Quotes of All Topics . Occasions . Authors
I loved music. Music was a big thing and so I started collecting records. I had a large collection of jazz records and that was something else I used to listen to. At night, there was a - what the heck was his name? There was a famous - Jazzbo Collins, I used to listen to at night, and some other guys.
I like my surroundings to be pretty spare and severe. It helps me to concentrate on my work. All I ever do here is go from my studio to my bedroom. Everything else is extraneous. I never entertain, because to me, New York is about meeting people in public spaces, absorbing a little bit of their energy.
Everything is deeply affected by the dominant culture. Consumerism is huge in the US. This is by far the wealthiest [nation], but also the biggest consumer in the world. Which means that a lot of things get used, a lot of things get wasted, and a lot of things get churned out in ways that are wasteful.
I would advise puppeteering for any artist. It's a way to break down pretensions. It's a sculpture that can talk. It's a painting that can talk. And it's pure play. I think every artist needs to stay in touch with the idea of playing. The artist should always be playing, always. All art is performance.
Large or small, [the garden] should be orderly and rich. It should be well fenced from the outside world. It should by no means imitate either the willfulness or the wildness of nature, but should look like a thing never to be seen except near the house. It should, in fact, look like part of the house.
Men-kind shared this world for but a blink, then, sadly, they became enlightened, found science and religion. The new world of men left little room for magic or the magical creatures of old. Earth’s first children were driven into the shadows by flame and cold iron, by man’s insatiable need of conquest.
I think I got from my father and my mother a sense of morality, of the do's and don't's in society; the notion that good people don't do this; good people are responsible, good people participate in community, and good people vote, good people own land. These were things I heard from my father's pulpit.
Work takes different forms. I can spend two or three days without completing anything, and it's choppy: it's filled with all kinds of irrationalities and stupid actions. I have some notion, and then I drop it because something else comes along. I'm forever darting from one side of the room to the other.
My work is on the one hand laboured, and on the other completely happenstance and intuitive. But that's the swish in the work, I think. It's really important to me that the work isn't just sitting on top of something, that the materials are woven together - that they are recognisable and from the world.
In every art we are always obliged to return to the accepted means of expression, the conventional language of the art. What is a black-and-white drawing but a convention to which the beholder has become so accustomed that with his mind's eye he sees a complete equivalent in the translation from nature?
Art is revelation instead of information, expression instead of description, creation instead of imitation or repetition. Art is concerned with the HOW, not the WHAT; not with literal content, but with the performance of the factual content. The performance - how it is done - that is the content of art.
Art shouldn't be something that you go quietly into an art gallery and dip your forelock and say 'I have to be very quiet, I'm in here amongst the art.' It's here, art's everywhere. It's how you use your eyes. It's about the enjoyment of visual things. And it's certainly not for any one group of people.
You have a different relationship to your own personal material than you do to other people's. When you go to the bathroom, you're not horrified and shocked. But if you walked in and found someone one else had just been, you probably would be. Your own relationship to these things is slightly different.
On any day in the Mission in San Francisco, you can see a hand-painted sign that is kind of funky, and maybe that person, if they had money, would prefer to have had a neon sign. But I don't prefer that. I think it's beautiful, what they did and that they did it themselves. That's what I find beautiful.
What delights us in the spring is more a sensation than an appearance, more a hope than any visible reality. There is something in the softness of the air, in the lengthening of the days, in the very sounds and odors of the sweet time, that caresses us and consoles us after the rigorous weeks of winter.
I started making monkey bridges, like kids do, and climbing and rappelling with ropes. Very naturally, I needed some knots. At the very beginning, I didn't care, I didn't know, and then slowly I started to know, and I started to care. I wanted to know more knots or the right knot for the special action.
I detest my past, and anyone else's. I detest resignation, patience, professional heroism and obligatory beautiful feelings. I also detest the decorative arts, folklore, advertising, voices making announcements, aerodynamism, boy scouts, the smell of moth balls, events of the moment, and drunken people.
(with trout) we are touching something unrestricted, wild and arcane, beyond the reach of those who carefully maintain one-dimensional lives. There is, I tell myself, someone in the city nearby whose one contact today with unreconstructed nature will be to step into a diminutive pile of poodle excrement
Thinking of you where ever you are- We pray for our sorrows to end and hope that our hearts will blend now I will step forward to realize this wish- And who knows starting a new journey may not be so hard or maybe it's already begun- There are many worlds but they share the same sky one sky one destiny-
The Internet was supposed to be the greatest tool of global communications and means of sharing knowledge in human history. And it is. But it has also become the most effective instrument of mass surveillance and potentially one of the greatest instruments of totalitarianism in the history of the world.
Taking photographs is generally an act of 'looking at the object, whereas 'being seen' or 'showing' is what is most interest to one who does a self-portrait...self-portraits deny not only photography itself but the 20th century as an era as well...an inevitable phenomenon at the end of the 20th century.
The war industry people are very together; they know exactly what they want; they don't even have to talk to each other. The peace industry people are just intellectuals who are very critical of each other... Unless the peace industry is powerful, we're always going to have war. It is as simple as that.
Environmentalists and secular humanists insist that humans will destroy the planet. Corporate capitalists and many religious fundamentalists have no regard for wildlife and nature. Ultimately, this dualistic battle is based on false premises. In fact, this planet is more powerful than the human species.
I learned to paint at home from my mom. She was a very good teacher, but with spray paint, I taught myself. Spray paint is impossible. They say it takes a decade to really learn spray paint and be good with it. I've been at it about ten years now and am now really just getting good and confident with it.
Human beings are born solitary, but everywhere they are in chains - daisy chains - of interactivity. Social actions are makeshift forms, often courageous, sometimes ridiculous, always strange. And in a way, every social action is a negotiation, a compromise between 'his,' 'her' or 'their' wish and yours.
The physical five oranges goes up the ladder to the picture of the five oranges which goes up to the representation of the five oranges as a numeral. This points in the direction of a definition of abstraction: when we abstract we voluntarily ignore details of a context, so that we can accomplish a goal.
My parents were not formally educated. Both were cognizant of the importance of education. The teachers and ministers were the role models, and they would say, you should want to be like Miss Gardiner, you should want to be like Mr. Freeman, or be like your dad. Shun the people who don't value education.
I never expected to sell my art. It wasn't like today where you come out of art school and they promise you a future. Now it's almost regulated in a way. When we came out of school, we just wanted to make art that'd blow your hair back and do it for sport. There was no commercial possibility that we saw.
I've done things that I wouldn't ordinarily seem capable of doing. And I've proven myself in situations where there's life and death at stake. And so, I can live with myself knowing that it's not a matter of guts or anything like that. It's a matter of willingness to go the length, to transcend yourself.
Because men have a history, it is difficult for them to imagine what it is like to grow up without one, or the sense of personal expansion that comes from discovering that we women have a worthy heritage. Along with pride often comes rage – rage that one has been deprived of such a significant knowledge.
Nowadays, [young musicians] are so quick to be like, "OK, fine, I'll take the cheque, or I'll get the stamp from XYZ, and I'm expanding my brand," rather than thinking, "I'm part of this space over here, and in order for it to grow, you can't have it assimilated by this bigger bubble or corporate brand."
I think that school just isn't for everyone. A lot of people don't learn well when they're - have to sit in a place for eight hours. A lot of people learn best lying in their own bed, teaching themselves from books. And I was a bad student. I was a brat. If I was a teacher, I would not have liked myself.
A very young painter is seldom alone. If he is an art student, he is in an art school with other students. He does not yet know that one day he will have to face himself as a solitary creature enclosed in a space of four walls... and that he will have to be a self-propelled being, with no one at is side.
There is something abominable about cameras, because they possess the power to invent many worlds. As an artist who has been lost in this wilderness of mechanical reproduction for many years, I do not know which world to start with. I have seen fellow artists driven to the point of frenzy by photography.
My working hours are not that conventional. I often get up about two in the morning and do a painting, and then I'll have a bath, and then I often feel very hungry around 4am, so I'll go into Soho and have a meal somewhere like Balans. That's what I love about living here - there's always life around me.
Because of this high status of the object in our culture, something has to be a thing. Live efforts are almost marginal. I think dance, for example, is just as much a thing, and I want for it to have the same status. I don't want it to be the thing that comes in the evening and is, like, the happy music.
Those [things] that we encounter for the first time immediately have a spiritual effect upon us. A child, for whom every object is new, experiences the world in this way: it sees light, is attracted by it, wants to grasp it, burns its finger in the process, and thus learns fear and respect for the flame.
I hate the whole group of artists who are so hermetic and completely indecipherable on some level and they're all proud of themselves for it. It's like, how obnoxious, how pretentious. And that's part of my mission as an artist is to kick down those people or make fun of that type of high horse attitude.
I want to expand the question of when something is done. I want to vex the ending. I want to mess around with that. I like the idea that if you make a work that has no clear ending, then you must play with the ending. Because if you don't, you're not highlighting the weird, lovely openness of abstraction.
'Station to Station' came out of a sense of urgency - a sense that culture, be it art, film or architecture, has become so compartmentalised. For this project, we wanted to break that and create a language that is more nomadic and less materialistic and really empowering for the creators and the audience.
I have been, or seemed, hard with everyone because I was carried away by a sort of brutality born of my distrust in myself and my ill-humor. I have felt so badly equipped, so soft, in spite of the fact that my attitude towards art seemed to me so just. I was disgusted with everyone, and especially myself.
Photographs will always be impressive because they show us nature, and all artists will find in them a world of sensations. The photographer must therefore intervene as little as possible, so as not to cause photography to lose the objective charm which it naturally possesses, notwithstanding its defects.
I was maybe 5 or 6, and my grandmother would begin sitting me in the Quaker meeting house. I asked my grandmother, 'What am I supposed to do?' and she said, 'Just wait, we're going inside to greet the light.' I liked that—this idea to go inside to find that light within, literally as well as figuratively.
At Roden Crater, I was interested in taking the cultural artifice of art out into the natural surround. I wanted the work to be enfolded in nature in such a way that light from the sun, moon and stars empowered the spaces. I wanted to bring culture to the natural surround as if one was designing a garden.
People ask me, 'What happened in your life that might have pushed you as an artist to get to where you are today?' I always felt a little on the outside. And as such, you're always observing things. So, I'd be kind of re-creating these things in my mind, and I think drawing it was a way to deal with that.
I personally prefer working digitally because it allows me to work quickly and cleanly. I don't have to buy paint or brushes or canvases, I don't have to wait for paintings to dry before sending them to clients, I don't have to photograph or scan my final work, and I can make edits immediately and easily.
It's interesting, because I named my first album after my dad because I wanted to find him. My second album was named after my mom because I felt like I learned all my creative talents I learned from her. All the survival stuff, too. And then the next album is 'Maya,' which is not my real name. It's fake.
Pain is pain and sorrow is sorrow. It hurts. It limits. It impoverishes. It isolates. It restrains. It works devastation deep within the personality. It circumscribes in a thousand different ways. There is nothing good about it. But the gifts God can give with it are the richest the human spirit can know.
Color is crucial in painting, but it is very hard to talk about. There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you're trying to make.
There are things going on in galleries recently that have shocked me. What I'm going to say is really controversial, but what I find the most provocative is the commerciality of art in general. And the fact that a lot of people have forgotten what the meaning of art is and what the intention behind it is.