Quotes of All Topics . Occasions . Authors
My students used to say, one such as Mary O'Neal, that I identified the students by their boyfriend/girlfriend relationship. That was the way I knew them and keep up with them. Mary was the girlfriend of Stokely Carmichael. She later became a fine painter of distinction and taught at the San Francisco Art Institute, and later became chairman of the Department of Art at Berkeley.
When I went to Stan Lee - every time I was with Stan, I learned something every day. When I would do a pencil job, if I didn't have much faith in it I would hand it in and invariably Stan would make it look like it was a well-written and well-planned-out story. It made me tell people, 'If you want to become an artist, go to work at Marvel. Stan will turn you into a storyteller.'
When I was a very young student I loved and admired the work of Sam Beckett, who is famously pessimistic, and whose writing is an extraordinary examination of emptiness. I wanted to be like Beckett. I don't have the same attitude toward the world, I'm naturally optimistic, and so of course I could never be like Beckett. You can't force yourself to become like someone you admire.
’The Art of the Brick’ exhibition is accessible because it engages the child in all of us while simultaneously illuminating sophisticated and complex concepts. Everyone can relate to the medium since it is a toy that many children have at home. But my goal with this exhibition when it first debuted in 2007 was to elevate this simple plaything to a place it has never been before.
The heart sags. My footprints forget me. I don’t think anything will ever be the same. This is the edge of the cliff and you can’t move, can’t jump. Everything is vertical. With binoculars you can see where you’ll be in an hour. Raindrops collect on the lens. A fine mist. It hides us. It drifts into clocks. Gravity presses your hands. Some hurts never get said. Some get smuggled.
The immaterial blue colour shown at Iris Clert's in April had in short made me inhuman, had excluded me from the world of tangible reality; I was an extreme element of society who lived in space and who had no means of coming back to earth. Jean Tinguely saw me in space and signaled to me in speed to show me the last machine to take to return to the ephemerality of material life.
A person in a rented apartment must be able to lean out of his window and scrape off the masonry within arm's reach. And he must be allowed to take a long brush and paint everything outside within arm's reach. So that it will be visible from afar to everyone in the street that someone lives there who is different from the imprisoned, enslaved, standardised man who lives next door.
I just thought someone has to figure out how to break through that barrier and create a narrative for a black super hero story to unfold at the same scale as something like Star Wars. Rythm Mastr is about producing a narrative of a hero engaged in a struggle as complicated as those other stories. The catalyst for it was the beginning of the demolition of public housing in Chicago.
I've broken it down to three basic types of people in gangs. You have the first type, the most dangerous, which are the glory seekers. They just want to be popular, they want to be stars, and they can do that in gangbanging. Then you have the one that I think is the worst, which is the one that's expected to be in the gang. Then you have the ones that were like me; they had to be.
I think that the exactitude of the photograph has a sort of compelling nature based in its power to duplicate life. But to me the real power of photography is based in death: the fact that somehow it can enliven that which is not there in a kind of stultifying frightened way, because it seems to me that part of one's life is made up of a constant confrontation with one's own death.
You go to a restaurant with a friend for lunch and the next table, two people are sitting opposite each other. They don't talk! All they do is look at the screens of their cell phones and show it to the person that they're with. And when people do that to me, they want me to look at pictures on their cell phone? I can't even look at little things like that. I think it is all crazy.
...I started photographing myself, and found that I could see portions of myself that I had never seen before. Since I face just my face in the mirror, I know pretty much what it's like. When I see a side-view I'm not used to it, and find it peculiar... So, photographing myself and discovering unknown territories of my surface self causes an interesting psychological confrontation.
Along this road, we won't stop moving forward Not even if we become separated from one another. For us, most of all, there was never a time, never a place where you could just stand still But even so, if there were times when we were afraid, when we'd look back on it all and wonder We'd just say that is was our destiny, wouldn't we? So we started off, all walking down the same road
Basically there are two types of people in the world: people who are confident because they know they have the ability to create, and then people who have been demoralised, who have no confidence in themselves because they have been told they have no creative ability, but must just take orders. The Establishment likes people who take no responsibility and cannot respect themselves.
Through performance, I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy.
The man who has honesty, integrity, the love of inquiry, the desire to see beyond, is ready to appreciate good art. He needs no one to give him an 'Art Education'; he is already qualified. He needs but to see pictures with his active mind, look into them for the things that belong to him, and he will find soon enough in himself an art connoisseur and an art lover of the first order.
The many faces of Collective Vision united by the mandalic eye-field suggest both expansion of consciousness and sharing of consciousness with other beings. The painting was based on a profoundly ego dissolving entheogenic mystical trance where I heard the words, 'Infinite Oneness... the Oneness should never forget the Infinitude and the Infinitude should never forget the Oneness...'
Sometimes people let the same problem make them miserable for years when they could just say, "So what." "My mother didn't love me." So what. "My husband won't ball me. So what. "I'm a success but I'm still alone." So what. I don't know how I made it through all the years before I learned how to do that trick. It took a long time for me to learn it, but once you do, you never forget.
What I've always wished I'd invented was paper underwear, even knowing that the idea never took off when they did come out with it. I still think it's a good idea, and I don't know why people resist it when they've accepted paper napkins and paper plates and paper curtains and paper towels-it would make more sense not to have to wash out underwear than not to have to wash out towels.
Contemporary art often plays to the part of us that is very uncomfortable with not being sure, that cannot maintain a state of 'don't know'. The over-prioritising of meaning gets in the way of just experiencing the art in a more sensual way. Judging quality purely from an intuitive emotional response needs more confidence and experience than just working it out like a crossword clue.
It is the work of the Canadian artist to paint or play or write in such a way that life will be enlarged for himself and his fellow man. The painter will look around him . . . and finding everything good, will strive to communicate that feeling through a portrayal of the essentials of sunlight, or snow, or tree or tragic cloud, or human face, according to his power and individuality.
It's in our nature. If you are a plumber, there is an objective way to establish whether you put together a great piping system or not. Art is a bit more slippery than that. So, when you fill a gallery with dirt and someone comes along waving wads of bills, it's difficult not to take them because they become a tangible acknowledgement that what you've been doing actually makes sense.
I finished VCA at the height of the last big recession in the early 90s, and seeing that I was not going to be able to join one of the dwindling number of commercial galleries, I started an ARI called the Basement Project which ran for three years. Things came a little at a time and all of a sudden it's 20 years later and I'm still making art, which is really all I ever wanted to do.
It seems to be extensively believed by photographers that meanings are to be found in the world much in the way rabbits are found in downs, and all that is required is the talent to spot them and the skill to shoot them... But those moments of truth for which the photographic opportunist waits, finger on the button, are as great a mystification as the notion of autonomous creativity.
I become exaggerated, and loud, and obnoxious, and full of the spirit of improvisation. That's one of the weird things about performing, I think that any performer will say the same thing when you're on stage in front of a crowd there's a certain moment when you kind of click into a trance-like state and you just kind of go with it. I love getting into that mode. It's transcendental.
Truly color is vice! Of course, it can be, and has the right to be one of the finest virtues. Controlled by the strong hand and careful guidance of her Master drawing, color is a splendid Mistress, with a mate worthy of herself, her lover, but her Master likewise, the most magnificent Mistress possible, and the result is evident in all the glorious things that spring from their union.
I paint to understand my world and my place in it. I paint to pray, to curse, to sort, to number, to structure, to destructure, to bleed, to preserve, to recognize, to see, to hide, to show, to tell, to think, to stop thinking, to detest, to love, to act, to be still, to laugh, to cry, to detest, but mostly to love for now I am human, but in a few short years I will be something else.
It's always an interesting thing that happens between an artist and their work. People collapse the two, and for any artist, there will be a long period of being considered one thing before being considered another - whether despicable, rhetorical, or poetic. But we all know that these things are made with a huge amount of will and intention. Yet ultimately they're out of our control.
Opportunism towards knowledge is a utilitarian demand that knowledge must be immediately practical. Just like with sociology where we hope its purpose is to serve society, however, the true purpose of sociology lies in its impracticality. It cannot become practical or else it loses its meaning. Perhaps we should learn a different kind of knowledge: the knowledge to question knowledge.
To say that one need art, or politics, that incorporate ambiguity and contradiction is not to say that one then stops recognizing and condemning things as evil. However, it might stop one being so utterly convinced of the certainty of one's own solutions. There needs to be a strong understanding of fallibility and how the very act of certainty or authoritativeness can bring disasters.
I've never felt that I was doing something for my people, except what I could to bring the accomplishments of the old ones to the attention of the world. I think the Northwest Coast style of art is an absolutely unique product, one of the crowning achievements of the whole human experience. I just don't want the whole thing swept under the carpet without someone paying attention to it.
I must pack my short lifer full of interesting events and creative activity. Philosophy and aesthetic contemplation are not enough. I intend to do everything possible to broaden my experiences and allow myself to reach the fullest development. Then, and before physical deterioration obtrudes, I shall go on some last wilderness trip to a place I have known and loved. I shall not return.
People say we're similar with Lady Gaga, that we both mix all these things in the pot and spit them out differently, but she spits it out exactly the same! None of her music's reflective of how weird she wants to be or thinks she is. She models herself on Grace Jones and Madonna, but the music sounds like 20-year-old Ibiza music, you know? She's not progressive, but she's a good mimic.
The Louvre! The Louvre has me in its clutches. Every time I'm there rich blessings rain down upon me. I am coming to understand Titian more and more and learning to love him. And then there is Botticelli's sweet Madonna, with red roses behind her, standing against a blue-green sky. And Fiesole with his poignant little biblical stories, so simply told, often so glorious in their colors.
When you are a part of a world that is within an enclosed system, the biggest threat is that the loss of contact with any voice from the outside - a point of reference that is different from you - becomes habitual. The loss of this reference makes the enclosed system seem perfect. I can still feel this kind of threat today, the voice that gives legitimacy to various kinds of enclosure.
I find that I have painted my life, things happening in my life - without knowing. After painting the shell and shingle many times, I did a misty landscape of the mountain across the lake, and the mountain became the shape of the shingle - the mountain I saw out my window, the shingle on the table in my room. I did not notice that they were alike for a long time after they were painted.
The brother of my grandfather was the patriarch of the Orthodox Church and revered as a saint. So everything in my childhood is about total sacrifice, whether to religion or to communism. This is what is engraved on me. This is why I have this insane willpower. My body is now beginning to be falling apart, but I will do it to the end. I don't care. With me it is about whatever it takes.
The thing about how that process works is that it's more about the editing and time for judging the ideas. Most pieces I publish each week have been around for months. This is a response to the beginning of the strip, when I was making them so quickly. I would just conceive a piece, finish it, and then the next day see it in the paper. That was when I was doing dailies four days a week.
Just too much fast thinking all the time. I think of so many things all at once, it gets exhausting. You start seeing all of these connections around you . . . Everything is connected, composed, coordinated, choreographed. If you start paying attention to these connections, it can drive you insane. And that's why making work is so good, because that's when I'm not thinking, just making.
Who would be an artist that was perfectly happy? Maybe nowadays, but when I grew up in the '60s, you had nobody in the art club who was popular. No cheerleaders in the art club. I was told that I couldn't be a painter by my first painting teacher. I said I wanted to go to Cooper and be an art student, and he said, "You'll be a waitress." It was really the strangely indifferent parenting.
I'm a professional artist, that's how I make my living. So I watch the market. There is, it seems to me, a lot of pure financial speculation, and I don't think that's terribly healthy. Though as long as the money is getting back to the artist, I think that's good. I'm very happy younger artists can make money faster than we could. And we were making it faster than a generation before us.
If a carpenter makes a chair that's comfortable for the person who's going to sit in it, he's done his job. If a train engineer gets a train in on time, he's going to make someone happy who's waiting at the station. And if an artist draws the kind of a picture that people are going to enjoy looking at, or he makes a visual story which people are going to enjoy reading, he's done his job.
I have been using the computer as a work aid since the mid-90's. It is extraordinarily well suited to how I think and work and has transformed my practice. Nearly everything I have done in the past 15 years would have been impossible without it. I use the computer for drawing, composing and colour planning everything, from postage stamps to paintings to architectural-scale installations.
My interest in time emerged out of an engagement with the media that I was working with. Film and performance are temporal media. They rely on time. When I'm carrying out a performance, it matters, for example, how long I hold one particular gesture or posture. Seriality is very important too. Performance can be used to dilate time or to repeat time. And video, in turn, has its own time.
The greatest thing to me about Obama is not the individual, it does not have to do with Obama himself - it's really about the people who have elected Obama. It demonstrates that people are ready for change, and I think Obama knows that, because he really came up from the people, the young generation especially. He motivated a lot of African Americans who never voted before to go and vote.
I hate repetition. Even when I am home and have to buy milk, I go a different way each time to avoid having a habit of anything. Habits are really bad. So to me it is really important to live in what I call the spaces in-between. Bus stations, trains, taxis or waiting rooms in airports are the best places because you are open to destiny, you are open to everything and anything can happen.
Our time has produced a need for contrast. This has been achieved not only in the external appearance of plastic expressions of coulor and matter, but also, and chiefly, in the tempo of life and in the techniques related to the daily, mechanical functions of life; namely standing, walking, driving, to lying and sitting - in short, every action which determines the content of architecture.
My art, what do you want to say about it? Do you think you can explain the merits of a picture to those who do not see them? . . . I can find the best and clearest words to explain my meaning, and I have spoken to the most intelligent people about art, and they have not understood; but among people who understand, words are not necessary, you say humph, he, ha and everything has been said.
Much of the message that I try to put across to students is that they have to figure out what they really like to do and find a way to do that as an adult for their jobs. A lot of people have jobs they don't like, and it makes for very unhappy people. So I tell them if you like to write, or run around, or dig in the dirt, then find a job that will allow you to do that, and you'll be happy.
Humanity must accept that the food, the raw materials, the energy, the scientific knowledge and so on, belongs to everybody, that it is given by Divine providence for all peoples, the rich nations and what are called the developing nations. No one has the right to corner the goods of the world as is done today, whether that be oil or food or any of the things that we think are so important.