Quotes of All Topics . Occasions . Authors
I think I'm an ambitious artist but you have to understand the measure of your influence on people. You're not going to change people's lives with your art. What you do is you give them a little pat so that you change the course of the direction that they're going.
The deeper the blue becomes, the more strongly it calls man towards the infinite, awakening in him a desire for the pure and, finally, for the supernatural The brighter it becomes, the more it loses its sound, until it turns into silent stillness and becomes white.
Abstraction has always been around, since the drawings in the caves. It exists in all cultures all over the world. I thought for a while that it was going to be the major movement. But people always drift back to realism. I guess there is a certain security in that.
If I happen to have another baby or something like that, I'd probably move back to Louisiana. I do miss Louisiana. I miss the people. I miss the food. I miss the way of life, how everything is really simple. There's no traffic like there is in L.A. It's really nice.
When I was in art school, I thought art was something I would learn how to do, and then I would just do it. At a certain point I realized that it wasn't going to work like that. Basically, I would have to start over every day and figure out what art was going to be.
In the first place you must study drawing for at least one year; then you must remain with a master at the workshop for the space of six years at least , that you may learn all the parts and members of the art...drawing without intermission on holidays and work-days
Its such a paradox. You come from this place where you want fame; you dont want to be bourgeois, but you want to be successful. You want to be accepted, but you also want to be going against the grain. You want to be on the outside, but you want to be on the inside.
The hard work, you discover over the years, is in learning to discern between correct and incorrect anxiety, between the anxiety that's trying to warn you about a real danger and the anxiety that's nothing more than a lying, sadistic, unrepentant bully in your head.
The artist constructs a new symbol with his brush. This symbol is not a recognizable form of anything which is already finished, already made, already existing in the world - it is a symbol of a new world, which is being built upon and which exists by way of people.
Delsarte tells me that Mozart stole outrageously from Galuppi, in the same way, I suppose, that Molière stole from anybody anywhere, if he found something work taking. I said that what was Mozart had not been stolen from Galuppi, or from anyone else for that matter.
I taught myself to use a camera - it's not very difficult to use a camera, but I never bothered looking at any textbooks on how to make a picture. I had a much more casual relation to it. For me at the time it was much more about the process rather than the results.
I cannot copy nature in a servile way; I am forced to interpret nature and submit it to the spirit of the picture. From the relationship I have found in all the tones there must result a living harmony of colors, a harmony analogous to that of a musical composition.
I realized that I wasn't naturally born to good taste. I understand what it is, but I am happy to wear bright colors. I do have a few items of black clothing, but I think good taste and doing the same thing over and over again is what the whole art world has become.
Our universe grants every soul a twin- a reflection of themselves -the kindred spirit - And no matter where they are or how far away they are from each other- even if they are in different dimensions, they will always find one another. This is destiny; this is love.
The first freedom is to be in possession of yourself - to own yourself, to not be subject to the will of somebody else. In a capitalist society, that means having a certain economic wherewithal so that you can do what you wish to do without having to ask permission.
Prior to my father's death, I was having a hard time committing to a career as an artist, but that's not because of who he was - it was because of who I am. It's true, though, that I felt I shouldn't compete with him, and that those feelings went away after he died.
If an artist does not have an erotic involvement with everything that he sees, he may as well give up. To be a human being may a very messy thing, but to be an artist is something else entirely, because art is religion, art is sex, art is society. Art is everything.
Matangi's mantra is aim, which is MIA backwards. She fights for freedom of speech and stands for truth, and lives in the ghetto because her dad was the first person in Hindu mythology who came from the 'hood, but had gained enlightenment through not being a Brahmin.
I just like artist-driven projects, but for artists themselves: artist spaces, artist mentor programs, and artists buying buildings and making lofts. Doing whatever we can do. Because at the end of the day, I really think that we as a community only have each other.
There remains this belief that the work itself can have an identity that can speak, whether it's through beauty, or through ugliness, or whatever quality you put into the work. The work doesn't have to be a transparent vehicle for you to say things about life today.
An interesting thing happened in 1989, right as I was graduating: the stock market crashed and really changed the landscape of the art world in New York. It made the kind of work I was doing interesting to galleries that wouldn't have normally been interested in it.
I was extremely irritated being photographed for a long time, then I gave up caring. Photography is a nauseating cliche, but there is a lot to it. You can tell so much about a person from it. You are exaggerating the consciousness. It's life-thickening, photography.
Show me what society that ever existed that did not use the tools that they had available. Ask any person from East Germany... you will never hear somebody say, 'The Stasi never bothered me because I didn't have anything to hide.' That's not a thing that people say.
Much of the art of the 1960s, from body art to video and direct performance, was concerned with similar issues. And then there was media art, which made it possible to express things directly, without having to rely on the written word, which was manipulated by men.
I think that the most important requirement is to capture the essence of a piece of art. You look at it, essentially absorb it, and you have to be able to understand it visually without having to think about how it was done. I was already able to do that as a child.
The thought of continually eating something like macaroni, spat out by machinery, fills me with fear and revulsion, so I make macaroni sculptures. I make them and make them and then keep on making them, until I bury myself in the process. I call this 'obliteration.'
We're growing up together, the human race. And we've discovered a lot of things that we didn't know. We're finding our way. Instead of thinking about doomsday all the time, think about how beautiful the world is. We're all together, and together we're getting wiser.
The computer is my favourite invention. I feel lucky to be part of the global village. I don't mean to brag, but I'm so fast with technology. People think it all seems too much, but we'll get used to it. I'm sure it all seemed too much when we were learning to walk.
What attracts me in photography is not so much a fine arts approach, but rather photographs as documents... All the ways in which human beings have documented the world in an attempt to order it, in an attempt to consume it or rule it or hang on to it in some sense.
Both my assistant and my wife tell me that during battle scenes, when a character is making a 'guwaa' sort of face, my face also ends up going 'guwaa.' So afterwards, my whole face is tired. I guess it's because I'm the kind of guy who gets caught up in his own work.
Nowadays I see my work being used, without my permission, as if it was an attack against the Trump regime. People want to say, "No! That's not my America, not the America I know." I'm honored - it's just not me. But as we were saying before, the artist loses control.
if you want to be a little bit solitary and work very hard, you can do it more easily in New York than in a town like Paris or London. Because you depend so much for human relationships here on the phone. If you don't answer your phone, you are quite a lonely couple.
Graffiti ultimately wins out over proper art because it becomes part of your city, it' s a tool; "I'll meet you in that pub, you know, the one opposite that wall with a picture of a monkey holding a chainsaw". I mean, how much more useful can a painting be than that?
We are all affected by the time we are born into, and of course that feeds into your work. Society is based on storytelling - religious myths, opera, film - and 1968 was always seen as a time of rupture and fragmentation. I have always been interested in those words.
And they brought an Owl, and a useful Cart, And a pound of Rice, and a CranberryTart, And a hive of silvery Bees. And they brought a Pig, and some green Jack-daws, And a lovely Monkey with lollipop paws, and forty Bottles of Ring-Bo-Ree, And no end of Stilton Cheese.
I know I can not paint a flower, I can not paint the sun on the desert on a bright summer morning but maybe in terms of paint colour I can convey to you my experience of the flower or the experience that makes the flower of significance to me at that particular time.
New needs need new techniques. And the modern artists have found new ways and new means of making their statements... the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture.
I was trying to make art that my son could look on in the future and would realize I was thinking about him very much during these times... that he can look and see my dad's thinking about me, but to also embed in these things something that is bigger than all of us.
I've seen people glaze over when they're confronted with racism, and there's nothing more, you know, damning and demeaning to having any kind of ideology than people just walking the walk and saying what they're supposed to say and nodding, and nobody feels anything.
Old ideas die hard. We've had thousands of years of women having almost no rights. Parts of the world are in a struggle toward very basic human rights for women, and most of the world isn't even there yet. And it's going to take a long time to change these attitudes.
I wish I could've lived my life without making any wrong turns. But that's impossible. A path like that doesn't exist. We fail. We trip. We get lost. We make mistakes. And little by little, one step at a time, we push forward. It's all we can do. On our own two feet.
Each painting is its own world, but a lot of times I do see the paintings as one page from a story. You can imagine what has happened before or after. Sometimes they are worded as being a part of a story, especially the paintings where characters are in conversation.
I have no idea of what it's going to look like when I start a piece. Making art is like having a relationship. You want to bring in some ideas, but if you don't allow it to develop naturally and speak to you as it develops, you end up imposing and projecting upon it.
Everything vanishes, falls apart, doesn't it? Nature is always the same but nothing in her that appears to us lasts. Our art must render the thrill of her permanence, along with her elements, the appearance of all her changes. It must give us a taste of her Eternity.
Sound as medium has an incredible elasticity. So, of course, it is tempting for artists of other fields to try something with sounds. Why not? We are living in the age when there is no limit in gathering all forms of art and music to mix it together if you so desire.
One of the greatest things about being an artist is, as you get older, if you keep working hard in relationship to what you want the world to be and how you want it to become, there is a history of interesting growth that resonates with different moments in your life.
This is an occupation known as painting, which calls for imagination, and skill of hand, in order to discover things not seen, hiding themselves under the shadow of natural objects, and to fix them with the hand, presenting to plain sight what does not actually exist.
You've got to be oblivious to other people, the push and pull of other people's opinions, the way other people measure success. It's then that you realize you are 100 percent who you are and you have to use that who-you-are 100 percent in order to create great things.
It's such a paradox. You come from this place where you want fame; you don't want to be bourgeois, but you want to be successful. You want to be accepted, but you also want to be going against the grain. You want to be on the outside, but you want to be on the inside.
Colour is uncontainable. It effortlessly reveals the limits of language and evades our best attempts to impose a rational order on it To work with colour is to become acutely aware of the insufficiency of language and theory – which is both disturbing and pleasurable.