skull?(1 vote)
- at2:04he said he uses gesso sometimes, what's gesso ?(1 vote)
- At0:13the camera pans across what I believe to be a statue of none other than LENIN on the mantel? Is that correct?(1 vote)
Video transcript
Thomas: Here we are. There is Jack Smith's picture,
stained glass windows. Over there, there's angels up there. A lot of things. The angels are from Charmin toilet paper. Cut their little faces out and made them into little angels. There they are, little cherubs. This was actually once a bedroom, but as art supplies built
up, built up, there they are. Art supplies stacked everywhere. These boxes have become a
panorama very much like the Andes. As we see, as we move through, sort of like a mountain rage
that's about to have an avalanche. Here we have an angel head. That's the wings. That's the head. See, there's the angel. But, [unintelligible] are
done, they look like that. So it'll look more like
a stained glass window. This room, I used to use
as a total work space. Eventually, it's filled
up with art supplies, which are endless. If you try to picture this
room with nothing in it. That's how it was when
I first moved in here. That's when I was making the
parts for the iconastasis, which is now in the Peter Ludwig
Museum in Aachen, Germany. What's interesting about the iconostasis, is it could not fit into this room, because it's too big for this room. The iconostasis was made
out of wood, by a carpenter. Then, the separate parts had
to be made here, individual. The separate parts are a lot
smaller than the whole thing, so I made each of the parts. The materials in the iconostasis, as with most of the art I make, are basically household materials. Generally, I don't use many art materials. I might use a little acrylic
paint or gesso once in a while. Okay, yes, the writing is very important. Taste is everything. That doesn't mean good taste either. Any taste can rise to the level of art. Good taste is the last
refuge of the unimaginative. This is the room where the sacramentality of art is realized in the
fullness of it's concretization. Like, there on that very piece
of wood, the mensa, the altar. That's where the art happens. That's the major altar. The minor altar is another piece
of wood that lays somewhere. Here is where I make art. This is beloved my roommate. It's a Bart Simpson doll
and it's an actual skull. Very memento mori. Kind of like sobering. (sound of breaking bone) Oh! (laughs) (sound of breaking bone) Sometimes it hits home, what it really is. Then, I feel like Mary Magdalene. She always holds those
skulls in the paintings.