usic]

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it is my pleasure and my honor to
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introduce the pewte surprise winning art
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critic for New York Magazine Jerry Saltz
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and I'd like and I'd like to introduce
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him using one of his quotes all great
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contemporary artists schooled or not or
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essentially self-taught and RD skilling
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like crazy I don't look for skill and
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art skill has nothing to do with
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technical proficiency I'm interested in
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people who rethink skill who redefine or
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reimagine it and engineers say who
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builds rockets from rocks I'm looking
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for what act artist
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what the artist is trying to say and
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what he or she is actually saying what
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the work reveals about society and the
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timeless conditions of being alive Jerry
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Saltz
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thank you hello Kent presents I want to
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take a few minutes and can you all hear
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me okay they were gonna put one of those
01:27
mics that go from your ear to your mouth
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but I cannot possibly wear something
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like that it's like it's a TED talk and
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I'm against the the look just the look
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anyway I want to thank Donna Rosen and
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Ben Rosen for allowing me to come to the
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University of Rosen
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honest to god how many years has this
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been going for I came to the first one
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and honestly I've been at the Aspen one
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two and I like this more a lot more and
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I did the first time and I think right
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out of the gate they got it right and
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it's still right and they created
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something where something didn't exist
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before and you're a soldier kid you
02:23
earned your stripes okay this is an
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all-volunteer army people if you don't
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like the art world you can leave it's
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real simple
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every single person here how many people
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are we would define themselves as
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loosely say involved in the arts they go
02:44
to galleries they work in the arts this
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is a disaster for me a total disaster
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because I do hate Donna and Ben Rosen
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because I thought I was speaking to old
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beginners I got a beginner everyone else
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can leave and I even told all my good
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friends do not come to this I usually
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speak for three hours and then I found
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out a week ago it's 35 minutes okay so
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I'm gonna talk about are in any way as
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if you know nothing I know nothing
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that's a thrilling place to be because
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really in front of every
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single work of art you've ever seen you
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have never had seen it before
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for that first second and that to me is
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an amazing thing that we discount all
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the time it's almost like discounting
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flying or you know photography we begin
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to take that thrill that other nough
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stat silenced that new thing even if it
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turns out to be crap for granted and I
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don't want you ever to do that don't
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think beforehand you know what is good
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and bad because you really don't you can
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think of hundreds of songs artists
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things that you didn't like at first
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that you then all of a sudden went whoa
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the first time I heard the Talking Heads
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I didn't recognise it as music it's a
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nightmare for me but you have to be able
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to admit that so what does our do what
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is art what's it for
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have you ever asked yourself that what's
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art for for beauty for asking questions
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have you ever looked at Egyptian
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sarcophagi their eyes painted on the
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side why are the eyes there so you could
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see out from the inside because it's
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dark there most of the art you see in
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Egyptian tombs was not made for human
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eyes but no it's made for the afterlife
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by the gods of the afterlife it was
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never made to be seen by you or me
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what about voodoo dolls what about what
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else do I have here four years paintings
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for centuries for millennia paintings
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were carried into war your army would
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meet over there
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mine would be here and I would go
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you would bring out your like Saint Luke
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painted by Saint Luke himself and you
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would do this and we'd go we're gonna
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lose we're definitely gonna lose we do
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not have the Mojo today icons people
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worship I'm not religious I don't want
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to insult anybody in this room but I
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could make the argument that people that
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worship the gods in the Bible are
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worshipping great art great works of
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fiction one of the great works of
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fiction I could I make that argument to
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myself not to you people stand around
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Rothko's chapel for God's sake those are
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just Buddhist televisions right there's
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nothing there it's this old Jewish guy
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bald who you know made floaty squares
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and fuzzy rectangles and people go there
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and go wild you have you've cried how
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many of you have cried in front of a
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work of art what's wrong with us right
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what work of art did you cry in front of
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Matisse with joy yeah anybody else want
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to give a shot yeah Georgie Oni yeah who
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understands that stuff but it does
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something to you I cried at Adele
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singing goodbye or hello I mean from the
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other side at home I put it on repeat
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and there I was one of the things almost
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all works of art are trying to do to you
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that you see now is imagine I'm the work
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of art and it's looks at you across the
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room agos I saw you look at me I caught
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you just out of the corner of my eye
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looking at me come here come here
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come here come closer come very close to
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me I could change your life you love me
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I want you I want you to take me home
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with you
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it's weird stuff that's what's going on
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a lot with artists and art a lot of
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people complain about art saying but I
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don't understand it
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we understand movies we understand TV we
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understand some books we understand the
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Kardashians for God's sake
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and we understand money which has become
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almost a disease in the art world that
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has turned everyone cynical which if I
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ever get to it in the end I'll try to
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talk to that but our really isn't
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primarily first about understanding it's
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about experience it's about a bodily
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confirmation it's in the sense like food
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or music something that penetrates you
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that enters your body it becomes mixes
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as it were with your thought your being
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all of your experiences it's a way of
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knowing it's a way of knowing yourself
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it's a way of thinking Pablo Picasso
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said all art is erotic
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oddly enough so did Gustav Klimt and so
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with a lot of artists right
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you cannot worry about understanding
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with art it's really way down on the
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list because frankly I don't under I too
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do not understand it is that a triple
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negative I look at an all-white painting
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by rober rhyme and I may want one but if
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you said do you understand it I would
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tell you a lot about it
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but I don't think that's the right
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question you're already going way down
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like the wrong track we don't ask
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do you understand Mozart so when you see
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art the first thing to do is
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saying but I don't understand okay arts
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really part of a cosmic force uh-oh he's
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talking geezer new-age talk it's not
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optional but it's been here since the
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beginning we know this Neanderthal a
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species some of you have heard lectures
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about or talked about right about walked
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around and collected very particular
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materials built or fabricated satchels
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and devices to carry these materials
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evidence that they were brought from one
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place to another and sometimes traded
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with other groups you see stored having
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then made tools to fashion these other
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materials in more than one way two tools
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for the same stone hand ax did I say
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it's art I did not I said it was part of
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a material culture part of something
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that was thought about an operating
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system if you will a way to get the
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thought and the desire and the need for
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something that I have that I imagine
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into the material world to maybe do
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something for me
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also ochre was found carried by this
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dead species to other locations prepared
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and applied okay that's kind of
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convincing to me as some sort of
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intention and not just chipping away at
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something to make a pointy thing but
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it's that too art is not optional it's
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not just a decorative hedge in front of
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the Citadel of knowledge I would tell
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you it's as essential to our being as
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economics religion philosophy you name
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it yes it's true if
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we can't eat we can't even think about
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economics philosophy all that I'm not
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talking about that I'm talking about
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that it's been with us since before the
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beginning it's never not been here we
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think we have about one percent of one
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percent of one percent of one percent of
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all the so-called cave paintings that
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were ever made how many people who have
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ever seen one in the flesh life changing
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instantaneously you look at many of them
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were not in caves of course they weren't
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in case they were the geology changed
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where great stones would fall and close
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these things off and preserve them for
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tens of thousands of years within two
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degrees if it changes one time in all of
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that time if it freezes one time the
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paint will be frozen and then thaw and
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it begins already the long process that
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it will fall off the wall and it will be
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gone now you see that these caves have
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to be formed and then they have to open
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again in order for you to even have
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access to one and if you've ever seen a
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cave painting you know instantaneously
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this isn't some mumbo jumbo of only male
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artists that go wah wah wah wah I'm
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going to make the spirits eat my you
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know enemy these are people that looked
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at mammals for a hundred thousand years
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and they knew everything they knew when
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a mammal was in rut when it was in
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estrus whether it was young old
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preparing to fight getting ready to die
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that in those paintings is a little
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thing that we say we invented in Italy
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in 1414 called perspective excuse me the
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Romans had a very close perspectives
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system to ours
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the Egyptians have it in their paintings
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the Asians have never given a
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about it because to them they're not
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into it it's a bit middle-class if you
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will
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frankly and that's the way the Greeks
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the Romans and the Egyptians handled the
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thing that we got so errata sized about
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going I'm going into space all of this
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is for me it's going deep and I am the
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sole viewer right
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that's pretty thrilling I like that no
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wonder those great painting machines in
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the 19th century had to be destroyed by
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Courbet MANET Courbet van Gogh up to
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Cezanne etc until it was gone by you
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know you could say Picasso I could say
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some you know Hilma off Klimt it doesn't
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matter who gone that had to go we know
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when we look at cave paintings that were
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scenes things that have been seen that
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wanted to be recognized the artists in
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other words has to be able to embed this
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is just for you you're the only person
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in the room for this the rest of you
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have a cigar cigarette the artist has to
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be able to embed thought in material job
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one have you ever heard of Marcel
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Duchamp you everybody else of course
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they have have you Daniella
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get with the program now the urinal that
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Duchamp designated art what year was
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that let's all model it and say nineteen
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people room some I think it's 15 it's
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not the first one if you want to make me
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one Duchamp ready-made by the way my fav
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happens to be the shovel because it's
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the least aesthetic there's no way to
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look at the damn shovel and go but it's
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a fabulous object
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it isn't it just hangs there anyway when
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you look at duchamp's urinal call
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fountain turned on its side inside
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signed our mutt and then rejected from a
16:52
big show that was supposedly going to
16:54
accept everything so much for Americans
16:58
throwing themselves open and whatever
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that you know what every year that was
17:02
1915 again let's say the thought is
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embedded in that you understand his
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intention to change the category or
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rather open what is art
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how can we change the categories you
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have to understand what people first
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confronted that they were asked is this
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art
17:28
when Picasso first made dame Ezell's in
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two huge as Kurt Varnado hooded opium
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fueled campaigns painted only at night
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only by lamplight in Accra Poulos studio
17:45
the guy blasted on opium but I'm blasted
17:49
on coffee so who knows the difference he
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showed the painting to a group of people
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his friends in Paris and asked is this a
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good painting when Pollock first dripped
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you know and he's not jacked that Draper
18:08
he's not like that he's short I hate you
18:12
too he's bald he smoked I used to have
18:17
you ever seen films of Pollock dripping
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he's more like this he's like that he's
18:24
not like Richard Serra trying to smack
18:27
you in the head Paula cast the Duchamp
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question not is this a good painting he
18:35
asked is this a painting he jumped he
18:40
began to jump the tracks that Warhol the
18:44
freight train of American art history I
18:48
would argue actually then took right off
18:50
after
18:51
Rauschenberg and john's you know got the
18:53
train going like this Boing ding Boing
18:56
Boing Boing Boing Boing and Warhol takes
18:58
it off but I can talk about that if you
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give me three more hours but an artist
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has to be able to embed their thought
19:08
and material too much these days way too
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much how many of you go to contemporary
19:15
art galleries good you should I go to
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about a hundred a month you should never
19:20
do that the curators I see in here in
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the pork gallerists and the collectors
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they're stuck doing it the artists
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here's how artists go to galleries they
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go oh yeah you run into them and I've my
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wife and I've seen 2025 shows a week and
19:41
you say to an artist Wow you're in the
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galleries they go yeah I met a friend
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for drink we went over to my gallery my
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gallery they have to see their own
19:51
dealer and pretend they're not
19:52
interested first anybody come in did you
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show my work I love them I love them you
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have to love them they have to believe
20:01
totally in themselves and then they go
20:07
and then I'm gonna have a drink and
20:08
we're going out to dinner where you run
20:11
into the curators and then the
20:13
gallerists and other people and they go
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I can't talk there's only an hour left
20:18
I've got more to see anyway you have to
20:22
go around and the idea of embedding
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thought and material I want to say this
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this is important to me that too often
20:31
these days especially if you go to
20:33
museums and too many galleries the
20:36
thought is only on the wall label now I
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am NOT against wall labels at all or
20:44
writing a lot or telling me what your
20:47
intention is again I could show you a
20:50
white painting by Ryman and we need that
20:54
I often forget oh yeah why is this art
20:56
you know we all nothing wrong with that
21:00
I was in a great art gallery on 24
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Street not long ago not Larry Gagosian
21:07
the Deathstar who were all going to be
21:10
working for in the end no he's from
21:14
another planet if you meet him he's just
21:17
as sincere as you so is the guy you hate
21:22
Jeff Koons talk to him he made my friend
21:25
half bald back there I love you no it's
21:29
true if you ever meet Kunz
21:32
he's totally sincere he's like a
21:35
Teletubby or something have you ever met
21:38
him or Ronald Reagan he goes hi Jerry
21:41
how are ya it's really great to see you
21:45
I just feel so fortunate that well
21:49
Ilona's anus represents the universe and
21:54
he slips these things in and only a few
21:57
people I know we're ever able to kind of
22:01
negotiate that but if you know him he's
22:03
totally sincere so's damien hirst so is
22:06
all the people you are suspicious of at
22:10
home they really mean this stuff back to
22:15
the wall labels Amanda's gallery there I
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need an hour and 20 minutes more I quit
22:22
no the wall cables
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I was in a good gallery looking at night
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handsome pictures of clouds very
22:31
handsome when I said to the dealer I'd
22:34
never like to talk to the dealer I like
22:36
to look alone don't I always say to the
22:42
dealers when they're yammering at me who
22:44
bought I'll tell you bought this and you
22:47
know rail ears he might be buying this I
22:50
think and sorry I love you Ray you know
22:54
that I wanted to use you okay and art
23:00
form is putting it on the cover
23:03
I always look at them and this never
23:05
works ever I always look at them ago
23:08
don't talk I can't hear myself see I had
23:13
to say that the James once and he walked
23:17
out James walked out he now walks out
23:21
and heat that's a good dealer I mean it
23:25
and they all should and then when I'm
23:28
about to leave at least act like you
23:30
know me and act friendly and go how are
23:34
you then we can gossip because that's
23:39
fun I have to touch my antenna to your
23:42
antenna I want you to be able to do that
23:45
in galleries don't be intimidated the
23:48
people walk working behind the desk
23:50
are paid ten bucks an hour their laundry
23:54
is dirty they owe a trillion dollars in
23:58
debt their kids wanting to be art
24:00
historians and curators and artists and
24:03
give them a damn break they're being
24:05
watched by cameras if you try to talk to
24:08
them the dealers like I'm firing her I
24:13
don't blame dealers because the rent is
24:15
high so anyway a dealer came out is sort
24:19
of bugging me and I said to her him her
24:23
him
24:24
what's with the clouds and she said oh
24:29
those clouds are the photographer went
24:32
to Ferguson Missouri and took pictures
24:36
in Ferguson and I lost it I really did I
24:41
just went those clouds are not in
24:44
Ferguson Missouri those claws are not
24:48
about black lives matter those clouds
24:50
are not about the social revolution that
24:54
has to take place in this country those
24:56
clouds it's the thought has not been
24:59
embedded in the material do you follow
25:02
me that's job one I need you to
25:07
understand that
25:08
the difference between subject matter
25:11
and content very briefly I want to get
25:14
into this when you see a portrait of a
25:17
Pope by Francis Bacon what's the subject
25:22
matter easy question what's the subject
25:25
matter Donna Rosen the Pope being I like
25:33
to have but not always subject matter be
25:36
the first thing I see and be the first
25:39
thing I stop looking at I will now let
25:44
me ask you one of the more metaphysical
25:46
but important things to know about art
25:49
when you're on your own in museums and
25:52
galleries professionals and newcomers
25:55
alike that's the subject matter the
25:58
subject matter of Michelangelo's David
26:00
imagined me naked don't standing like
26:05
this doing this oh shut up the subject
26:13
matter is a young man and here's the
26:16
content how old is the man
26:23
fifteen he has pubic hair so is that I I
26:27
hate children did did the children are
26:30
they mature by then I hate you too
26:34
yes I do I'm godfather to lots of them
26:37
and I give them so much money you can't
26:40
believe it
26:43
one content is he's just 17 if you know
26:47
what I mean okay but I want to do I want
26:51
to do Francis Bacon I've got to do
26:52
something a little bit more accessible
26:54
because we only have five minutes thanks
26:57
Rosen University and very simply tell me
27:03
some of the content inside of that
27:07
exploding Pope eruption core option boom
27:15
corruption of what the church that's in
27:20
that goddamn idiot exploding Pope tell
27:25
me what else is in the exploding Pope
27:27
anybody sex and death there's a big one
27:31
let's just do death
27:35
how is death in it he's deteriorating
27:40
he's already a monstrosity flying apart
27:45
as it were anybody else want to go into
27:49
the depths of art spiritual disarray in
27:54
what sense because of the distortion
27:56
good anybody else shame that's nice the
28:05
guy is in a box right his genitals are
28:09
kind of gone his hats very featured in
28:13
his hands flesh anything else and he
28:19
goes on and on and on Wallace Stevens
28:23
once wrote and this you have to
28:26
understand about art I don't want you to
28:29
read Wallace Stevens he's my second
28:31
favorite poet but he's too hard he's a
28:33
pain in the ass he's so abstract
28:36
he's my second fave I never understand
28:39
him but I adore it he once wrote 22
28:44
people crossing a bridge into a village
28:49
are 22 people crossing 22 bridges into
28:57
22 villages nod when you understand what
29:02
that's about
29:06
there's a couple gone yeah it means that
29:11
the village you walked into is different
29:14
than the one you walked into the way you
29:17
got there while the same is different
29:22
it's the way that when you see Hamlet
29:25
with her she sees a different Hamlet
29:30
than you and what's so great about
29:33
really great art and a lot of
29:37
contemporary art can do this is that
29:40
every time you see Hamlet it's different
29:45
some of the most idiotic paintings that
29:48
I adore look at one of those Giorgio
29:50
Morandi --zz it's just four bottles for
29:53
God's sake every time I look at them
29:57
they're different and even while I'm
29:59
looking at them they're popping around
30:02
on me there I go wait a minute did the
30:05
edge for that just get in front of or in
30:07
back of that other it's weird the
30:09
background go oh there it is
30:11
that's what I want you to do in
30:14
galleries look at how it's made ay-ay-ay
30:20
look at its content not its subject
30:24
matter good intentions don't make good
30:27
art necessarily I have too many young
30:31
students that go they show me a black
30:33
painting and I go I love monochrome
30:38
could you make me one and then they'll
30:40
go I took this to the red sea and I
30:45
bleached it in the red sea and it's
30:48
about the
30:49
reach between the Gaza and Israel and
30:53
then when I always do with those people
30:55
is what I've been doing and they're
30:58
grateful afterwards though I get beat
31:00
the crap out of unsub with social media
31:03
please follow me at Jerry Saltz if you
31:07
want to take a selfie with me later
31:09
posted and I'll show you some art love
31:11
and I tell them I tell them before we do
31:16
some questions if you have any if I
31:18
haven't ruined this it is not about the
31:24
breach between Gaza and Israel it is
31:27
about your lack of originality it is
31:32
about your I'm sorry you are concerned
31:36
and so am I and I'm Jewish and I hate
31:40
the Israelis all Jews - no sorry
31:44
the Americans dude just kidding anyway
31:49
it's not in your work you're using
31:52
conventions the convention of the
31:54
monochrome the convention of the
31:56
material the convention of the scale the
31:59
convention of now your process the
32:01
convention of the color the convention
32:04
of the surface do you see it that is the
32:09
content of the work I want to say one
32:12
last quote before I asked you some
32:14
questions you noticed right now I just
32:23
want to give you two quotes first Oscar
32:27
Wilde you got to read a couple of those
32:30
essays by Oscar while which one is that
32:32
the artist is critic or the critic as
32:35
artists what they're both the same or
32:37
something don't worry about the first 10
32:39
pages then just go bonkers he's just
32:42
he's a quote machine but in it he says
32:46
well all bad poetry is sincere so that's
32:53
the first thing about a lot of art with
32:55
great intentions the other thing is by
32:59
the great artist Jasper Johns
33:03
one of a kind somehow who said and I
33:08
might get this wrong I've read this in
33:10
50 versions and this is for young
33:13
artists okay you listen to this avoid
33:18
everything you can avoid then do what
33:23
you can't avoid doing do what is
33:29
helpless and unavoidable you understand
33:34
the surrender involved in all this
33:37
people how deep you have to go how you
33:42
have to find your own voice that is all
33:45
I'm looking for that is all even if your
33:48
voice is dumb I never went to school
33:51
mine isn't so smart I gotta live with
33:54
that that's my damn content my ass
33:57
holiness I can't get rid of it sorry sir
34:00
he went like that find your own voice
34:08
speak in it don't be afraid to fail
34:11
flamboyant flamboyantly don't be a big
34:15
baby you're gonna be poor most of your
34:17
life I can't help it if you want to
34:20
marry for money do it it's good there's
34:23
nothing wrong with that if you you are
34:25
your art first we're sociopaths in our
34:29
world right I don't care about anything
34:32
some of my work I pretend I care about
34:34
you no don't listen to this part and
34:38
work work work work work don't there as
34:43
Proust said there are absolutely no
34:46
excuses in art I'm sorry if you're poor
34:51
you didn't go to the right school you
34:53
don't know how to schmooze you don't
34:55
know our history I didn't either I went
34:58
to no school I was a stupid the only
35:01
Jewish long-distance truck driver in
35:05
America
35:07
I'm not lying
35:09
what a nightmare that was for them out
35:14
there who's that oh it's me you want to
35:18
talk about Carl Andres late work all
35:22
right I wish I could go on I'm glad I'm
35:25
not thank you for listening if you have
35:27
any questions
35:34
thank you thank you all right if you
35:39
have it you can leave and I won't ruin
35:41
your career I saw one hand on my over
35:44
there and then right back yes sir and
35:47
keep it a question if you make a
35:50
statement I'm gonna get medieval on your
35:52
ass
35:53
I love you you asked a rabbinical /
35:58
Socratic question at the beginning I'm
36:02
gonna ask you to answer your own
36:03
question what is art for yes art
36:08
contains multitudes multitudes it's for
36:13
healing it's for casting spells it's for
36:18
crying it's for healing pain as
36:22
what's-his-name famously said is what
36:24
Vermeer is used for Vermeer is not
36:27
simply beautiful that's only our latest
36:30
iteration of what art is for you tell me
36:33
of Goya's Saturn devouring his children
36:37
is beautiful Beethoven is not
36:42
originally beautiful a nightmare a
36:46
nightmare and yet it had to be heard
36:49
after the world of the whole revolution
36:52
exploded the entire known world and
36:55
shook it back to uncertainty that's why
36:59
you have to move on from Mozart art is
37:03
hardwired for newness so are we
37:06
otherwise you would never have to look
37:09
at a thing after a Raphael Madonna it
37:12
would have been kind of solved we know
37:15
what beauty is and then you make it to
37:17
Vermeer and we're done here I don't know
37:21
what art is for but I know I've used it
37:23
for millions of things it's that good of
37:25
an invention and it will disappear when
37:29
every use we can imagine for it has been
37:33
addressed successfully next who are the
37:36
young artists that you like here's what
37:39
you don't get who the young art the very
37:42
young artists look I'm now 67
37:46
I used to go to like 2 or 300 studio
37:50
visits a year you young artists used to
37:53
give me the flu I got bronchitis they've
37:57
been up all night they touch you it's
38:00
disgusting you look at their computer
38:05
the porn is still on it's ridiculous but
38:10
I had to stop going to studio visits
38:13
because I can't afford it it's an art
38:14
critic incidentally I'm at the top of
38:17
the you know I've got a big what's a job
38:20
a top spot in the corporation in the art
38:23
machine and I got to work 24/7 so I
38:26
don't really know a lot about young art
38:29
except I go to galleries follow me on
38:32
Instagram every night I do these
38:35
ridiculous things now where I go good
38:38
night from and I've show artists that I
38:41
think are not good not bad but finding
38:45
their own voice and a voice that by
38:49
consensus might start addressing needs
38:53
our moment you must be an artist of your
38:57
own time you must stay up every night my
39:01
vampire loves artists every night with
39:04
other artists every night
39:07
scientists every night with other
39:09
scientists every night with other
39:12
physicist if you're a physicist every
39:15
night there are no excuses or you die
39:17
you'll start eating rats okay you've got
39:21
to feed on the blood of your time and
39:24
that time will feed you
39:26
any other questions very quickly I have
39:29
two more one and then two and we cut
39:32
quick my first favorite poet I'm afraid
39:37
Walt Whitman read the first I always say
39:42
read the first 75 pages of Walt will
39:45
Whitman merge merge merge emerging
39:48
merging merging with everything in the
39:51
universe and then put him down
39:53
because he will eat he'll suck you win
39:56
and you'll want to shoot him after a
39:59
certain point who's your favorite and
40:01
then we go to the last question you know
40:04
I've never been able to read Shakespeare
40:09
I can hear Shakespeare like I'm at home
40:12
reading him going what the is this
40:15
guy talking about and you sometimes look
40:18
at Rembrandt and think to yourself it's
40:23
a little broom it's a little bit shiny
40:29
[Music]
40:31
so I'm not the only loser here but then
40:35
I put my cynicism and skepticism aside
40:39
for a second I look last question from
40:42
Liam and artists where are you where do
40:45
you live Liam and are you going to art
40:51
school they talk fast these kids all the
41:01
older people are going what did he say
41:03
right you should see me in schools now I
41:07
just go I don't know what I'm agreeing
41:11
to and what's your question Liam you've
41:14
got good artist name you want to say
41:16
your last name lacy is good Liam lacy
41:22
Rayleigh rosy
41:23
Liam lacy okay Liam this is your shot
41:28
with an art critic what do you want to
41:30
know honestly I think there's lots and
41:37
lots and lots of newer galleries that
41:41
against all odds against the highest
41:45
rents in the world that are finding ways
41:49
art is not dying
41:51
stop being an undertaker for fuck's sake
41:54
Dyer at Worlds like painting is dead the
41:56
novel is dead the photograph is dead
41:59
things aren't dying okay that'll take
42:02
care of itself when it's gone what I
42:04
will say to you is there more people
42:06
make
42:07
more art than have ever made it in the
42:09
history of the world ever and if you
42:12
look if you build it they will come to
42:16
your gallery at first it will only be 10
42:18
or 20 people and it will be enough don't
42:21
forget the great Sex Pistols story 25
42:25
people went to their first concert 24
42:28
started a band the other one killed
42:30
himself
42:31
so if you build it I may not come but I
42:38
will smell you in the distance all right
42:40
thank you you could take a selfie with
42:43
me out there
42:44
[Applause]
42:55
you
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