Richard Phillips
Richard Phillips
United States merchant mariner who was captain of the MV Maersk Alabama when it was hijacked by Somali pirates in 2009. He wrote the book called A Captain's Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea about his experience.
NationalityAmerican
ProfessionNon-Fiction Author
Date of Birth16 May 1955
CityWinchester, MA
CountryUnited States of America
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When we can't determine what is art - when you get to that point where we're not sure, that's the greatest likelihood that we're actually experiencing something great. But I think that's what the art world is most afraid of, because you lose that security. Then we don't know how to assign evaluation, whether it's cultural or otherwise.
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When you think about Dada and the great moments in Modern Art, it's always the sense of when you're not sure that art is most likely to be occurring.
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Makeup ignites a psychological transformation of both the wearer and the observer. My paintings sought to locate the subject of art within the manipulation of that altered predisposition.
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My favorite film score is the one Thomas Bangalter created for 'Irreversible.' The soundtrack absolutely defines the daymare-into-nightmare feeling you get from the film.
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My work, in a certain way, got started in 1996 when I did an exhibition of thirteen paintings that were solely based on fashion imagery.
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Miami's my favorite art fair. I even surfed there one year.
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Fashion is not separate from art. It is inextricably woven into how we open ourselves to the world and articulates the exchanges of power both real and imagined.
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There was a belief after World War I that painting could be an act of civil revolt. I want this exhibition, 'New Museum,' to be an act of civil disobedience. It's not so much about the New Museum on the Bowery, but the idea of challenging museums as projections of cultural authority. It's painting as insurgency.
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Technically, a makeup artist's canvas is the face and body. The difference is that my painting of makeup is integrated into the painting of the flesh and not on top of it. I think in some ways it is more difficult to expressively deploy makeup.
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People get confused when they see my shows, but that isn't the intention. My intention is to destabilize the act of seeing.
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There isn't really anybody who occupies the lens to the extent that Lindsay Lohan does. Something happens when she steps in front of the camera. There is this magnetic energy.
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I try to get out of an image's way in order to let it articulate what is hidden.