Eric Drooker Quotes
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I try to, at least once or twice a week, have someone over and model, usually a dancer friend or a poet or someone to come over and just stay still for me. Depending on how exhibitionist they are, it will determine the finished work. And I say, "You're the muse; you come up with it. I'll draw you however you want."
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There's so much tragedy in people that we see every day that we don't have to make anything up. We don't have to invent anything. There are two items on the menu: comedy and tragedy.
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Infiltrating the mainstream was a natural extension of my street art. I've always tried to communicate ideas to the public as directly as possible.
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The trick is not to look back, but keep on expressing where I'm at now. It's challenging to create something new, so it's crucial to dwell in the present moment.
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The poster art over the years, art with social critique in it, has always been trying to make that point - that we are larger than they are.
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Poster art was always my way of being involved in the conversation. So it wasn't just a one-way conversation with the police yelling at us or freaking us out. Street posters allowed you to have the last word.
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I don't even believe in magic, or ghosts or anything like that, and yet in a city like New York, on the subway, I definitely see ghosts and art seems to have some magical properties.
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The problem with prostitution in my experience is that it's often unsatisfying.
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I think so much of art is unconscious anyway, the artist doesn't know the real reason they're doing it. They're just kind of going along with it intuitively.
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Most visual artists, just like most writers, tend to be solitary. While they're doing the art, that is. They may have a crazy orgy that morning, but at a certain point they kick everybody out, and say: "Come, go home. Yeah, I had a great time too." And then you're alone again, and then you're freshly inspired and energized.
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Street posters allowed you to have the last word. If you put them up in your neighborhood, you were speaking to your neighbor.
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I think for an artist there are so many things to make pictures of now, that everyone else may be suffering, but at least artists will just be stimulated by it all.
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Typically your work will end up in a museum after you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead.
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Art makes people do a double take and then, if they're looking at the picture, maybe they'll read the text under it that says, "Come to Union Square, For Anti-War Meeting Friday." I've been operating that way ever since - that art is a means to an end rather than simply an end in itself. In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.
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Illustrators are usually illustrating something big or commercial if not outright advertising. It's a form of prostitution, but that's cool because we don't have any moral hang-up about it.
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The client isn't quite satisfied and then the prostitute is always unsatisfied but is doing it just to make ends meet. And if you're doing fine art, if you're doing it for a gallery or a museum, it's so sterilized. It's such an antiseptic environment.
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Doing art that has a happy ending, that doesn't seem really corny, is extremely difficult to pull off convincingly.
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In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.
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We had collaborated with Allen Ginsberg on one of his last projects just before he died in the spring of '97, a book called Illuminated Poems - it was Allen's poems and songs and I illustrated them. Or, I illuminated them with paintings and drawings that bounced off of them. You want the picture to relate to the text without it slavishly regurgitating it or merely illustrating it, because that's redundant. You want to show another angle of what the text is saying.
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We all know artists who like to collaborate, who like to work as a team. It all kind of depends what your habitual working method is.
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We used to call the 1% the ruling class, but America's never felt comfortable using that terminology. It was taboo to talk about class war. Americans are okay talking about it like this; everyone wants to be part of the 99%, even the cops are like, "No, no, man. I'm part of the 99% too." No one wants to be part of the 1%.
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We all know what tragedy is. "Yes, I'd rather not have any more tragedy, please. I'll have comedy, please." Comedy, in the Greek sense, only means that it has a happy ending.
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Sometime when I was in my mid-twenties I noticed, "Hey, even I don't go into too many art galleries. Why? Because I don't like the vibe in them. If even I'm not going into galleries, then who goes into art galleries in the first place?" It's just a certain, very narrow percentage of the population.
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If you make a street poster and literally paste it on the street in a city like New York, where it's such a mixed population and so densely populated, and it stays up for a full week and doesn't get covered up by something else or pulled down, you will have fifty thousand people who will have seen it. It will be the poorest of the poor - some homeless man who lives on the street will see it and probably appreciate it, or some businessman or landlord will see it. Everyone will see it. And whether or not they even realize that they saw it, on some level it's affecting their consciousness.