Quotes of All Topics . Occasions . Authors
Art critic! Is that a profession? When I think we are stupid enough, we painters, to solicit those people's compliments and to put ourselves into their hands! What shame! Should we even accept that they talk about our work?
Nobody ever told me, 'Art is this.' This was good luck in a way because I would have had to spend half of my life forgetting everything that I had been told, which is what happens with most students in schools of fine arts.
If you want to compete in Italy, the only accepted ways are brute force, or cunning. Like Machiavelli says, "Fronte otra forze." And neither of these two "virtues" is suited to an artist. The artist has to stay intelligent.
When you want to make the main color pure and bright, don't just keep adding bright colors on it. Just make the colors around the spot darker and dull. It will give the scene dramatical effects.I think the life is the same.
When I'm building my dome in my chapel, and I had a vision - I've worked on perpetual motion and I haven't never give it up yet. I still think it could be done, perpetual motion. I had a vision of a un resist able windmill.
There is not one piece of artwork I have ever done that lived up to the vision I had for it in my head. That's why I keep on trying. Maybe someday I'll do it. I don't want to be in the past. I want to get to the next thing.
Well, I'd say that the beginning of this thing came through with Art of This Century, Peggy Guggenheim's, where she opened this gallery and began showing some things that caused a little talk, amongst a lot of other things.
I am always wandering around in enigmas. There are young people who constantly come to tell me: you, too, are making Op Art. I haven't the slightest idea what that is, Op Art. I've been doing this work for thirty years now.
An original is a creation motivated by desire. Any reproduction of an originals motivated be necessity. It is marvelous that we are the only species that creates gratuitous forms. To create is divine, to reproduce is human.
If you have to do durational work, you have to train! No bullshit. You can't do it for three months. You can do it for five hours, 10 hours, and then you have three months rest. If this is your job, you have to be flexible.
I want to make paintings full of colour, laughter, compassion and love. I want to make paintings that will make people happy, that will change the course of people's lives. If I can do that, I can paint for a hundred years.
You can go to a psychoanalyst one day and then go the next day and something else will come out. So, yes, there was some preparation. But still, when a person gets hypnotized, you don't really know what the outcome will be.
I'm getting more and more into Chinese art and Japanese, some of those scroll paintings are amazing. You follow the change of the seasons. It's really something. These guys were great masters and of course the use of space.
The horse is, like man, the most beautiful and the most miserable of creatures, only, in the case of man, it is vice or property that makes him ugly. He is responsible for his own decadence, while the horse is only a slave.
Inuyasha: "Stop blubbering already, I'm fine." Kagome:"I'm not blubbering." Inuyasha:"Okay, crying." Kagome:"I am not." Inuyasha:"Are too." Kagome:I am NOT!" Inuyasha:"You are so!" Kagome:"I am not, so just shuddup and sit!
Don't put needless expense into painting a head! Don't try to match tints! Rose and pearly colours blend into each other so that no one can unite them if painted separately. Keep the impression of your subject as one thing!
Sometimes I have compared myself with a scientist or something: when you discover something and you don't expect the whole world to understand it. I always thought I was doing that kind of activity, in art and in music too.
Any material may be used but the theme is the same and the response is the same for all artwork... we all have the same concern, but the artist must know exactly what the experience is. He must pursue the truth relentlessly.
Nature holds the beautiful, for the artist who has the insight to extract it. Thus, beauty lies even in humble, perhaps ugly things, and the ideal, which bypasses or improves on nature, may not be truly beautiful in the end.
My art has always been in response to visions. Rather than confine my subject to representations of the outer worlds, I include portrayals of the multi-dimensional imaginal realms that pull us toward consciousness evolution.
When people are ready to, they change. They never do it before then, and sometimes they die before they get around to it. You can't make them change if they don't want to, just like when they do want to, you can't stop them.
In some circles where very heavy people think they have very heavy brains, words like "charming" and "clever" and "pretty" are all put-downs; all the lighter things in life, which are the most important things, are put down.
Please, no one touch my heart. Don't touch it. Don't notice anything. No one has to know what my heart is feeling. I decided that I wouldn't turn back. That's why I threw everything away. So, don't you ever say, "I'm lonely.
The art world is the biggest joke going. It's a rest home for the overprivileged, the pretentious, and the weak. And modern art is a disgrace - never have so many people used so much stuff and taken so long to say so little.
I'm not so presumptuous to feel that they're gonna get it right away, get exactly what I have in mind. I hope that they'll enjoy looking at it at any rate, whatever it is. And that's why I started writing stories on my work.
So I said to myself-I'll paint what I see-what the flower is to me but I'll paint it big and they will be surprised into taking the time to look at it-I will make even busy New Yorkers take time to see what I see of flowers.
Composition, the aim of which is expression, alters itself according to the surface to be covered. If I take a sheet of paper of given dimensions, I will jot down a drawing which will have a necessary relation to its format.
The physical characteristics of the child Jesus will always remain a point of discussion. No artist has ever produced a type, nor ever will, that has in it all that the varying minds of all time will acknowledge as complete.
As a black person, I'm used to going to places in which I might be the only black person that shows up there. This experience has an effect on the way you see yourself in the world and what it means to be black in the world.
I've long been interested in looking at the culture of consumerism and also was interested in this connection between the American dream and the house, and the house being kind of the ultimate expression of self and success.
I've always worked from images that already exist in our culture, and I just tweak them - I photograph my vision/interpretation of things that already exist, and I take it to the extreme. And then I make paintings or videos.
Today, in British education, we don't have that kind of freedom. Now there are many regulations, many rules, and bureaucracies in the education system. So, it doesn't have the flexibility that it had in the '60s, '70s, '80s.
My art speaks and will continue to speak, transcending barriers of nationality, language and other forces that may be divisive, fortifying the greatness of the spirit that has always been the foundation of the Ojibwa people.
I have been interested in visual arts since high school and, after realising that I had absolutely no interest in the economics degree I had undertaken at ANU, I started a BFA in Sydney which I completed at VCA in Melbourne.
When I put my brush to canvas, I never know what I'm going to paint. It's like when you're walking down the street with your hands in your pockets, humming a tune, you don't know what you'll be humming five minutes from now.
Through art, mysterious bonds of understanding and of knowledge are established among men. They are the bonds of a great Brotherhood. Those who are of the Brotherhood know each other, and time and space cannot separate them.
Perhaps whatever there is in my work that may be really interesting to others and surely what is interesting to me, is the result of a sometimes successful effort to free myself from any idea that what I produce must be art.
I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.
If you were to turn into a snake tomorrow and begin devouring humans, and from the same mouth you started devouring humans, you cried out to me 'I love you,' would I still be able to say 'I love you' the same way I do today?
Of all the arts, abstract painting is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for colors, and that you be a true poet. This last is essential.
There's a big difference between sending your art in a statement or something like that, and sending yourself there. When you send yourself somewhere, then you are sharing your information uncontrollably - like all yourself.
Do solemnly swear to love, honor and obey my soul, my path to realization and relationship with a higher, deeper creative power, for better or worse, for richer or poorer, in sickness and in health, from now and forever more.
When you talk about war on poverty it doesn't mean very much; but if you can show to some degree this sort of thing then you can show a great deal more of how people are living and a very great percentage of our people today.
I felt very strongly the whole social impact of that depression, you know, and I felt very strongly about the efforts that this Resettlement Administration was trying to accomplish; resettling people, helping them, and so on.
Some time ago, we went to Asia and took a camera along, and I began to do what I'd done even years ago doing people. I couldn't get interested in it. And I did hundreds of photographs of details of the monuments as sculpture.
For each final photograph, I'll have shot loads of film. I suppose people don't see all that. But when someone looks at a piece of work, they know something has gone into it, even if they can't lay their finger on what it is.
I can't wait to get into a position to make really bad art and get away with it. At the moment if I did certain things people would look at it, consider it and then say "f off". But after a while you can get away with things.
Fashion is not just about trends. It's about political history. You can trace it from the ancient Romans to probably until the '80s, and you can see defining moments that were due either to revolutions or changes in politics.
But I think you have to - whatever the environment looks like, it does enter into people's art work one way or another; it's very remote or it isn't. It's remote in my work but it has to have a certain degree of ordinariness.
I've spoken seriously, and I am very serious, but you know an awful lot of the work is meant to twist things to the point of almost absurdity. I don't want to celebrate absurdity, but I do mean to challenge a lot of premises.