Quotes of All Topics . Occasions . Authors
I like Francis Bacon best, because Francis Bacon has terrific problems, and he knows that he is not going to solve them, but he knows also that he can escape from day to day and stay alive, and he does that because his work gives him a kick.
You can looking at that glass of water, not as a glass of water, but as paint on a two-dimensional surface. It's not just a question of looking, but of doing, in relation to this, in relation to that, in relation to the space between things.
Painting doesn't freeze time. It circulates and recycles time like a wheel that turns. Those who were first might well be last. Painting is a very slow art. It doesn't travel with the speed of light. That's why dead painters shine so bright.
[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.
About the fearful sphere which we inhabit, whose centre may be calculated and whose circumference is physically established, there spin metaphors whose centre is everywhere and whose circumference shows itself only through holes in the dark.
Every woman with a career has to make sacrifices when it comes to her children. It's no different with me, as a political activist, than with businesswomen, of which there are thankfully more and more in Russia. Or a female cabinet minister.
No one wants my painting because it is different from other people's peculiar, crazy public that demands the greatest possible degree of originality on the painter's part and yet won't accept him unless his work resembles that of the others!
reaking up the space and using the space, using the length of the space, the height of it, whatever, the light, all of those things. It's something that you have to kind of slowly recognize in your work and develop over years of making work.
Art objects are inanimate sad bits of matter hanging in the dark when no one is looking. The artist only does half the work; the viewer has to come up with the rest, and it is by empowering the viewer that the miracle of art gains its force.
It gives a fellow an awful shiver to hear the first shovelful of dirt and gravel rattle down upon the coffin; but after it is covered, it falls gently and makes no sound. The feeling of rest is perfect. There's no more nagging, no more pain!
What makes Burning Man special is the location: a 9-mile circle of gypsum, an ancient dried ocean bed. The ground is like a flat crust with no plants or insects, a perfect outdoor gallery for monumental interactive sculpture and architecture.
I think I'm a journalist in one sense - I want to communicate to people about certain things that are happening around us, around the world, close or far. In order to transform this information into art you have to add poetry. It's essential.
The one thing you can rely on is if you get disturbed halfway through a painting and it looks a bit naff, then someone will preserve that piece, remove it and a few months later it'll be paraded round Sotheby's by people wearing white gloves.
Hitherto the nude has always been represented in poses which presuppose an audience. But my women are simple, honest creatures who are concerned with nothing beyond their physical occupations... it is as if you were looking through a keyhole.
I'm probably not going to develop to a final state as an artist. Like, become better and better, more and more refined. Become 'pure.' I don't think that's going to happen to me, because I don't really see that as something I want to explore.
Washington and Lincoln mean as much to us as any two men could mean to a civilization, a people, and age, but I told Mr. Coolidge when he dedicated this monument that this rock is being carved with a monument that will outlive our government.
Riza: Without his Alchemy he's just... Jean: A little brat who swears a lot Maes: An arrogant pipsqueak Roy: Useless. Just useless Alphonse: Sorry big brother, I don't know how to add to that... Ed *starts to cry*: YOU'RE ALL PICKING ON ME!!!
Brancusi made me realize that what I had learned previously — the quick ways of doing things — was all wrong... It is not the quick solutions. It is not something you learn and apply. After all, it is a search you have to enter into yourself.
In the '50s, a lot of stories were built around radiation and the proliferation of new technology. In the '70s, there were a lot of stories that dealt with the Vietnam War. So comic books have always been a reflection of the times we live in.
The world is becoming more affluent. We are generating more and more money - so more spending will go on. In the west, we're opening our purses and moths are flying out - but we've got to remember that, in other markets, this is not an issue.
I've always thought that there shouldn't be any limit to the things that are well designed. And I think that people who consider that art should only be kept for art galleries and doesn't have a role in public life, I think that's too narrow.
I don’t like to talk about what my paintings mean since they are so personal, so I like to leave it up to the viewer’s interpretation. It’s very strange to pour your heart out onto canvas and then put it on display for the whole world to see.
I feel totally female. I didn't compete with men and I don't want to look like a man! I love being a lady and dressing up and masquerading and wearing all the fineries. I'm breaking down the idea that the artist has to look poor, with berets.
The big problem of our modern society is that we feel that we are separated from the nature. But it's just the opposite. We are interrelated and our DNA is the same. And only when human beings understand that, the nature will not be obstacle.
In the neighborhood where my studio is, in South Central Los Angeles, there are a lot of immigrant-owned businesses. I'm constantly amazed at the level of work they do. It's above anything. For me, I think I pattern myself on that work ethic.
I never expected to run into a room and suddenly I belonged. I figured people who live on the fringes of society, they're more free. They can choose to visit anywhere; they don't belong to anywhere. It's like being without a nation, in a way.
Part of the blame can be put at the artists' door, too - no question. But I see our involvement more as a consequence. When there is too much money at stake, the whole system gets corrupted. Artists can be very vulnerable to these mechanisms.
For example, in England, we teach about Expressionism, but it is not the same in England as it is in Germany, because Expressionism is more important in the history of German art. So although it is the same history, the emphasis is different.
I was interested in how we engage the world. How do we use our skin as our eyes? If you read a cityscape or a landscape with just your mind, and not your body, it becomes like a picture or representation, not something you really engage with.
People think you can get out your canvas and paint any time you have a free moment. You can't. Commercial art and painting are entirely different. Painting takes a different mental approach. You have to get the right attitude, the right mood.
How often have we all come to that crucial point in a painting where it is practically 'begging' us to stop before we ruin it? We have all had that experience and we risk failure, or at the least mediocrity, if we ignore the voice in our art.
My only criticism about Quentin Crisp is that the subversive must be ready to subvert themselves. I may dress for myself, but I undress for everybody else, whereas he never did that - he was never prepared to drop a bomb on everything he did.
When I first arrived in Houston, I was fascinated with the elaborate styles of cowboy boots and thought they were incredibly exotic. They also seemed to be a central part of a specifically 'Texan' identity, one distinct from being 'American.'
Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable. In terms of idea the artist is free to even surprise himself. Ideas are discovered by intuition.
you said you were going to kill rukia with your own hands...you make me sick...show me your bankai and I will crush it...I will make me beg for forgiveness on you knees...I will never let you say those words to Rukia again... ~Ichigo Kurosaki
I'm not satirical in a traditional way. What I do is more about creating caricatures and cartoons. I am commentating on the nature of how we live through photography, and how you can twist an angle to create a different perception of a person.
The so-called language of Barbara Kruger is vernacular language. Obviously, I pick through bits and pieces of it and figure out to some degree how to objectify my experience of the world, using pictures and words that construct and contain me.
Cartooning is an artistic commitment that requires the full attention and passion of the artist on every level; one should not get into it if one expects to do anything more than produce a book or a story that is exactly as one wants it to be.
Ragtime has about the same amount of respect as comics. And in a way they're similar art forms. Ragtime is highly compositional, and the emotion in the music is built in, whereas in jazz a lot of that emotion comes from the way it's performed.
I think that 'Station to Station' is a nomadic project not only in a literal sense, as it's traveling by train from place to place. Some of these places are New York City or Los Angeles, but some of these places are rather off-the-grid places.
Focusing totally on technique, you lose the essence and power of simplicity... The other extreme is just as bad; you see it in a lot of Modern works, where the concept is more important than the technique, resulting in very poor craftsmanship.
I do take very good care of myself, and I'm always in love. And by that I mean I have an appetite for life. I'm in love with beauty and things and people and love and being in love, and those things I think, on the inside, show on the outside.
I don't like to work in an office. I like to work in my house, to be among my own thoughts. The idea is for an editor to let his artist alone, let them be themselves, let them exchange their own ideas and you'll come up with something salable.
We think of color as a thing that we’re receiving. And if you go into one of the Skyspaces, you can see that it’s possible to change the color of the sky. Now, I obviously don’t change the color of the sky, but I changed the context of vision.
It is interesting to work in Las Vegas. I've always thought of Las Vegas as Los Angeles on its day off. There's not any hierarchy of taste, and that's what L.A. always was to me: It's not really a town of culture, it's a town of entertainment.
I have come to terms with a lot of things, because, when all's said and done, there's really very little one can do about a lot of things. You just accept them. The point is you just have to keep on working and you just have to keep on living.
You see, I have in my teaching - I always say I've done it for a hundred years and have had thousands of students - I have always spoken against just falling onto your knees for so-called accidents, I mean a result you are not responsible for.
Art alone makes life possible - this is how radically I should like to formulate it. I would say that without art man is inconceivable in physiological terms... Even the act of peeling a potato can be an artistic act if it is consciously done.
Journal what you love, what you hate, what's in your head, what's important. Journaling organizes your thoughts; allows you to see things in a concrete way that otherwise you might not see. Focus on what you think you need to find in your art.
Me, it was always about being able to bounce around to where I wanna be. Like, with 'Arular,' people always say it's so political, but I think 50 per cent of the album is not very political at all. It's just really a shouty, shouty girl thing.