Quotes of All Topics . Occasions . Authors
If you follow the course of one man through constant practice, your intelligence would have to be crude indeed for you not to get some nourishment from it.
I often use hypothetical situations to generate information and imagery for paintings and to create a fictional space where a subject can be put into play.
The small figures that appear in my paintings are there only because they were there when I was working from nature on my preliminary sketches with pencil.
I believe it safe to say that all progress must lead, not to further progress, but finally to the negation of progress, a return to the point of departure.
I'm at the age where I don't need an acid trip to feel naked... to feel that I don't exist. Now a self-portrait is almost a reminder to me that I do exist.
I'm more and more fascinated in my own work. I work from 10 A.M. until about 9 P.M., but it's not an obsession, it's a pleasure. There's never enough time.
From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.
My parents loved me. My father used to carry me around on my shoulders. I know my father loved me. All families love their children, and we were good boys.
I hitchhiked to Miami in 1953, and there were oranges laying on the road, black shantytowns, and marinas with nice boats. The museums were virtually empty.
Portraiture keeps me humble. It's simple and straightforward. There is nothing more interesting I can make up than the figure sitting right in front of me.
Originality is a quality that cannot be imitated. The technique of the language, on the other hand, is something that belongs to all who can understand it.
I was in that generation where I was torn if you should put it on the web because you're giving it away for free but you also want people to see your work.
If I have a piece that's solely based on the web and it's going to also exist in a gallery, it needs to exist in a gallery where it doesn't feel redundant.
I think it's a really good thing to put yourself in a situation where you feel really uncomfortable because I think things can come out of that discomfort.
Clothing is . . . an exercise in memory. It makes me explore the past: how did I feel when I wore that. They are like signposts in the search for the past.
I paint what cannot be photographed, something from the imagination... I photograph the things I don't want to paint, things that are already in existence.
I think there's still this huge glass ceiling for women owning sexuality. And especially young women. If you're an old lady like me, I can do anything now.
I think communication starts when words are not present at all ... I think we put so much emphasis on language, actually silence is so much more important.
I have found that long durational art is really the key to changing consciousness. On such a deep level. Not just the performer, but the one looking at it.
The biggest challenge for cyborgs is to be socially accepted. Society needs to accept that there are people who wish to use technology as part of the body.
On one side, the mass of a mountain. A life I know. On the other, the universe of the clouds, so full of unknown that it seems empty to us. Too much space.
When I perform outside, the major problem that could arise is strong wind.I spend months preparing for the types of wind that occur in different locations.
I never stop thinking about what I have to do. Let's put it that way. The only thing that takes me out of that is probably a film. I watch a lot of movies.
I don't think that I'm over his influence but they probably don't look like Picassos; Picasso himself would probably have thrown up looking at my pictures.
For me, drawing is a way of navigating the imagination and it remains the fundamental vehicle of my practice. Drawing allows me to be at my most inventive.
Growing up and living in England, I'm surrounded by grey skies and sarcasm, so when I came to America, my first impressions were bright, hopeful, cheerful.
I never succeed in painting scenes, however beautiful, immediately upon returning from them. I must wait for a time to draw a veil over the common details.
If I were the rain. . . that binds together the Earth and the sky, whom in all eternity will never mingle. . . Would I be able to bind two hearts together?
We have Not one In common No two Are shaped alike The third Because of that eye we lack In the fourth Direction there is no hope The fifth is at the heart.
I've never been married because, first of all, I don't think I've ever seriously been asked by anyone who I wanted to marry. [...] And also I'm monogamous.
I know I'm supposed to say ageing doesn't bother me, then suddenly you're like, 'Yeah, I care about it, I really worry about it. I'm getting old. I'm old!'
I really don't think art is good at answering questions. It's much better at posing questions - and even better at simply asking people to open their eyes.
The artist must train not only his eye but also his soul, so that it can weigh colours in its own scale and thus become a determinant in artistic creation.
At home, when the heating pipes made noises, I imagined a tiny person was in there skipping with a rope. The fantasy world of tiny things became my escape.
Once, after finishing a picture, I thought I would stop for awhile, take a trip, do things-the next time I thought of this, I found five years had gone by.
Art never seems to make me peaceful or pure. I always seem to be wrapped in the melodrama of vulgarity. I do not think... of art as a situation of comfort.
By putting a border line between life and death, we separate the world of death from our world of life, casting the dead away into the "world of oblivion".
We are very lucky really, because we can create our own reality, John [Lennon] and me, but we know the important thing is to communicate with other people.
Some people don't listen to my music because they say that I am an artist. And some don't want to go to my gallery shows, because they say I am a musician.
When I think of art I think of beauty. Beauty is the mystery of life. It is not in the eye it is in the mind. In our minds there is awareness of perfection.
Once the object has been constructed, I have a tendency to discover in it, transformed and displaced, images, impressions, facts which have deeply moved me.
When you work with people who misunderstand you, instead of getting transmissions, you get transmutations, and that's much more interesting in the long run.
You can just drift unhappily towards this vision of heaven on earth, and ultimately that is what architecture is a vision of: Heaven on earth, at it's best.
An ametuer is an artist who supports himself with outside jobs which enable him to paint. A professional is someone whose wife works to enable him to paint.
In '38, this time I did a job for Mr. Stryker. I went on his payroll at about half the salary I was getting before, to cover what he called Harvest in Ohio.
But I'm aware of the fact that I'm working in a commercial venue where I'm producing something that I wouldn't normally be approaching the way I'm doing it.
I still have my girlfriends that I grew up with. We went to day care together ... we just feel comfortable with each other. We're honest, we're total goofs.
In my own art, I try to use my personal voice and effort to enable some Chinese people to see the possibilities of another kind of China. A more open China.
Not all of us are painters but we are all artists. Each time we fit things together we are creating - whether it is to make a loaf of bread, a child, a day.
My real experience with video games was watching other people play. That's why a lot of my work isn't really about playing. It's about watching video games.