Quotes of All Topics . Occasions . Authors
The lifestyle that an artist can have, the freedom to wander in the landscape with no real pressure or deadlines, was a very attractive one.
Cultivate an ever-continuous power of observation. Wherever you are, be always ready to make slight notes of postures, groups and incidents.
There's no question that many more women artists are showing worldwide now than they were when I was a young woman, and that's really great.
The function of the artist in a disturbed society is to give awareness of the universe, to ask the right questions, and to elevate the mind.
Based on my experience, it's considerably difficult to force a donkey into doing something it perceives to be dangerous for whatever reason.
I came to painting through sculpture, to images through objects. I think that images sit in the middle, somewhere between objects and words.
It is necessary to introduce light vibrations, represented by reds and yellows, and a sufficient amount of blues, to obtain an airy feeling.
Wherever I go I need a period of incubation so that I may learn the essence of nature, which never wishes to be understood or yield herself.
Our job is to translate the lies, deceit, and anxiety that poisons our cultural water supply into an understandable form that we can digest.
There's always a latent or inferred image in my writing. And I can almost always assume if I do a drawing that it will eventually have text.
The brilliance of art as a collectible is that it has a way of reaching out on an emotional level. It touches on mystery, even spirituality.
Many things that come into the world are not looked into. The individual says 'My crowd doesn't run that way.' I say, don't run with crowds.
Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.
My work isn't about form. It's about seeing. I'm excited about seeing things, and I'm interested in the way I think other people see things.
You can't create a work without being aware that it will change dependent upon the context or the society where it is developed or consumed.
If I want to dislike women, I should be allowed to. As it happens, I love them. Women to me are privately worshipped and publicly disdained.
I really have branched out into areas where I'm totally uncertain, which is very exciting for me. I kind of like not knowing what I'm doing.
Ideas alone can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.
I think mass surveillance is a bad idea because a surveillance society is one in which people understand that they are constantly monitored.
As a picture painted in yellow always radiates spiritual warmth, or as one in blue has apparently a cooling effect, so green is only boring.
When I was a kid, I had trouble at school because of my learning disabilities. Carving is my body compensating for the lack of other skills.
It doesn't matter at all for me that I work in hospital or anywhere with limited space. Every day, I'm creating new works with all my might.
Painting bodies with the patterns of Kusama's hallucinations obliterated their individual selves and returned them to the infinite universe.
People ask about art and commercialism. I think that if someone tries to sell their work at a high price, that is the wrong way of doing it.
Most people think that I am too optimistic, but my optimism is based on the thought that negative thinking is a luxury that we can't afford.
I think people place limitations on each other and on ourselves. There is a great fear of expressing ourselves, of making creativity happen.
When I was four years old, my mother put me into a school for early music education where you get perfect pitch and harmony and composition.
The Minimalists are idealist. They want to minimize themselves in favor of the ideal... But I just can't. You see, my paintings are not cool.
In the second half of primary school, I liked live-action shows and giant-monster movies, and then in junior high, I got into regular movies.
Brigitte Bardot was one of the first women to be really modern and treat men like love objects, buying them and discarding them. I like that.
I can't give parties. It's so hard. When I want to call somebody up for dinner they think I'm using them or something. I just can't stand it.
I just happen to like ordinary things. When I paint them, I don't try to make them extraordinary. I just try to paint them ordinary-ordinary.
I wanted to highlight the destruction in Gaza by posting photos on my website - but on the internet, people only look at pictures of kittens.
I think what I'm trying to do is create moments of recognition. To try to detonate some kind of feeling or understanding of lived experience.
You could own coins but you couldn't have bars of gold. We were on the gold standard. I think it was Nixon who took us off the gold standard.
I've always been more slight, and I've always sort of felt that I needed to be protected, especially with so many rowdy brothers and sisters.
An eyewitness account is evidence that an artist has proposed a work of art. But documentary evidence (i.e. a photograph) is more conclusive.
The purpose of architecture is to transmute the emptiness into space, that is into something which our minds can grasp as an organized unity.
I like the idea of multidisciplinary conversations, so in that spirit, I try and make a contribution from the art world into the music world.
I wake up every morning excited. Rather than become complacent or overwhelmed, I've made a choice for life - and I can do something about it.
I've come out of seeing death and chosen to focus on the life that's sprouting everywhere, like flowers. And I want to help feed the flowers.
I have to go with what the painting says to me. The painting is always informing me. I'm its servant; it's not mine. I'm doing what it wants.
I have a single track mind. I work on an idea for a long time. It's like getting acquainted with a person, and I don't get acquainted easily.
The great artist is conscious of the talent and power he possesses otherwise he would not see his faults and so would not be able to improve.
When the time came for me to work with larger spaces, I conceived them as gardens, not as sites with objects but as relationships to a whole.
I'm known as a light artist. But rather than be someone who depicted light, or painted light in some way, I wanted to have the work be light.
Drake went through my exhibition. I did meet him in Los Angeles, and he was in the spaces that I did do there, and has some images from that.
The vast majority of English folk cannot and will not consider a picture as a picture, apart from any story which it may be supposed to tell.
I think art, if it's meaningful at all, is a conversation with other artists. You say something, they say something, you move back and forth.
Draw with the brush. Carve the form. Don't be carried away by subtleties of modeling and nice pigmentation at the expense of losing the form.