You have so many more influences than those of a visual artist influences that are more than just post-Conceptual ideas. Your work manifests itself through music and sound and it's all about that, but to me, you're such a consummate visual artist. I thought the record cover was such a good format. In 1983 or 1984, at White Columns on Spring Street. Did you see the show I curated, the 'Record Cover Show'? Some kids don't even know what records are. We joke that when she's a teenager she's going to be selling his records.Īt least she knows what they are. She's probably disgusted because Thurston is such a collector. I know, I'm sort of sad that my daughter's not going to have that record experience.
Now this is an obsolete form, but there was so much creativity in the design of those 12-inch squares. I was attracted to all the album covers-such an amazing variety. But in the States everything was about consumption and I was reacting to that as well. Before that, the record was something I was taught to respect and preserve. I bought everything from thrift stores, and it was an incredible source for really cheap vinyl. Thrift stores were a big deal for me when I first came to the States. Maybe that explains the freedom I have with records. My father never really listened to music, so I didn't grow up listening to it that much. My parent's had this great-looking Braun turntable, and a bunch of Christmas records and a few show tunes that my mother brought back from the States. I'd pick them out and lay them in a row and make a story out of the covers. I only ask because when I was little I was obsessed with my dad's record collection. When you were young, did you have a relationship with records? In this interview with Sonic Youth singer and guitarist Kim Gordon, excerpted from Phaidon's 2003 pressPLAY: Contemporary Artists in Coversation, artist Christian Marclay discusses how he came to fuse art and music, alternate between mediums to keep things exciting and fresh, and the importance of scale in his work. In rendering them effectually obsolete, Marclay creates a dialogue between the visual, auditory, and experiential, exploring the language we use to bridge these worlds. His innovative work explores sound, space, and time, and oscillates between sculpture, installation, video art, performance art, and recordings in which he distorts common tools of sound like records or instruments so that they no longer function for their intended use. If you're a vinyl freak who cringes when someone fails to put a record back into it's protective sleeve, you may want to stop reading- Christian Marclay is known to melt his records together, unravel tapes and crochet them together, and destroy guitars.
So it's a little surprising to hear musician/artists Christian Marclay and Kim Gordon talk candidly about how they would "never" consider themselves musicians. With the rise of performance art, post-conceptual art, and the great number artists trying their hand at a variety of mediums all at once, the lines between what is considered music or art have become blurred. Contemporary art and music have long walked hand-in-hand.
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