When you play a concerto with a small orchestra, you don't feel it is as important as Carnegie Hall. You try to work out all the little problems. Once that's all done, trust comes in.
I wanted to be an English teacher. I wanted to do it for the corduroy jackets with patches on the side. When I got to college, as I was walking across campus one day, I ripped off a little flyer for this sketch-comedy group. It ended up being one of the greatest things I've ever done.
What is wanted - whether this is admitted or not - is nothing less than a fundamental remolding, indeed weakening and abolition of the individual: one never tires of enumerating and indicting all that is evil and inimical, prodigal, costly, extravagant in the form individual existence has assumed hitherto, one hopes to manage more cheaply, more safely, more equitably, more uniformly if there exist only large bodies and their members.
Freedom means freedom from forces and circumstances which would turn man into a thing, which would impose on man the passivity and predictability of matter. By this test, absolute power is the manifestation most inimical to human uniqueness. Absolute power wants to turn people into malleable clay.
I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.