Quotes of All Topics . Occasions . Authors
What's interesting about making art is that you take everything you know about it and you bring it up to that point, and you start making a physical thing that addresses what that is. And when you do it, you don't know anything about it - if it's going to work or not work.
Audiences, whether they're seeing a film or a reading or whatever it is, a concert, they decide very quickly what kind of show it is, and then they judge it. They judge the rest of the thing by whether it conforms to their rules for what a good symphony orchestra would be.
When I am finishing a picture, I hold some God-made object up to it - a rock, a flower, the branch of a tree or my hand - as a final test. If the painting stands up beside a thing man cannot make, the painting is authentic. If there's a clash between the two, it's bad art.
Color is everywhere, so everything has changed. I still can't see color, but I can perceive it. I can experience it in a way that allows me to be a part of this reality, which I was excluded from before. Thanks to the eyeborg, I've made a career by combining music and art.
I'm not a designer, I'm a creator. To me, it's always been about collaboration, I've never studied styling or fashion. As far as I'm concerned, it boils down to common sense: have fun, more importantly have fun with your friends and keep a global view on what you're doing.
The artist who paints the emotions creates an enclosed world... the picture... which, like a book, has the same interest no matter where it happens to be. Such an artist, we may imagine, spends a great deal of time doing nothing but looking, both around him and inside him.
A fat lot of good it would do if I told you that Titian's courtesans make you want to caress them. Some day you'll see the Titians for yourself, and if they have no effect on you, then you don't understand the first thing about painting. And I wouldn't be able to help you.
The dead spacecraft in orbit have become a permanent fixture around our planet, not unlike the rings of Saturn. They will be the longest-lasting artifacts of human civilization, quietly circling Earth until the Sun turns into a Red Giant, about five billion years from now.
The dead spacecraft in orbit have become a permanent fixture around our planet, not unlike the rings of Saturn. They will be the longest-lasting artifacts of human civilization, quietly circling the Earth until the sun turns into a red giant about 5 billion years from now.
Photographers talk about their shoot ratio. Like four to one, six to one, ten to one! Whatever, I'm, like, seven billion to one. It is just ridiculous. But sometimes if you can hit it just right and get everything out of the way, something will resonate on multiple levels.
There's how, basically, Son Goku from 'Dragon Ball' doesn't fight for the sake of others but because he wants to fight against strong guys. So once 'Dragon Ball' got animated, at any rate, I've always been dissatisfied with the 'righteous hero'-type portrayal they gave him.
I can't even dial one phone number right away. But you strained your own body to go and see them. I was surprised. The frightened little me had always wondered how to swim through the vast ocean, but you didn't even want a ship. You wanted wings. I thought you were amazing.
I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I'm trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level.
The UK is one of the places that has always been an advocate of my music and I spend a lot of time touring here. I've got family and friends over here, but more than that, there's a large Jamaican community and the Jamaican culture is very widespread in the UK which I love.
Coming where I'm coming from, really, my family name isn't a pressure because, you know, music is not like sports, where you can go and do a hundred reps in a gym and come out and be all buffed up. Music is an expression of what's inside of you. And that's how I make music.
We're moving into an era when things are dematerialised and much more holographic. Floating above the physical world and the geographic map, there's another landscape that's constantly changing - something like a cloud - of communication, information, exchange and commerce.
A vile beastly rottenheaded foolbegotten brazenthroated pernicous piggish screaming, tearing, roaring, perplexing, splitmecrackle crashmecriggle insane ass of a woman is practising howling below-stairs with a brute of a singingmaster so horribly, that my head is nearly off.
You must walk that tightrope between accident and discipline. Accident by itself…so what? Discipline by itself is boring. By walking that tightrope and putting down something on a canvascoming from your guts, you have a chance of making marks that will live longer than you.
I painted the Astor-Victoria sign seven times, and it's 395 feet wide and 58 feet high. I dropped a gallon of purple paint on Seventh Avenue and 47th Street from 15 stories up and didn't kill anybody. I dropped a brush at Columbus Circle. It fell on a guy's camel-hair coat.
You know, I can see two tiny pictures of myself And there's one in each of your eyes. And they're doin' everything I do. Every time I light a cigarette, they light up theirs. I take a drink and I look in and they're drinkin' too. It's drivin' me crazy. It's drivin' me nuts.
My dad grew up in a mud hut and studied by candlelight. He was 14 when he got a scholarship to Russia. He was super clever - the cleverest person. He landed in 5ft of snow, and was alone at 14, studying science and engineering. He didn't have a bed, and he slept on a table.
I shoot in black and white, sometimes color, sometimes if it looks good I shoot out the window of the airplanes or whatever, anything that - sometimes I secretly take secret photos, shoot video of people on the plane if it's not too crowded. I don't know, whatever comes up.
When you present works of art, one thing I've learned is that if you're lucky - [Laughs] - there will be those few people who, shall we say, get it? Really become engaged, become moved by it in their own way. You cannot control what other people are going to think about it.
In every human being there is the artist, and whatever his activity, he has an equal chance with any to express the result of his growth and his contact with life. I don't believe any real artist cares whether what he does is 'art' or not. Who, after all, knows what art is?
For me, I always feel that I'm not sure what's going to happen next year or what's going to happen the year after or what's in the future. So I really kind of just focus on the project at hand and try to do the best that I can. And that, for me, is as much as I can control.
When I'm putting some communication out on Twitter or Facebook or Instagram, I think that it's helping me, my brain, you know, because it's always somehow stimulated by people who are sending things to me. And it works both ways. It's great. My brain is very happy about it.
I think something that's very important for us to communicate is usually very simple. Like breathing: Breathing is very simple. You don't do a dissonant 9th harmony or something in breathing. You just breathe, you know. I think that's how it is with very important messages.
Now almost every artist outside of New York is connected with some school or some museum school, and even in New York the majority are. That's an interesting fact when you take the idea of making money, making a living selling paintings. Only a dozen or two painters do that.
On the intimate level, anyone who has loved a companion animal knows the uniquely wonderful experience these 'other nations' provide, and their important presence in our shared lives. In their very local way they show us the global truth of our real wealth, our biodiversity.
I want her to be powerful on these covers, and sometimes that's a quiet power and other times it's a more bombastic power. But when you're going to have a book out there that's called Wonder Woman and she's on it, you have a responsibility to put out a certain kind of image.
I am carrying out my plan, so long formulated, of keeping a journal. What I most keenly wish is not to forget that I am writing for myself alone. Thus I shall always tell the truth, I hope, and thus I shall improve myself. These pages will reproach me for my changes of mind.
Sometime during the mid-50s I said, 'I am an artist.' Before that, for many years, I had said, 'I'm going to be an artist.' Then I went through a change of mind and a change of heart. What made 'going to be an artist' into 'being an artist', was, in part, a spiritual change.
The habit of breaking up one's colour to make it brilliant dates from further back than Impressionism - Couture advocates it in a little book called 'Causeries d'Atelier' written about 1860 - it is part of the technique of Impressionism but used for quite a different reason.
You were told how much space so it was a matter of whether you could send in two paintings or three paintings, you know, pending where the show was being held. You did submit work to be accepted. Once you were accepted that was it. You did your own selection of what went in.
I remain interested in the potential of art, except I've always been more struck by applied modernism than high modernism. It's partly because of feminist theory and being brought up in the '70s, with questioning who is speaking, and why, and what authority they're carrying.
If you ask people to remember a painting and a photograph, their description of the photograph is far more accurate than that of the painting. Strangely enough, there is a physical element intertwined with the painting. It shakes loose an emotional element within the viewer.
I alone must solve my problem. I have to clear my mind of everything else, think hard, analyze, explore my options, plan a strategy for the immediate situation, and then do whatever it takes. Sometimes it means scraping off what I have done and starting over again and again.
I started making houses for ants because I thought they needed somewhere to live. Then I made them shoes and hats. It was a fantasy world I escaped to where my dyslexia didn't hold me back and my teachers couldn't criticize me. That's how my career as a micro-sculptor began.
It was then that I remembered the colour blue, the blue of the sky in nice that was at the origin of my career as monochromist. I started work towards the end of 1956 and in 1957 I had an exhibition in Milan which consisted entirely of what I dared to call my 'Epoque bleue'.
The more you fail, the more you succeed. It is only when everything is lost and - instead of giving up - you go on, that you experience the momentary prospect of some slight progress. Suddenly you have the feeling - be it an illusion or not - that something new has opened up.
Enlightenment is not so much a hard-won achievement, much less a "creation," but instead is deep relaxation and recovery of our natural condition. You come to see the evolution of the soul, the soul's journey, as a realization of what has always been there in the first place.
Eighty percent of global warming is the result of man's wrongful use of the resources of the planet and the dumping of millions upon millions of tons of nuclear and other waste in the world, creating great toxic areas all over our skies, our oceans, our rivers, and the earth.
It suits my own attitude toward the world and its people to believe that the Raven is this completely self-centered, uninvolved bringer of change, through inadvertence and accident, and so on... It's a version of the Raven myth for today, not for the time when it was created.
I've been very hands-on with everything I've done since I had my children. And it's just really important for me to understand the big picture, where everybody's coming from, what's the real purpose of this shoot and this song, or whatever it is in that moment that I'm doing.
Certainly, a gallery has to sell your work, so they'll be very frightened of you doing anything too different, and that can be difficult, but they can also recognize the need to change. Usually, if you just go and do it, and other people like it, it will still get recognized.
In Jamaica, them always have throwback riddims, recycled old beats, and the hardcore reggae scene is always present. You have faster stuff like the more commercialized stuff, but you always have that segment of music that is always from the core, from the original root of it.
I think some of the things I deal with Hopper probably has dealt with also, since it's somewhat the same environment and I have pretty strong reactions to what this country looks like. It looks pretty dull and spare, and you like this and dislike it and it's very complicated.
The living model never answers well the idea or impressions the painter wishes to express; one must, therefore, learn to do without one, and for that, you must acquire facility, furnish one's memory to the point of infinitude, and make numerous drawings after the old masters.
It's a great excuse and luxury, having a job and blaming it for your inability to do your own art. When you don't have to work, you are left with the horror of facing your own lack of imagination and your own emptiness. A devastating possibility when finally time is your own.
I think every once in a while I feel the need to break my medium... if I have been doing a very large painting I like to drop into something in small scale. It is a challenge to go into this size. It is just to hold my own interest, and then each media has its own conditions.