Quotes of All Topics . Occasions . Authors
Look, it's my misery that I have to paint this kind of painting, it's your misery that you have to love it, and the price of the misery is thirteen hundred and fifty dollars.
I have never understood, for instance, why some people see contemporary art as divided between 'painting' and 'conceptual art', as though this represented a genuine division.
Under this fine rain I breathe in the innocence of the world. I feel coloured by the nuances of infinity. At this moment I am one with my picture. We are an iridescent chaos.
In art one is concerned with the condition of the spirit for three quarters of the time; one must therefore care for oneself if he wishes to make something great and lasting.
A bit of advice, don't copy nature too closely. Art is an abstraction; as you dream amid nature, extrapolate art from it, and concentrate on what you will create as a result.
If one looks at a thing with the intention of trying to discover what it means, one ends up no longer seeing the thing itself, but of thinking of the question that is raised.
People ask me why I use words and the reason, of course, is that words talk to you. I mean, they're something that are generated inside of you and that you can relate to you.
What is truth? Truth doesn't really exist. Who is going to judge whether my experience of an incident is more valid than yours? No one can be trusted to be the judge of that.
I am aware of the sufferings of women in India, which is also the suffering of women in many, many countries on our planet. My heart is filled with empathy and love for them.
Our public officials have forgotten that they are ultimately accountable to the people who put them in office, that the information they keep in secrecy belongs to all of us.
Judo has helped me to understand that pictorial space is above all the product of spiritual exercises. Judo is, in fact, the discovery by the human body of a spiritual space.
After graduating from high school, I worked at an advertising agency as a designer. After I left, I spent a year doing nothing in particular. At age 23, I drew my first comic.
[My works are] an imitation of my own past and present and of my own creative vitality as I experience them in one particular instant of my emotional and imaginative life. . .
I definitely like to go out and dance. I'm a big vibe person when it comes to music so a song really has to make me feel a certain way in order for me to fall in love with it.
Love the moment. Flowers grow out of dark moments. Therefore, each moment is vital. It affects the whole. Life is a succession of such moments and to live each, is to succeed.
There are great science books that were conceived as books. Feynman's famous introductory lectures in physics, which have a beginning and an end, which are written with style.
The 'Station to Station' film is a fast-moving journey through the modern creative landscape. It's a kaleidoscope of voices and impressions rather than a standard linear film.
Bullfights are a very cultural thing. I know many people think it's cruel, but so many things are cruel. Hunting, the electric chair, wars. These are all cruel things as well.
I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene.
There are different stages when you fly. The first stage is the dollhouse effect, seeing everything on Earth like it's a model. Suddenly, all of your concerns seem very small.
I don't want you looking at the light fixture; I want you looking at where light goes. But more than that, I'm interested in the effect of light upon you and your perceptions.
Without a visual identity, we have no community, no support network, no movement. Making ourselves visible is a political act, making ourselves visible is a continual process.
I don't care about fashion at all. And I know it's kind of a dodgy thing to be a fashion photographer, a kind of pathetic occupation, but I like it, even though I question it.
I want people to understand that this is a very calibrated image [Portrait of the Artist as a Shadow of His Former Self ], where point by point, very little is left to chance.
I'm interested in that hybrid - the place between the real world and my imagination. There's a friction that's created between the things we imagine and the things that exist.
The subject of pain is the business I am in - to give meaning and shape to frustration and suffering. The existence of pain cannot be denied. I propose no remedies or excuses.
Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern.
That's what New York is like - you can't have real art happen in an institution because rich people can make the world stop. The stuff on the street is a lot more interesting.
Generally, when I tell people I'm a painter, they ask me if I have a card: 'Yes, we'd like this room in this color.' I still might get cards that say 'Mark Bradford. Painter.'
'Jackass: The Movie' is great. I think it's in the tradition of physical comedy, which I'm really interested in. Its relationship to gravity, and how gravity acts on the body.
The dark side of social media is that, within seconds, anything can be blown out of proportion and taken out of context. And it's very difficult not to get swept up in it all.
A writer who presents men and women as creatures truncated below the waist is exposed as one who goes about without his trousers saying, 'see, I have had my testicles removed.
My Father is a photographer, so it was always around. I was trained in painting, so I learnt a lot of skills about composition, light, colour, the formal attributes of images.
How do you see those tree?... They are yellow. Well then put down yellow. And that shadow is rather blue. So render it with pure ultramarine. Those red leaves? Use vermillion.
People who are under certain stress have aquariums. Aquariums are classically either a reproduction of nature or a decorative element, like the ones you can see in big hotels.
It is impossible to repeat in one period what was done in another.The pointof view isnotthesame, anymorethan are the tools, the ideals, the needs, or the painters' techniques.
I was very influenced by comics. The drawing style, definitely, I was interested in. My style of drawing is largely a comic style, but it's also much more obvious than comics.
The grandest and simplest things contain worlds within worlds. Seeing them is a matter of the right point of view, and your painter's eye is the special portal to such sights.
Being honest in the spotlight is the worst idea . But I do like when artists are honest and are able to build a persona for the artwork with their honesty. That's really good.
Our bodies, apart from their brilliant role as drawing exercises, are the temples of our being. Like the bodies of all fauna, they deserve both our study and our appreciation.
It was not my aim to paint about the Negro in America in terms of propaganda. It is to depict the life of my people as I know it, passionately and dispassionately as Brueghel.
It is the sky that makes the earth so lovely at sunrise, and so splendid at sunset. In the one it breathes over the earth the crystal-like ether, in the other the liquid gold.
There is no comparison between him and me; he developed a whole new way of making art and he's clearly in a league of his own. It would be like making comparisons with Warhol.
I've always loved the idea that you think you know what you're looking at from a distance, yet when you come up close, it gets intricate and nutty and obscene and provocative.
How often it consoles me to think of barbarism once more flooding the world, and real feelings and passions, however rudimentary, taking the place of our wretched hypocrisies.
I maintain that the expression of junk and objects has an intrinsic value, and I see no need to look for aesthetic forms in them and to adapt them to the colors of the palette.
I worked with someone else's photos; I cropped them in whatever way I wanted and put words on top of them. I knew how to do it with my eyes closed. Why couldn't that be my art?
As a mother, the one thing that always goes through your head is, You're never enough. You never can be enough - or do enough - for your kids. It's a never-ending issue for me.
I try not to bring in anything I don't love looking at. It's about restaint ... There is something about an unfinished quality that leaves within you that sense of possibility.
It takes a great deal of time and thought to install work carefully. This should not always be thrown away. Most art is fragile and some should be placed and never moved again.