'Hedwig' was pretty much all the things I wanted to do that other people said I probably shouldn't do: drag, punk rock, stand-up comedy... You know, combine them all in a thing that's supremely uncommercial from the objective point of view.
I've always enjoyed feeling a connection to the avant-garde, such as Dada and surrealism and pop art. The only thing the artist can do is be honest with themselves and make the art they want to make. That's what I've always done.
I'm more attracted to art that smashes than I am attracted to art that sits on a shelf and is beautiful.
I have done quite a lot of outsider figures.
Artists are meant to be madmen, to disturb and shock us.
I don't see myself as a pop artist. Like, when you hear 'pop,' you're like, 'Oh, bubblegum, jumpy little girly stuff,' and I feel like, 'Uh-uh. That's not me.'
Art isn't about following the rules. It's about breaking them.
I've realised that if I aim for a successful record, I probably won't have any success. But if I keep making weird things, then hopefully the audiences will come to us.
Anyway I feel myself a bit on the edge on the art world, but I don't mind, I'm just pursuing my work in a very excited way. And there isn't really a mainstream anymore, is there?
I had given up ( around 1950, fh) any ambition of making a career as an artist…..I had lost all interest in the art shown in galleries and museums, and I no longer aspired to fit in that world. I loved the paintings done by children, and my only desire was to do the same for my own pleasure.
Few contemporary artists mined the space between the ordinary and the strange better than Orozco did.
In my mind, the plays I was writing were extreme examples of art for art's sake. I didn't necessarily think that other people would love them, though I thought they probably would.
I want to be an artist you cannot categorize at all. You can't put a box around me. You can't put anything around me.
When 'Carmen' premiered in 1875, it was panned by the critics. It survived 45 performances. It was called a musical and moral outrage. After Bizet died, at age 37, 'Carmen' became wildly popular. If you believe in your creation, and the rest of the world is laughing or yelling 'Boo,' don't give up.
Salvador Dali has been called kitsch, but, although some of this work may be grotesque, its brazenly self-conscious bad taste saves it from being true kitsch, which always strives to please.
Although you might have to creep about at night and lie to your mum it’s actually one of the more honest art forms available. There is no elitism or hype, it exhibits on the best walls a town has to offer and nobody is put off by the price of admission.
In a repressed society, artists fulfil a sense of harking back to instant gratification, or immediate expression, by doing things that function on the edge of society, or outside of what is conventionally accepted.
Theatre is a bastard form. I'm always proud of that. That's what makes it taste of life.
People who don't like my work say that the connections seem too arbitrary. But that's how life is.
One of the things I did learn from 'The Epic' was that we don't have to feel so much pressure to conform to set formats. A song doesn't have to be three minutes and 30 seconds.
One bites into the brass mouthpiece of his wooden cudgel, and the other blows his cheeks out on a French horn. Do you call that Art?
There are no categories in contemporary art. There are no rules. Artists are given the freedom to make and create whatever they please and call it whatever they please. I identify with that system, or lack of system, much more than I do the landscape of contemporary publishing.
The art world was not initially really accepting my kind of work. I was ahead of my time.
I look for things that are left of center, something you've only seen your whole life, but never heard. Hit it! With a stick! I have a guitar made out of a 2x4 that I bought in Cleveland.
Performance art is about joy, about making something that's so full of kind of a wild joy that you really can't put into words.
