Quotes of All Topics . Occasions . Authors
Only when architect, bricklayer and tenant are a unity, or one and the same person, can we speak of architecture. Everything else is not architecture, but a criminal act which has taken on form.
When I found the beautiful white bones in the desert I picked them up and took them home too...I have used these things to say what is to me the wideness and wonder of the world as I live in it.
Now and then when I get an idea for a picture, I think, how ordinary. Why paint that old rock? Why not go for a walk instead? But then I realise that to someone else it may not seem so ordinary.
I have things in my head that are not like what anyone has taught me - shapes and ideas so near to me - so natural to my way of being and thinking that it hasn't occurred to me to put them down.
Did you ever have something to say and feel as if the whole side of the wall wouldn't be big enough to say it on, and then sit down on the floor and try to get it onto a sheet of charcoal paper?
When works of art are presented like rare butterflies on the walls, they're decontextualized. We admire their beauty, and I have nothing against that, per se. But there is more to art than that.
Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures didn't have any beginning or any end. He didn't mean it as a compliment, but it was.
Working is very important to me. Probably because as a child I was taught that work was good. I don’t believe it intellectually but I identify with that idea. So it’s probably just like a habit.
I remember being an art student and going to the Whitney in 1974 to see the exhibition of Jim Nutt, the Chicago imagist. It was then I transferred to school in Chicago, all because of that show.
You know, painting has given me a lot of freedom, because for some reason, I've been able to paint things, organize things in a way that I see that don't have any buffers or compromises in them.
I would always say I'm doing a video project. About dancing or birthday parties. Of course, the video becomes more than that. It goes deeper than that. But it's not a lie. It's a starting point.
When you meet a man who is broken, pick him up and carry him. When you meet a woman who’s broken, put her all into your arms. Cause we don’t know where we come from … we don’t know where we are.
One thing that was inspiring to me in my research about [Georgia] O'Keeffe was to learn that in addition to her success she had very hard times, and times when she was frustrated and uninspired.
Psychoanalysis comes down to the process itself - the self, and life. I think I can say that I'm friends with the unconscious life, but I've never tried to make a painting directly from a dream.
I've been supporting Planned Parenthood all my life. I've even used it myself, back when I had no money. It's where I got my birth control. During college, every one of us got support from them.
Theatre is fake... The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.
The flux of life is pouring its aesthetic aspect into your eyes, your ears - and you ignore it because you are looking for your canons of beauty in some sort of frame or glass case or tradition.
Having plants and flowers in my space makes me feel very calm and Zen. For me, its important to meditate every morning to be very clear in the head, and nature really helps me do the same thing.
Conversation is interesting in proportion to the originality of the central ideas which serve as pivots and the fitness of the little facts and observations which are contributed by the talkers.
Learn technique; have full command to the extent of not being conscious of how it is done. When craftsmanship has been developed, you are free to create... technique will give way to expression!
For me there is no gap between my painting and my so-called 'decorative' work. I never considered the 'minor arts' to be artistically frustrating; on the contrary, it was an extension of my art.
While the expressive possibilities of Neoplasticism are limited to two dimensions (the plane), Elementarism realizes the possibility of plasticism in four dimensions, in the field of time-space.
People say that this new generation is so used to the Internet that their heads are already different. They can't read a book from beginning to end. That is not a tragedy. The book changes form.
For some people, maybe my artwork just seems like fantasy or something. However, if you have had any kind of a mystical or cosmic experience, I guess, then people seem to recognize the territory.
I thought that young people had more problems than old people...Then I looked around and saw that everybody who looked young had young problems and that everybody who looked old had old problems.
The trouble with being a ghostwriter or artist is that you must remain rather anonymously without credit. If one wants the credit, one has to cease being a ghost and become a leader or innovator.
It's almost like it's my alter ego when I get on stage... I turn into this different person, seriously. Bipolar disorder. I'm tired of everybody touching me and things being plugged into my head.
Realities disguised as symbols are, for me, new realities that are immeasurably preferable. I make an effort to take them at their word. To grasp, to carry out the diktat of images to the letter.
My paintings should become objects into which one could float, as in water, so that one's mind is hung... suspended, and the emanation of the painting would penetrate into people's consciousness.
I know now that most people are so closely concerned with themselves that they are not aware of their own individuality, I can see myself, and it has helped me to say what I want to say in paint.
Bement was a very good teacher but he was a very poor painter. I guess he wasn't a painter at all. He had no courage and I believe that to create one's own world in any of the arts takes courage.
Artists were always referred to as great artists. I thought that's what the profession was. One word: great-artist. There wasn't one moment in my life when I thought I wanted to be anything else.
Hong Kong is a nice playground for my street pieces as the architecture is very different from my home city. It's also a great opportunity to take place in a dynamic city of the global art scene.
In Arizona, we're at 7,000 feet, so we're above half of the world's atmosphere. It's crisp but hard, a side-raking light that can be revealing but doesn't have the softness that maritime air has.
I don't like being naïve about the market, and I always try to make things as great as I can. Then I hope that there's an audience that enjoys them, and that hopefully those things get protected.
I'd been doing projects outdoors for the public. I made pigeons eat geometry by putting bread out in rhomboids and triangles. I don't know if this activity made sense, but the work was available.
So much of art-making is about reducing things to the essentials, so I don't feel particularly crippled by this. I don't want it to look natural because then I would be making a documentary film.
I played a little bit of 'City of Heroes' - they have a really great character generation system. I was pretty impressed with that. I played 'World of Warcraft' with my kids. That's a lot of fun.
Most - and I mean maybe 99% or more - graphic novels are simply fat comicbooks. The term is a bogus, cocked-up concept some marketing whizkid conceived to get comics on the shelves of bookstores.
I wished to go completely outside and to make a symbolic start for my enterprise of regenerating the life of humankind within the body of society and to prepare a positive future in this context.
As far as my opinion on galleries, I think they are a great thing. I see them as another outlet. I'm sure by now you've figured out that I do my work for everybody to see. That's the whole point.
What is it you want your audience to see? Who is your audience? What does surface signify? Does it carry meaning? Do you fully understand and know what you are doing? WHY are you using encaustic?
The thing about death is that it's embarrassing. No one wants to focus on it for very long. We're happy to talk about sex all day long but no one wants to talk about the moment where it all ends.
I can't keep from fooling around with our irrefutable certainties. It is, for example, a pleasure knowingly to mix up two and three dimensionalities, flat and spatial, and to make fun of gravity.
For many years I had allowed my second husband to take credit for my paintings. But one day, unable to continue the deception any longer, I left him and my home in California and moved to Hawaii.
I serve like a bridge. I go to other cultures, learn, put myself in different situations and learn as much as I can, and then go to Western cultures to give. I'm doing this bridging all the time.
Having plants and flowers in my space makes me feel very calm and Zen. For me, it's important to meditate every morning to be very clear in the head, and nature really helps me do the same thing.
See how the light tenderly love the apricots, it takes them over completely, enters into their pulp, light them from all sides! But it is miserly with the peaches and light only one side of them.
Worpswede, Worpswede, I cannot get you out of my mind... Your magnificent pine trees! I call them my men--thick, gnarled, powerful, and tall--yet with the most delicate nerves and fibers in them.
What is to be done about these literary people, who will never understand that painting is a craft and that the material side comes first? The ideas come afterwards, when the picture is finished.