Quotes of All Topics . Occasions . Authors
The splitting up of color [as Impressionists did] brought the splitting up of form and contour . . . Everything is reduced to a mere sensation of the retina, but one which destroys all tranquility of surface and contour. Objects are differentiated only by the luminosity that is given them.
The two brothers who sought to get their only family back, to feel her warmth, one lost his last family member and the other could never feel warmth again. The one who wanted her baby back lost chance of having one again, And the one who had a vision to see his country change became blind.
Once I started down the path of co-founding Image Comics, and even co-publisher, it just seems a lot more like a career path that isn't that atypical for someone with a college degree. Whereas, someone who draws comic books as a freelancer and lives from job to job is a more unusual story.
Painting is drawing, with the additional means of color. Painting without drawing is just 'coloriness,' color excitement. To think of color for color's sake is like thinking of sound for sound's sake. Color is like music. The palette is an instrument that can be orchestrated to build form.
If you're constantly being reminded of the ways in which your history and your narrative as a people were rooted in loss and decay, then you're in deep trouble. Once you make a certain kind of peace with the past, then you should be completely oriented towards speculation about the future.
To me, if there is any sort of value added to the accumulation of knowledge over time, then the work of artists should be a reflection of that accumulated value, accumulated knowledge. You have to demonstrate that you have the sophistication to put that into play in the work you're making.
What counts is art. painting, a kind of painting that is quite different from what everyone makes it out to be. But what kind? Will God or someone else give me the strength to breathe the breath of prayer and mourning into my paintings, the breath of prayer for redemption and resurrection?
When I was young, I couldn't think about ballet because I had to focus on my own field. But once you secure your own performance area, you can indulge yourself in different territories. Fashion is one. And ballet is absolutely a fantasy, because it deals with the bodies in a different way.
No matter how brilliant, amusing or intelligent the creek of abstraction, Dadaism, Minimalism and Conceptualism of the 20th century was, it didn't much affect the historical river of figuration. I predict that in 50 years and in 300 years, figurative art will still be strong and important.
Drue [Langlois] and I started making music together before we started the Art Lodge, so I guess musical collaboration came first. The music we made, and our performances, always had a visual component. I could never play an instrument, so these other elements compensated for that a little.
We should find inspiration in the senses that already exist and try to copy them and apply them to us. If we compare our senses to the senses of other animals and species that we don't have, we can get ideas for new abilities that we can adapt to humans by applying cybernetics to the body.
I never liked the idea of bags. I would say, "Why do so many of my friends spend so much money on these bloody bags?" But once I started designing them, I was completely hooked. There are all of these blogs about bags. It's a whole other industry, and I'm really excited to be a part of it.
Being so pathetic, I don't read. I just ... do things - writing out interviews you can't read, on pictures of footprints and things like that. I kind of like the idea of nailing the thing down and not really showing too much about it. There's just so much you can take for collage nowadays.
I envy people that have separate lives - that their job is one thing, their personal life is another. I've never been able to have that going on for me. I always try and keep some distance. I mean you can never give everything, so there is some distance, but it's pretty raw on some levels.
After 40 years of not playing, I admit I'm totally in love with my guitar. It's a Froggy Bottom acoustic steel string guitar. All I have to do is hit a couple of clean chords and the endorphins are right there. It's like the top of my head has come off and stardust and magic have fallen in.
You've certainly mellowed out... you used to be fun, full of life and emotion. Lust, Greed, Sloth, Gluttony, Envy, Wrath, and Pride. Of course, excessive want will destroy anyone, but those same desires are necessary to understand what it means to be human. Why did you rid yourself of them?
I still make paintings and use the figure; it's hard to do and hard to succeed. On some levels, because I am working with black figures and black pigment, it's even harder because I have to be more responsible for the image. I try to be really careful about the presence the figure projects.
When you grow up looking at Superman, Batman, and all those superheroes, you take it for granted that is what superheroes are supposed to be. So then, when I see art books at the library, and I'm seeing Leonardo da Vinci and Michelangelo and Rembrandt, I think that's what artists look like.
I was only loosely aware of [Georgia] O'Keeffe's work. Primarily, I had seen her famous paintings of skulls with flowers, which are not my favorite. I didn't really become familiar with her work until after I started writing the book, but the more I learned about her the more I admired her.
Woody Allen has a wonderful line: 'Today I'm a star. What will I be tomorrow? A black hole?' That's very important to know - that you have the moment, then you lose the moment. You have to see your chances, you have to take them, and you also have to see when you don't have chances to take.
I use colors that have already been experienced through the light of day and through the state of mind of the total man. In other words, my colors are not colors that are laboratory tools which are isolated from all accidentals or impurities so that they have a specified identity or purity.
I'm not saying the 1970s was a golden age - I don't believe such a thing exists in art . . . It would be like talking about a golden age of science. But it's true that those were slightly more ideological times, and the relevance of artists wasn't established by their CVs but by their work.
Even if you've never experienced the wonderful things in life, only after something has been contaminated and marred will it become a beautiful thing. Pain can be healed with gentle care, darkness can be removed with sunlight. Don't underestimate the small things. Everything is significant.
Simulations directly relate to the process of and complications in photography. They also overtly create layers of fantasies, myths and interventions... The simulation confuses the idea of a truth. I've always been interested in this kind of theater and illusion at the foundation of belief.
I'm in this process of trying to create a free space. Like an open field, where figure and ground are in very ambivalent, complex relationships. On top of that, I also wanted to see if I could try to blurt something out, or make something completely immediate, that ends up fitting perfectly.
We have a nanny in the house, but there are always times when one of my kids does something bad or wrong, and they'll listen to me more than they do the nanny. So I think it's important to set up that boundary of respect for them at a young age, so they will know, 'I better listen to Mommy.'
Christians. They’re determined to rid the land of any who worship the Horned One. Murdering all the druids, burning the temples, sometimes whole villages, and knocking over the standing stones.” The Lady’s face hardened. “This god of peace and love certainly likes to bathe the land in blood.
For me, art is always a kind of theater. When I started the spot paintings I made them as an endless series. But I was never serious about it being an endless series. It was just an implied endless series. The theater means you just have to make it look good for that moment in the spotlight.
But I always liked the fact that you get these totally unacceptable images, but they're taken by a really expensive photographer, with great light, and in terms of the quality of the photograph it's a great photograph, but in terms of imagery it's unacceptable, and I like that contradiction.
I established relationships with so many of those Iran students that went on for years.And they were so different from American students. They seemed to worship their teachers. The professors were major to them. They wanted to give gifts, and you'd have to say, oh, no, no, you can't do that.
I was attracted to the concept of Hollywood and the lifestyle here. But I've grown to mistrust it because it has changed. I didn't bargain for digital access parking in some concrete structure. Real heaven for me was to drive somewhere and park right in front. Now the city is going vertical.
I blur things to make everything equally important and equally unimportant. I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information.
Perhaps there was more authentic danger in the photography that was banned - why shouldn't one be able to produce it? But this new enthusiasm finally caused us some trouble, and it suffices to say, if I remember correctly, that it was in this way that my thoughts turned to the young maidens.
I would like to have insights into things like government, all those big ideas that you brought up that I simply don't have ideas about. I would like to be able to since so many people discuss them, but I don't want to work at them. I don't think my ambition is that strong in that direction.
In the first grade, I already knew the pattern of my life. I didn't know the living of it, but I knew the line… From the first day in school until the day I graduated, everyone gave me one hundred plus in art. Well, where do you go in life? You go to the place where you got one hundred plus.
Here on the edge of the river, the motifs are very plentiful, the same subject seen from a different angle gives a subject for study of the highest interest and so varied that I think I could be occupied for months without changing my place, simply bending a little more to the right or left.
The messages that my work might contain, the verbal aspects, the use of words, certainly I never mean for it to be more than - shall we say? - fifty percent of the total, and sometimes my active interest is much less than that. It is the formal aspect of my painting which fascinates me most.
We package everything as a product so we can derive income from it. Then we can occupy ourselves with higher-order psychological lifestyle things. This is a very new issue. Money still matters, but other factors have joined the status game - like how interesting, how meaningful your work is.
In the present age when communication is so rapid, we should create a different tradition, traditions are created everyday. Five years now is like 100 years before. We are living in a society that has no history. There’s no precedent for this kind of society so we can break the old patterns.
I had left the visible, physical blue at the door, outside, in the street. The real blue was inside, the blue of the profundity of space, the blue of my kingdom, of our kingdom!.. ..the immaterialisation of blue, the coloured space that can not be seen but which we impregnate ourselves with.
America is our continent. You feel in the daily language that Americans use the word "America" to erase the rest of the continent from the map. And, of course, the language is clearly a reflection of the geopolitical reality: the domination of the United States over the rest of the continent.
I was trying to think the other day about what you do now in America if you want to be successful. Before, you were dependable and wore a good suit. Looking around, I guess that today you have to do all the same things but not wear a good suit. I guess that's all it is. Think rich. Look poor.
The Art we look at is made by only a select few. A small group create, promote, purchase, exhibit and decide the success of Art. Only a few hundred people in the world have any real say. When you go to an Art gallery you are simply a tourist looking at the trophy cabinet of a few millionaires
For me, art is always a kind of theater. When I started the spot paintings, I made them as an endless series. But I was never serious about it being an endless series. It was just an implied endless series. The theater means you just have to make it look good for that moment in the spotlight.
I'm never interested in the painting being a mirror to culture. I think that's really boring. What I'm interested in is painting as an affective space. The place where the hierarchies of the world can be rearranged within the space of a painting. And they can be articulated in different ways.
It's amazing how you meet people through other people. I knew a racecar driver, Stefan Johansson, who was very hot. He introduced me to Jean Todt. He introduced me to a French doctor. He introduced me to a French architect who redid the Louvre with I.M. Pei. He introduced me to Daniel Boulud.
I’m interested in things which suggest the world rather than express the personality... The most conventional thing, the most ordinary - it seems to me that those things can be dealt with without having to judge them; they seem to me to exist as clear facts, not involving aesthetic hierarchy.
When I stepped back from the gallery I was in a phase where I thought I wasn't going to be making work for a gallery context for a while. People were like, "You should never leave a gallery if you didn't have somewhere else to go," but I wasn't trying to disrespect the gallerists in that way.
I think people like to have everything be perfectly morally clear. When the lines get blurred it worries them. I'm not worried. I don't think the men are either. But I think that the videos bring up feelings in people that they don't want to feel. Sometimes people get really mad. That's okay.
I genuinely have never been in an audience where most people want that person to fail. I've never been in an audience like that, and I've never seen it as a performer. Only in my dreams, in which case they are always throwing tomatoes and going, "This is the most boring thing I've ever seen."