Quotes of All Topics . Occasions . Authors
The President has so much good publicity potential that hasn't been exploited. He should just sit down one day and make a list of all the things that people are embarrassed to do that they shouldn't be embarrassed to do, and then do them all on television.
There's something very strange and wrong-seeming about drawing realistic eyeballs in comics, at least in the mode of comics where action is carried more by the movement of the characters rather than where narration links disparately framed selected images.
The distinction between reality and fiction in America seems like it is becoming really blurry. With its religious fanaticism, reality TV programs and fake news broadcasts being aired by the government, the States feel like they are entering the Dark Ages.
Love wants to rise, not to be held down by anything base... He who loves flies, runs, and rejoices; he is free and nothing holds him back. Derive happiness from yourself, from a good day's work, from the clearing that it makes in the fog that surrounds us.
I learned the tricks... If you want to do academic things, you can do them. It is not difficult. Yet it is from this difficulty - the mistakes and dead ends - that artists develop, not through the quick solutions and not from something you learn and apply.
I feel that life is a series of very interesting questions, and very poor answers. But I myself am willing to settle for the questions. If the questions are interesting, I feel I evoke them in what I do. I feel that should be good enough for everyone else.
A-not-complete-unit, or a new unit. The elements in the 3 parts should neither fit nor not fit together. One would like not to be led. Avoid the idea of a puzzle which could be solved. Remove the signs of "thought." It is not "thought" which needs showing.
It's wonderful to make a lot of money, to be able to take care of my family, to have the facilities I have and really support the people the studio's involved with. But at the end of the day I'm quite simple as an artist-it's really about the power of art.
There's so much art and it's gotten so flashy. In the global marketplace, having art that's shiny and has neon lights is almost what you need for anyone to notice it in an art fair situation - and art fairs seem to be more and more the only thing there is.
A lot of my work has been about the unexpected—that kind of wanting to be the heroine and yet wanting to kill the heroine at the same time. That kind of dilemma—that push and pull—is the underlying turbulence that I bring to each of the pieces that I make.
Sugar crystallizes something in our American Soul. It is emblematic of all Industrial Processes. And of the idea of becoming white. White Being equated with pure and ‘true’ it takes a lot of energy to turn brown things into white things. A lot of pressure.
My work is not, of course, pure art in the sense that Schmidt-Rottluff's is, but it is art nonetheless... It is all right with me that my work serves a purpose. I want to have an effect on my time, in which human beings are so confused and in need of help.
I think we need to remember...that a lot of energy was put into changing things to get us to the point where we are now. But being where we are now doesn't mean that we don't have to put in the same kind of energy to get us to a place where we ought to be.
There's this idea that many of the attitudes and personality developments in black folks in the diaspora are a consequence of this unresolved trauma. There have been attempts by black artists to try and figure out how to represent that in some kind of way.
My favorite artists from comics were early ones like Jack Kirby or Steve Ditko who had a real heavy ink style. Captain America, co created by Jack Kirby, was a favorite of mine and I sometimes use an altered version of his costume on some of my characters.
I was friends with Susan Sontag the last four years of her life. She had this amazing charisma and so much energy, but she had a sad little funeral in Montparnasse in Paris. It was rainy. It was all wrong. And I was thinking, 'God, she loved life so much.'
The question at hand is the danger posed to truth by computer-manipulated photographic imagery. How do we approach this question in a period in which the veracity of even the straight, unmanipulated photograph has been under attack for a couple of decades.
When I was in South Africa, I was meeting with people who never heard of Lego bricks. And yet, when I was like, 'Here they are,' they immediately got it. They saw the appeal, were snapping bricks and creating their little creations right there immediately.
I should have wished to possess the intellectual equilibrium that characterizes you and permits you to achieve without fail the desired end... Chance has not favoured me with an equal self-assurance, it is the only regret I have about things of this earth.
The oceans of art are awash with people who can't paint. When those who can't paint notice those who can, they are sometimes not inclined to accept them as serious like themselves. It's an unfortunate quirk of human nature and ought not to be fretted over.
Know what the old masters did. Know how they composed their pictures, but do not fall into the conventions they established. These conventions were right for them, and they are wonderful. They made their language. You make yours. All the past can help you.
I don't think inspiration just comes from the sky. I think you have to sit down and you have to work. Sometimes it's really hard, and sometimes things come easier, but really you have to show up, you have to get to work, and you have to have determination.
When you're in elementary school, you get these amazing assignments, like to come up with your own animal, come up with your own city, come up with your own planet, what do the people look like; you're very much encouraged to be as imaginative as possible.
I went to art school, but I didn't last because in those days you couldn't take comics as a course. And they weren't even teaching you to draw real things, they were really into abstracts, and I was not into abstracts, so art school and I did not work out.
I had no idea what to expect moving to New York. It's embarrassing to say, but I didn't even realize that people bought contemporary art... that people actually paid for it... I know that's really dumb. I was really naive. I had no idea artists made money.
There is a wall of myth around royals and A-list celebrities, and that makes us wonder what they are really like. We see them on magazine covers so often that we think we know them intimately, and we want to learn more. I like to burst that bubble a little.
I was so impressed with the work we were doing and I was very involved ideologically in photography - that I arranged an exhibition at the College Art Association. The first exhibition I picked the photographs and so on and we had an exhibition in New York.
I have a weak spot for late '60s-early '70s yippie paperbacks and protest manifestos. I find them at flea markets or online. One of my favorites is 'Right On,' a compendium of student protests made into this 95-cent paperback with the most amazing graphics.
One of the core reasons for creating 'Station to Station' was to provide a space for exploration and cultural friction between different mediums. It should be natural for mediums like music, film and art to cross over, and we wanted to empower that process.
Take hold of objects by their centres, not by their lines of contour... The contour accentuated uniformly and beyond proportion, destroys plasticity, bringing forward those parts of an object which are always most distant from the eye - namely its outlines.
Sometimes I don't even pull my shoes off for six weeks at a time, except, you know, just to take a shower. I just take breaks between 24 hours a day, just a break now and then, it don't take me long to rest; maybe 20 to30 minutes sometime, or maybe an hour.
Light is a powerful substance. We have a primal connection to it. But, for something so powerful, situations for its felt presence are fragile . . . I like to work with it so that you feel it physically, so you feel the presence of light inhabiting a space.
My mum was into pottery and embroidery, very artistic, and she knew some people from the college, which I think was how I got into it. My dad, who was a head-hunter, was also an incredible artist, and when he was very young, he was a really good cartoonist.
It is not so for art in appreciation because art is concerned with human behavior. And science is concerned with the behavior of metal or energy. It depends on what the fashion is. Now today it's energy. It's the same soul behind it. The same soul, you see.
I think I'm aware of entering my late 30s versus being in my late 20s, when the web was coming out as this new thing. It reminds me of how people used to tell me about my great-grandmother and how they used to gather around a radio listening to soap operas.
Sugar crystallizes something in our American soul. It is emblematic of all industrial processes. And of the idea of becoming white. White being equated with pure and 'true': it takes a lot of energy to turn brown things into white things. A lot of pressure.
If I create with my heart almost all my intentions remain. If it is with the head - almost nothing. An artist must not fear to be himself, to express only himself. If he is absolutely and entirely sincere, what he says and does will be acceptable to others.
In the beginning, I started doing portraits of children, and of course, children have large eyes. For some reason, they just started getting bigger and bigger. Then, when I started painting imaginary children rather than real ones, they became bigger still.
You will find scraps of paper all over the house when I am designing a new woodcut and woe betide the person who touches one of the scraps. When I have the exact design in my mind, I set the model up, pots and flowers, leaves and background, and begin work.
One of my aims was to be paid as well as a plumber. Plumber was better-paid than any performance artist who was always doing this for free. It is so important to make a good living from art. You know, John Cage, until he was 60, he couldn't pay electricity.
Share your enthusiasm with the collector's enthusiasm for the work, and discover things together. Be nice and appreciative and at the same time give them the hint that you're a winner so they believe they've made a good investment. It's simple common sense.
Art is about forgetting all these feelings, good and bad, and trying to understand what acts will last longer, which symbols will remain in history. It's a question of perspective: The further you get from the past, the more concrete and plausible it seems.
Many people use the words 'death defying' or 'death wishing' when they talk about wire-walking. Many people have asked me: 'So do you have a death wish?' After doing a beautiful walk, I feel like punching them in the nose. It's indecent. I have a life wish.
Truly, from a very early age, I started distancing myself from other kids, not out of willingness, but just out of the nature of my energy. I liked to do things solely, and I already had a taste of the quest for perfection, which is unusual in a little kid.
Art is a tyrant. It demands heart, brain, soul, body. The entireness of the votary. Nothing less will win its highest favor. I wed art. It is my husband, my world, my life dream, the air I breathe. I know nothing else, feel nothing else, think nothing else.
I was bullied badly as a kid, but I could always change schools. I could always go home. Now you can't, because of cyberbullying. When bullying follows you home, and there's no escape and no end, to me, that's horror. And to so many girls, that's just life.
So long as the system of competition in the production and exchange of the means of life goes on, the degradation of the arts will go on; and if that system is to last for ever, then art is doomed, and will surely die; that is to say, civilization will die.
In my home country, there was a little shop with old books, but it was really in the countryside. You couldn't find English books. I found this very avant-garde American art book that had information about Georgia O'Keeffe. I was very much impressed by her.
If you don't own a train company then you go and paint on one instead... it all comes from that thing at school when you had to have name tags in the back of something... that makes it belong to you. You can own half the city by scribbling your name over it.
Whenever I am embraced by land and seascape I draw ideas for new sculptures; new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize... ...It is essentially practical and passionate.