Quotes of All Topics . Occasions . Authors
If a symbol should be discovered in a painting of mine, it was not my intention. It is a result I did not seek. It is something that may be found afterwards, and which can be interpreted according to taste.
Sometimes it made him [Degas] furious that he could not find a chink in my armor, and there would be months when we just could not see each other, and then something I painted would bring us together again.
Certainly, the history of my life and the works of art which have especially enriched it is precisely that: the depiction or incantation of a handful of metaphors whose spendour rests upon their intonation.
Sometimes living can be hard, but it's only because we're alive that we can make each other laugh,cry... be happy! In this world, if that's not a reason for being born in this world... I don't know what is!
I grew up on a farm with only two TV channels. I didn't grow up around much culture. When I got excited about painting, I never really got further than what would have been in a modern art history textbook.
When I was learning by myself, despite my parents, despite my teachers, despite society, when I was fighting for building my life as a young wire walker at age 16, I didn't have feelings, I had certainties.
I really like players who are not naturally gifted and have to achieve their success by other means. I like when people have to win against their own limitations,rather than just being phenomenally blessed.
I never had the exposure to techniques and so forth that children have today with art workshops, but I always had crayons and pencils and still have work going right back to when I was five or six years old
Birds, it must be admitted, are the most exciting and most deserving of the vertebrates; they are perhaps the best entre into the study of natural history, and a very good wedge into conservation awareness.
The most horrible question students ask: 'How do you paint copper?' 'How do you paint flesh or glass?' You paint everything the same way: Right color, right value, in right spot. There are no prescriptions.
If we imagine that the only right that we have is to make commodifiable objects, then we limit our practice, and we limit the great potential for an understanding between collectors, curators and galleries.
Making a painting is like having sex for a month or something. Then I go through this period of elation at finishing the work. Then you drop off - you know, 'post-coital man is sad,' as the old saying goes.
I think that some of the earliest ideas in the modern period were actually from astronomy. You look at Galileo: He goes up and points his telescope up at Jupiter and finds out, hey, Jupiter has these moons.
Even the uncaptioned art photograph is invaded by language in the very moment it is looked at: in memory, in association, snatches of words and images continually intermingle and exchange one for the other.
I love magazines because they're so dispensable, and they're so quickly consumed. In that way, they're quite honest. They're unashamed about how small an amount of time they're trying to keep our attention.
Compare constantly, lines and angles... Hold looking-glass before your model and your drawing. Take a second's glance only, and see if the impression be the same. If it be not, ask, 'What is the difference?
I first wrote down all the phenomena that have emerged in contemporary society that I thought were related to this theme ["sea of oblivion"], and then sorted them out by grouping them into islands of ideas.
Every time I create something, just before that there's a kind of - you're feeling very low, you're feeling very down and insecure. Then you create and then it's fine. This is the way I observe me doing it.
NO! Don't force yourself to be alone! If you're alive, you can meet that person, somewhere, someday! The person that will be glad that you're alive! You can't... you can't want yourself to die!! So... live.
The job at Brooklyn is interesting because Brooklyn reflects what happened to university art departments everywhere. It might be the worst department now, and yet at one point it was the best in the country.
Fauvism was our ordeal by fire... colours became charges of dynamite. They were expected to charge light... The great merit of this method was to free the picture from all imitative and conventional contact.
What I was actually trying to do in my early movies was show how people can meet other people and what they can do and what they can say to each other. That was the whole idea: two people getting acquainted.
I admit to having worn suede and leather pants myself for a while, but you just never feel clean, and it's degenerate, anyway, to wear animal skins.... So I went back to bluejeans after my degenerate period.
I think with anybody who's doing well in the public eye or whatever, there's always gonna be a shift because people don't wanna see somebody happy all the time. And they're gonna try to take shots at people.
One of my earliest jobs drawing was 'Wonder Woman: Our Worlds At War,' with Phil Jimenez, which was a really cool jaunt through her history. I got to draw this two-page spread that was set in the Golden Age.
The idea of going on tour for the rest of my life with old works is not that exciting. As an artist I definitely think the work in future is going to be better than the work in the past, otherwise why do it?
I believe people who are looking for a fresh idea and spirit have received Danielson. The conservative Christian press have been quite mean to us, but the mainstream 'secular' press has been very, very nice.
My style is difficult to contain in a sentence; it's ever evolving. Generally I'm drawn to clean cuts and avoid patterns. I tend to choose structure and block colors, but these are all just loose guidelines.
There is too much talk and gossip; pictures are apparently made, like stock-market prices, by competition of people eager for profits... All this traffic sharpens our intelligence and falsifies our judgment.
Art is often born from inner struggle. Artists are plagued by impulses they must express. Contentment does not seek action but struggle always seeks release, and for the creative it can take the form of art.
A photograph to me is always a reminder of how the person was on a certain day in that certain light fixed. When I look at a watercolor of that same person, it seems to me alive, more open than a photograph.
To become truly immortal, a work of art must escape all human limits: logic and common sense will only interfere. But once these barriers are broken, it will enter the realms of childhood visions and dreams.
One of the goals of life is to try and be in touch with one's most personal themes-the values, the ideas, styles, colors that are the touchstones of one's own individual life, its real texture and substance.
Truth and reality in art begin at the point where the artist ceases to understand what he is doing and capable of doing - yet feels in himself a force that becomes steadily stronger... and more concentrated.
When a painting is finished, it's like a new born child, and the artist himself must have time for understanding. How then do you expect an amateur to understand that which the artist dos not yet comprehend.
In art, truth and reality begin when one no longer understands what one is doing or what one knows, and when there remains an energy that is all the stronger for being constrained, controlled and compressed.
It's difficult for people to visualize from my drawings what it's going to be, so I often find myself talking them into things that they go along with, and when they see what's been made, they are surprised.
If you look at the great superheroes in any universe, you will always find that they have the very best super villains opposing them. It's because they are foils; they are people that the heroes play off of.
I was interested in the questions that come up when the Internet gives you access not just to JSTOR libraries and to digital information, but also to things that are live and dynamic and organic in some way.
I live within the vivid colors of my imagination, soaring with rainbow-feathered birds, racing the desert winds on horseback, wrapped in ancient tribal jewels, dancing with mythical tigers in steamy jungles.
I dont like the idea of spirituality done the way its done. The only way I could understand it was through creativity, not by going to an Ashram, or finding a guru or joining a temple. I made work out of it.
To control the breathing is to control the mind. With different patterns of breathing, you can fall in love, you can hate someone, you can feel the whole spectrum of feelings just by changing your breathing.
I am against: general ideas / the nude / the appropriation of images / the mystification of the untitled / the glorification of artistic doubt / the fuzzy edges of sensitivity / old sins / and useless guilt.
I've always thought of the project as a sort of sexually driven digestive system, that it was a consumer and a producer of matter. And it is desire driven, rather than driven by hunger or anything like that.
The Royal Academy Summer Exhibition is very difficult to hang because it is so large and the quality is very varied. There are 1,200 works, an almost impossible number, some are interesting and some are not.
Rohini Mohan read. While she did, I sketched her. She writes with such beauty and violence, and it seemed like the best way to listen was to really watch her, in the way that only drawing someone lets me do.
It's not that I've suddenly become stronger or that something has changed. I'm still shaking. But... We don't have to let those fears stop us. What's most important is that we try to rise above our weakness.
We did have one work where it looked like the fibreglass was discolouring, but it turned out it was reacting to the foam it was packed against in storage. We repaired it and sent it back with better packing.
In the studio we spend a lot of time working our what materials will work best and also last. We do tests and come back to them years later to see how they are still performing, and this leads our decisions.
In painting, as in the other arts, there's not a single process, no matter how insignificant, which can be reasonably made into a formula. You come to nature with your theories, and she knocks them all flat.