"I make pictures and someone comes in and calls it art"
About this Quote
There is a sly shrug in de Kooning's line, a refusal to play the role everyone assigns the modern artist: priest, genius, mystic. "I make pictures" is deliberately workmanlike, almost anti-romantic. It casts painting as a craft activity, closer to carpentry than revelation. Then comes the intruder: "someone comes in and calls it art". The punch is in the passive transfer of authority. "Art" isn’t what he claims to do; it’s what the audience, the critic, the dealer, the museum confers after the fact.
The intent isn’t self-deprecation so much as a cool-eyed description of how cultural value gets manufactured. De Kooning came up through commercial design and immigrant hustle, then became a central figure in Abstract Expressionism, a movement that got wrapped in grand narratives about freedom, masculinity, and American power. His sentence punctures that mythmaking. It suggests that the canon is built by people "coming in" - an art world that arrives with labels, language, and price tags, eager to stabilize something that, in the studio, is unstable and messy.
Subtext: he’s skeptical of the sanctimony attached to "Art" with a capital A, but he’s also aware of its seduction. The phrase doesn’t deny meaning; it denies the neatness of meaning. In a market-driven scene where explanation can be as valuable as pigment, de Kooning points to the uncomfortable truth: the act is personal, the category is social, and the gap between them is where prestige gets made.
The intent isn’t self-deprecation so much as a cool-eyed description of how cultural value gets manufactured. De Kooning came up through commercial design and immigrant hustle, then became a central figure in Abstract Expressionism, a movement that got wrapped in grand narratives about freedom, masculinity, and American power. His sentence punctures that mythmaking. It suggests that the canon is built by people "coming in" - an art world that arrives with labels, language, and price tags, eager to stabilize something that, in the studio, is unstable and messy.
Subtext: he’s skeptical of the sanctimony attached to "Art" with a capital A, but he’s also aware of its seduction. The phrase doesn’t deny meaning; it denies the neatness of meaning. In a market-driven scene where explanation can be as valuable as pigment, de Kooning points to the uncomfortable truth: the act is personal, the category is social, and the gap between them is where prestige gets made.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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