David Blaine: How did your early years in New York City around great artists influence the choices that you make in your art today?
Madonna: I remember having conversations with Keith [Haring] and with Basquiat about the importance of your art being accessible to people. That was their big thing—it should be available to everyone. It was so important for Keith to be able to draw on subways and walls. And Basquiat used to say to me, “You’re so lucky that you make music, because music comes out of radios everywhere.” He thought that what I did was more pop, more connected to pop culture than what he did. Little did he know that his art would become pop culture. But it’s not like we really had discussions about the meaning of art. I remember hearing them talk about those things.
David Blaine: Did you hang out with them together?
Madonna: Always. Martin Burgoyne, my roommate, who was also an artist, Keith Haring, and Basquiat. Sometimes Warhol would join us, but Warhol didn’t talk that much.
David Blaine: So you were surrounded by the best artists in the world. You were way ahead of your time.
Madonna: Well, I survived. [laughs]
David Blaine: But you knew what was great before everybody else knew what was great.
Madonna: I was attracted to creative people. You don’t want to be the smartest person in the room; you want to be the dumbest in the room. You want to be surrounded by other thinking people who are going to say something that makes you think, “Oh, my God, that’s an amazing idea. Why didn’t I think of that.” And somehow we found each other in Manhattan. That’s the crazy thing. We found each other and we connected to each other and we moved around the city together. They supported my shows. I supported their shows. We were a unit. And I don’t even know how it happened. It just did.
David Blaine: Did you learn a lot from them?
Madonna: They were incredibly dedicated to their work. I mean, Basquiat was my boyfriend for a while, and I remember getting up in the middle of the night and he wouldn’t be in bed lying next to me; he’d be standing, painting, at four in the morning, this close to the canvas, in a trance. I was blown away by that, that he worked when he felt moved. And they gave jobs to everyone. Keith would meet kids on the street and ask them to come stretch his canvases for him. Basquiat had every B-boy and every graffiti artist in his loft. He was constantly giving everything away. I think they felt guilty that they became successful and were surrounded by people who were penniless, so they shared what they had. They were incredibly generous people, and that rubbed off on me. You stay inspired that way. I could never work in a recording studio where you have this lovely view and a beach and the waves are crashing. For me, it’s all about being in a tiny room with little windows. It’s almost like you have to be in a prison. And you can create beauty when you’re in that sort of deprived environment, which is a re-creation of your formative years.
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Madonnarama
I love hearing stories like this from the Warhol days of NYC's art scene. I wonder if she ever hung out with people from Warhol's circle, like Brigid Berlin. Holly Woodlawn was in the video for "Deeper and Deeper", so she must have been familiar with some of them.
