Quotes of All Topics . Occasions . Authors
One show was talking about how guys can have sex without love, so women can do it too? And I have girlfriends who do that. But I just really have to be into someone. If not, what's the purpose?
When you're looking through a magazine, what makes you stop and think is when you see an image and imagine the narrative that is going on inside of it. Those are the ones I make into paintings.
After a couple of years at Vertigo, I realized that if I was going to be a professional artist, I'd have to devote myself to it full time, so I ended up leaving my job there and went freelance.
I would love to say there was some contemporary artist who's work really got me thinking, but lately I have just been trying to sort out 20 years of garbage TV culture that is filling my brain.
I've been really upset sometimes when I've been misquoted. And it's the one thing they use in big print. Or it's taken out of context. Thoughts are fluid and words are sticky. That's the thing.
Readable text and authority so that readers know how to spend - no matter how much information there is, I have the same number of minutes in my day, and I need to look to sources that I trust.
I knew I wanted to be some kind of artist from about 12. I met a neighbour who drew cartoons, and I had an idea I wanted to be a cartoonist - or something that involved Indian ink, at any rate.
Say that I starved; that I was lost and weary; That I was burned and blinded by the desert sun; Footsore, thirsty, sick with strange diseases; Lonely and wet and cold, but that I kept my dream!
I can't live where I want to, I can't go where I want to go, I can't do what I want to, I can't even say what I want to. I decided I was a very stupid fool not to at least paint as I wanted to.
I am not an exponent of expressionism. I don't know exactly what that means, but I don't like the sound of it. I dislike cults and isms. I want to paint in terms of my own thinking and feeling.
Someone has asked me to paint Biblical pictures, and I say no, I'll not paint something that we know nothing about, might just as well paint something that will happen two thousand years hence.
I was on a panel with Marshall McLuhan in Canada. Someone says, 'Mr. McLuhan, I read your book, and I disagree with you.' And he says, 'Oh, you read my book? Then you only know half the story.'
There is an idea, first of all, of vision fully formed with the eyes closed. Of course the vision we have in a lucid dream often has greater lucidity and clarity than vision with the eyes open.
Many great works of art have only form, the sculpture of the thing. Color as used to signify realization by men like Titian and Rembrandt, gives greater life and tactile experience to the work.
The uncut sheets of colored glass are really seductive, awesome, and unarguably lovely things. Naturally, the temptation to cut and damage all that pristine beauty is too much for me to resist.
I realized [using my own voice] is what creates the performance in the performance art and that's what helps creates the distance for the viewers, like the distance that I get when I step back.
The history of political movements in the African diaspora is that the solution to the problem is never in the hands of people who are advancing the movement. I try and operate on my own terms.
When I first moved from photography to filmmaking, I was worried about how big I had to become. I was one person, or maybe me and an assistant, and I had these small cameras, and maybe a flash.
If you're a young artist, wondering what to call yourself, consider 'multimedia artist.' It's so vague. Then, no one can say, 'Hey, how come you're a jazz person, and you're making a pop opera?
I didn't really understand that Vipassana is a relatively new form of Buddhism that was based on the storage of pain. So the idea is that every time you don't scream, that's your Buddhist side.
Well, let's say we acknowledged the School of French Painting - the Paris School of painting as the leading force and vitality of the time. I think that was understood and felt and experienced.
I've zeroed in on what you would call action and excellence... Everybody who does anything to try to succeed has to give the best of themselves, and art has made me pull the best out of myself.
Sketching is like dancing. It's process as much as product. You can turn your head off and just sort of dissolve into the now. Doing a giant, super thought-out painting is the opposite of that.
Before and after my debut, I've helped out other manga artists from time to time, but I have no experience of being exclusively an assistant. Nor have I done individual or self-published manga.
Taboos are always going to be interesting.Our [ with Michael Dumontier] style has its range and there is room for explicitness in violence, but not at the expense of our classy, highbrow image.
I have come to an unalterable decision - to go and live forever in Polynesia. Then I can end my days in peace and freedom, without thoughts of tomorrow and this eternal struggle against idiots.
I plunged eagerly and passionately into the wilderness, as if in the hope of thus penetrating into the very heart of this Nature, powerful and maternal, there to blend with her living elements.
You must not fall. / When you lose your balance, resist for a long time before turning yourself toward the earth. Then jump. / You must not force yourself to stay steady. You must move forward.
For me, it's important to experience aesthetic shock, which sets in motion our imagination, our emotions, our feelings, and our thoughts. That's the purpose of a painting and of art in general.
I was also a good writer, by the way. My, you know, my English teacher and writing teacher loved my writing. You know, I wrote short stories and things like that. And they liked them very much.
Perhaps we might, within the anatomy of our imaginations, think once more of the naked body as a vessel of grace, taste and wonder. In the spotted history of art, stranger things have happened.
I benefit from contemplation, but it's a great antidote to that, having someone interesting come into the studio environment to be painted, so that I can experience a little bit of their world.
I sometimes am challenged to imagine where the timbre of art should be. Should it be about objects that point to this current moment, or how objects are related to ideas of this current moment?
In the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.
I can't enter into politico-social subjects with any interest, for on the whole, I see that things are in a muddle, and I have no power or vocation to set them right in ever so little a degree.
I was being hated for about 40 or 50 years by the whole world, but it did not destroy me, and it did not ruin my health. And the reason is because I just did not answer them. I had my own life.
What we really want to do is serve happiness. We want everyone to be happy, never unhappy even for a moment. We want the animals to be happy. The happiness of every living thing is what we want.
My mom is a painter, so I've been doing drawings and paintings as early as I can remember. Then there was this gap where I was doing graffiti in high school and making as much [traditional] art.
I've never read a book on shape. I've read books on gesture; I've read tons of books on color, surface, field, ground, representation, abstraction. But I've never read a book on what a shape is.
My work is about the underbelly of the beauty of nature - and the dark side of nature is its indifference. Nature isn't friendly, nor is it unfriendly - it's the perfect embodiment of the Other.
It is easy now to communicate with people through abstraction, and particularly so in sculpture. Since the whole body reacts to its presence, people become themselves a living part of the whole.
I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.
When a man returned from the field and we'd look at the work, we'd criticize each other very genuinely and never offensively. And we would avoid all tricks, angle shots were just horrible to us.
If you've got a deadline and you're an artist, you've just got to be on the case - nothing else can come in the way, or you won't make good work... the people around you just have to understand.
I can't hurt any more than I've been hurt, I can't cry any more than I've cried. I've been to the highest of highs and lowest of lows, so one day I'm going to find my middle ground and be happy.
If there is horror, it is for those who speak indifferently of the next war. If there is hate, it is for hateful qualities, not nations. If there is love, it is because this alone kept me alive.
Seasons are really annoying. You get a really great pair of shoes or a beautiful pair of boots, and then you try to get them again four months later, and they say, 'Oh no, that was last season.'
The museums are here to teach the history of art and something more as well, for, if they stimulate in the weak a desire to imitate, they furnish the strong with the means of their emancipation.
Above all, the photographs I use are not arty in any sense of the word. I think photography is dead as fine art; its only place is in the commercial world, for technical or information purposes.
And dilettantism is a humorous way to survive. Everybody understands you for it and everybody hates you for it. And not everybody chooses to be a dilettante. Many choose cunning and brute force.