I say that I suffer from what Rosalind Krauss was calling the post-medium condition, where an artist essentially employs several mediums in order to bring to life whatever specific ideas that they have. For me it’s always been that way. Rashid Johnson Read Quote
The way that light hits objects, I think, is one of the more important things that sculpture and photography share. Rashid Johnson Read Quote
I’ve always been interested in this idea of a privileged life, probably because it’s something I hadn’t seen much of. Rashid Johnson Read Quote
When I was young, I remember feeling a real thirst for opportunities around the arts, for learning about how artists function and how institutions work. Rashid Johnson Read Quote
I have an investment in the signifying aspects of the material as well as an understanding of antecedent bodies of work. That informs the way I make marks and make decisions. Rashid Johnson Read Quote
Race, class, childhood experience, the books I found on my mother’s bookshelf, the albums I found in my father’s basement – these things are all part of who I am and will always be a part of my work. Rashid Johnson Read Quote
For me, all the materials and objects I employ come from a specific space that’s very personal. Rashid Johnson Read Quote
My mother introduced me to more academic-minded writers, Cornel West and Skip Gates. In her library, I came across, when I was very young, Harold Cruse’s ‘The Crisis of the Negro Intellectual,’ which is like a bible of Negro intellectuals from Frederick Douglass to Amiri Baraka. Rashid Johnson Read Quote
My father had a big brick cell phone, before anyone had a cell phone, because he was really just into that kind of thing – communication devices. I grew up between my father’s laboratory and my mother’s library. Rashid Johnson Read Quote
