Quotes of All Topics . Occasions . Authors
How long were the stretches of toilsome tacking back and forth, of being blocked, of being thrown back again and again. But all that was annulled by the periods when I had my technique in hand and succeeded in doing what I wanted.
Art is supposed to be about creativity. But the same people are the same art darlings every month, and it's a bit annoying. It's supposed to be diverse and interesting and conceptual and have weird concepts in a comfortable place.
The fashion world is 10,000 times more superficial than the art world. Fashion people are so much crazier than art-world people. They are constantly trying to leech from the art world, but they will never be able to do what we do.
I am not a therapist. I am not a spiritual leader. These elements are in the art: it is therapeutic, spiritual, social and political - everything. It has many layers. But art has to have many layers. If it doesn't, then forget it.
When I did "Seven Easy Pieces," I actually re-performed the performances of other artists. It was such difficult work because I had to really go through the documentation, look through the sources, to ask the witnesses who saw it.
Most of the time, the artists are not supposed to wear the fashion. It is always seen as a vanity. But I think I don't need to prove anything in my life. I can honestly say I love fashion and I can be many things at the same time.
Night is here. All is at rest. My eyes close in order to see without actually understanding the dream that flees before men infinite space; and I experience the languorous sensation produced by the mournful procession of my hopes.
I have been performing in the street for more than 50 years: magic for basically 60 years, and the high wire 45 years. The beauty of it is that it's never the same. It's never easy. And yet, part of my art is to make it look easy.
For me, it really is about a dialogue. Life can be really isolating or terrifying or euphoric - it's all these things. And while I'm here I want to have an exchange. I want something to vibrate. And I want to be really stimulated.
It's tricky to be such an independent person, from Canada. It doesn't matter how incredible your work is, if you're an unknown person and you're from Toronto, people's eyes glaze over immediately as soon as you introduce yourself.
I think I'm a full-time artist, a full-time urban planner, and a full-time preacher with an aspiration of no longer needing any of those titles. Rather, I'm trying to do what for some seems a very messy work or a complicated work.
I like most of the places I've been to, but I've never really wanted to go to Japan, simply because I don't really like eating fish, and I know that's very popular out there in Africa, but the whole thing just doesn't appeal to me.
I've been playing piano my whole life, but I'd never tried to understand how compositions are made, really. Try to imagine if you'd loved paintings your whole life but had never painted one. My aspiration now is just to understand.
Ditko isn't a direct influence, but I really admire his work and how his personality always comes through the drawing. There's a honest and quirky humanity to it, and you always feel the artist behind the comic. That's really rare.
Someone remarked that the newspapers or the news magazines are the same as the psalms except that the names changed in the stories. Maybe you can't understand the psalms without understanding the newspaper and the other way around.
I think after a time there won't be anything left to be interesting for mankind. Computers are about to do everything for us. Cellphones are smarter than we are. We'll embrace spirituality because we'll be bored of everything else.
Real beauty in the arts is eternal and would be accepted at all periods; but it wears the dress of its century: something of that dress clings to it, and woe to the works which appear in periods when the general taste is corrupted.
We are not naturally intelligent, or happy. In fact, every day it is harder to remain intelligent. It seems often that people get intelligent through pain, but you can't be sure because nobody really can say, "I've been suffering".
What I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject matter - a soothing, calming influence on the mind, rather like a good armchair which provides relaxation from physical fatigue.
An artist who wants to transpose a composition onto a larger canvas must conceive it over again in order to preserve its expression; he must alter its character and not just fill in the squares into which he has divided his canvas.
I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added.
I was hesitant to approach people. I'm socially awkward. But I was working on a number of memorials, and finally it dawned on me: These are memorials to people who wrote, so I should use their writing. That's how I started to quit.
There is the intent of the writer and the interpretation by the artist. What the writer intended and what the artist interprets is not a 1-to-1 translation. It's a crossing of ideas that generates the stories that you see in print.
My early paintings weren't that good - I was very influenced by Francis Bacon. But there was a kind of intensity there. And however influenced they may have been by other people, even my earliest paintings were recognisably my own.
I almost feel like if I didn't have the gallery and museum content it would be easy to get lost. People's attention spans are so short; they see something and it trends for a few days and then it goes away and something else comes.
I've got the public. I don't care about the critics. I did at one time. I don't any more. I did when I needed compliments. But if you get a lot of compliments, you don't need a critic to tell you, 'This should be done another way.'
When I first came out, I was a film student, and my mom sewed clothes. I was already doing a million things then, whatever it took to survive. If I had to braid someone's hair to get one pound for my lunch money, that's what I did.
I'm interested in the fact that within science, you're dealing with properties of the real and physical world, and by using those properties you're really getting more in touch with the basis of reality and using that expressively.
The current climate doesn't represent a threat to the production of art but to the market. I think it's time for artists to get over auction houses, galleries, and high-production-value exhibitions and start using our voices again.
I love meeting people, and I know it's so difficult for people to come up to me and introduce themselves, so when they do, I'll grab them and hug them. It makes their day, you know? I love that, and I get positive energy from that.
Destiny isn't something you make as you're told. By overcoming difficulties, life and this whole world can advance forward. That's what destiny is for. A world that has lost the power to advance forward, will be destroyed - Aladdin
There isn't a single person or landscape or subject which doesn't possess some interest, although it may not be immediately apparent. When a painter discovers this hidden treasure, other people are immediately struck by its beauty.
I think the real test is to plan something and be able to carry it out to the very end. Not that you're always enthusiastic; it's just that you have to get this thing out. It's not done with one's emotions; it's done with the head.
In my case, I used the elements of these simple forms - square, cube, line and color - to produce logical systems. Most of these systems were finite; that is, they were complete using all possible variations. This kept them simple.
In the late 60's I was enrolled at Occidental College majoring in philosophy and taking several studio art classes, but I dropped out. It was a very confusing time with the war in Vietnam and the social changes sweeping the nation.
There's different kinds of love, and I'd never experienced that kind of totally platonic love. All the love I've experienced has always been a kind of deal, and now, as I get older, I realise that there's this other love out there.
Photography has become so fundamental to the way we see that 'photography' and 'seeing' are becoming more and more synonymous. The ubiquity of photography is, perhaps ironically, a challenge to curators, practitioners, and critics.
I would like to dedicate to the whole world a great message. It is a message from Kusama who has struggled to survive as a human being and as an artist, and whose life has been brightly lit and strengthened by her pursuit of truth.
Society was built on male power, and women's power was... ignored is the best word to describe it I suppose, we have been running society on one power, half a power really. And that's so terrible. The world needs women's power too.
When I look at it, I don't really like people, and socializing is really awful. Outside of my family, friends, and those connected to my job, I don't think I actively want to meet anyone. I've always lived in the country, after all.
I wanted to change up the tempo and setting of my comics in the sense of giving them some variety, for one thing. So where, for 'Slump,' the art was very America-esque, in the case of 'Dragon Ball,' I made it as Chinese as could be.
I like to be the right thing in the wrong space and the wrong thing in the right space. But usually being the right thing in the wrong space and the wrong thing in the right space is worth it, because something funny always happens.
I know street art can feel increasingly like the marketing wing of an art career, so I wanted to make some art without the price tag attached. There's no gallery show or book or film. It's pointless. Which hopefully means something.
What I like about Paper Girls in particular is that because we're approaching it more from a female perspective, we're able to consider the emotional states of these characters a little bit more, and think more of their interiority.
For artists it's a lot easier to make art in bad times than it is in good times. When you've got no money it's easy to just drink your way through it and make great art. But if you're making lots of money it can be very problematic.
It is often we come the closest to the essence of an artist... in his or her pocket notebooks and travel sketchbooks... where written comments and personal notes provide an intimate insight into the magical mind of a working artist.
I'd like to give people leaden boots in galleries, so they'd be a bit slower in front of my paintings. And that's because I spend so much time looking at them. I can look at them a long, long time without getting bored. I disappear.
Artists and religionists are never far apart, they go to the sources of revelation for what they choose to experience and what they report is the degree of their experiences. Intellect wishes to arrange — intuition wishes to accept.
I realized that were I to paint flowers small, no one would look at them because I was unknown. So I thought I'll make them big, like the huge buildings going up. People will be startled; they'll have to look at them - and they did.
A distinction is made between artists who work directly from nature and those who work purely from imagination. Neither if these methods should be preferred to the exclusion of the other. Often both are used in turn by the same man.