"Well, the world is a haunted house, and Helnwein at times is our tour guide through it.
I think in anything that is really relevant and emotional art, there is some kind of a mirror that people experience. I don't think that you can recognize a feeling from something that you look at unless it's part of yourself, and so when someone is willing to take on the sadness, the irony, the ugliness and the beauty in the kind of way that Gottfried Helnwein does.
Not all of Gottfried's work is on a canvas.
A lot of it is the way he's approached life. And it doesn't take someone knowing him to know that. You take one look at the paintings and you say "this guy has been around." You can't sit in a closet - and create this.
This level of work is earned."
Sean Penn ...

22.30 Artists and Intellectuals about Arnie.
Susan Sontag, George Clooney, Barbara Streisand, Warren Beatty, Jack Nickolson, the Austrian painter Gottfried Helnwein, and their views on Arnold Schwarzenegger.

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That’s what attracted Gottfried Helnwein, a fine artist who created a Marilyn Manson cover.
“There’s no record company involved to tell you all the things you can’t do,” said Helnwein, who collaborated with Manson for a cover that included a young girl loading a rifle. “There’s no commercial aspects, so you’re free. That’s the exciting thing. You can just create.”
Helnwein knows something about artistic freedom. He shot the cover for Manson’s latest record, “The Golden Age of Grotesque” – a ghastly image of Manson in white and red face paint. ...

Helnwein’s 20-by-60 foot outdoor installation “Modern Sleep 2003”, as well as photographs from his collaboration with Marilyn Manson, are included in the show, which opens with this evening’s gala and is open to the general public Friday through Sunday at Santa Monica Airport’s Barker Hangar.
“Modern Sleep 2003” (digital print) is the latest in a series dating back to the 1980s and reflects Helnwein’s use of children in questioning the human condition. It includes two images of a girl. In one, her skin is pale white, and she is dressed in black. In the other, she is black, dressed in white. In both images, her expression is death-like.
“They have open eyes, so modern sleep doesn’t mean they are just sleeping,” says Helnwein. “It might mean something else.” ...

The bizarre and squirm-inducing self-representations of Austrian conceptual artist Gottfried Helnwein - the guy who likes to puncture his cheeks with surgical instruments - are so disturbing that municipal councils have sought to ban his work.
But these are depictions of pain that make sense, given the intellectual and moral framework of Helnwein's personal and political past.
The odd bureaucrat might question his motivations, only to be instantly shouted down by a chorus of art critics and intellectuals who can think of thousands of cogent, intelligent reasons why Helnwein's work matters. Still, the few members of the bod-mod community who actually talked to me took the moral high ground.
Logic alone indicates that one person's Pamela Anderson is someone else's Lizard Man (Eric Sprague, a man who has, over the last few years, obsessively pursued his desire to become a human lizard via tattoos, teeth-filing, etc.)
In a free society, the body's canvas is something an adult person should have complete mastery over. ...

Helnwein:
"I think art always reflects the society and the time the artist lives in; it always tells you something about the condition of the culture.
This is the age of materialism and profit, accompanied by its favorite all-eating pet – the entertainment industry. Therefore in order not to sink into oblivion, in a desperate struggle to be heard and seen, many artists and curators try to compete with this multi-media-entertainment-Godzilla, trying to be just as loud and cheap and stupid. That’s why 70% to 80% of all the contemporary art in our museums is crap.
It’s true though that each time has its own aesthetic values and if you want to reach the people of today you have to develop an artistic language that they can understand. And that’s what I try to do – my audience is the great love-affair of my life. I am obsessed with my public, and all I want to do with my art is touch them and move them and to hold them tight – and sometimes I want to kick their ass. That is all I care about.
But I also listen to them and take them and their responses serious, because they and other artists are the only ones that ever taught me anything." ...

Helnwein: "He's an icon that everyone on the planet would know. He's become a corporate identity. You look at Manson as Mickey Mouse, and it's the American dream turned into a nightmare."
The Mickey portraits are only a small part of a larger collection of unnerving images that Manson will incorporate into his worldwide "Grotesk Burlesk" stage show.
"The corporations, the media, they tell us to be shocked by images like these," Helnwein says. "Well, it's the world that's shocking to people like myself and Manson. There's no freedom. There's censorship. You're constantly being told how you should behave.
What Manson and I have in common is the fact that we don't accept this. These images represent us fighting back." ...

He and Helnwein created a series of controversial photographs, most of which were deemed by the label as too risque to be album art, including one of Manson dressed in Nazi regalia and clutching a gun as a young girl looks on. ...

Across the tiled runway, the living area displays three paintings with intentionally disturbing narratives. “They’re more complex,” she continues. “For my children to understand art, I needed some difficult pieces.” “American Prayer” – one of a half dozen paintings by Gottfried Helnwein, whom the couple discovered at the Hermitage Museum in Saint Petersburg, Russia – shows a boy with prosthetic arms praying to Donald Duck. “This Disneyland view of America symbolizes, to us, optimism for the future,” she says. ...

For me, the real highpoint of Conversations is the 1992 interview with Gottfried Helnwein, the Austrian-born creative genius whom Donald Ault has justly called "One of the greatest conceptual artists of the past hundred years."
His interview engages Barks in a spirit of imagination and play, and Barks responds to it: What if there were a real Duckworld? What would its layout be?
If anyone can take this idea into the 21st century in current available media, it's Helnwein, whose surreal Duck portraits reveal a dark undercurrent probably always present to one degree or other in Barks's own work—Helnwein's ducks are surreal, haunting, yet strangely funny at the same time. A parody of the dark side of the comic, the work reminds one of Chris von Allsburg, WeeGee, Jim Jarmusch, David Lynch, others. And this is just where the influence is most obvious, in paintings of Donald Duck. ...