Quotes of All Topics . Occasions . Authors
It's a community event. Community events create strong communities, and a strong community is a healthy community. A healthy community is a happy community.
Impressionism came about because it suddenly became apparent that pure colours mix in the eye in a more dazzling way than they have ever been mixed in paint.
I grew up with a lot of brothers, and I don't have any sisters, so for me it's really important to develop my sisterhood. It's something I've always coveted.
I'm always in awe of and respect humans for their ability to plan, but sometimes, good intentions are lost along the way. And often the way becomes the goal.
Sometimes I go to sleep thinking, "I don't like this painting." But then I wake up in the morning, look at it again and think, "Actually, that's not so bad."
Perhaps we don't want to come face to face with the unsurrendered areas of our lives. We like our lives just as they are, even if it is less than God's best.
I was really intrigued by the idea of using live streams of data that's relevant to real people, and that would allow us to reflect and learn about ourselves.
Most artists look for something fresh to paint; frankly I find that quite boring. For me it is much more exciting to find fresh meaning in something familiar.
I'm not at all interested in painting the object just as it is in nature. Certainly I'm much more interested in the mood of a thing than the truth of a thing.
I'm used to working with neglect and misunderstanding, so this has been really challenging. It's a different psychic realm. The Lion did not land easily here.
I'm still very sure that painting is one of the most basic human capacities, like dancing and singing, that make sense, that stay with us, as something human.
If I could find them (assemblages) in nature I would photograph them. I make them because through photography I have a knowledge of things that can't be found.
Everything has a reason, including the selection of the photos, which was not arbitrary but appropriate to the period, its highs and lows and my sense of them.
When we describe a process, or make out an invoice, or photograph a tree, we create models; without them we would know nothing of reality and would be animals.
Once you become an immigrant, the first thing that is taken from you is the opportunity to talk about politics and to talk about yourself as a political being.
I don't mistrust reality, of which I know next to nothing. I mistrust the picture of reality conveyed to us by our senses, which is imperfect and circumscribed.
Painting pictures is simply the official, the daily work, the profession, and in the case of the watercolours I can sooner afford to follow my mood, my spirits.
I don't cook, and I don't care to, but Gabrielle Hamilton made me realize that food is about love and connection. And she has had a hell of an interesting life.
Somehow the image begins to have a sort of memory in it, even if you can't see it. It can build up a dense feeling toward the end, and then it makes me happier.
The work, I suppose, is made in the editing, whereby I make literally hundreds of drawings, and then a much smaller percentage of those become the finished work.
I don't how I can describe the quality that is only found in art (be it music, literature, painting, or whatever), this quality, it's just there, and it endures.
The way that I rationalize making photographs is because you're countering what's offensively mass-produced with something that you just want more people to see.
I've never studied the Japanese. That's something that must have crept in there. But the Japanese are my biggest clients. They seem to like the elemental quality.
This is about relationships, about the placement of potent colors and the canvas sparkling through. I want the eye to dance across the canvas but direct you, too.
To see yourself, and for others to see you, is a form of validation. I'm interested in that very mysterious and mystical way we relate to each other in the world.
It's a very difficult age when the forces of time want to destroy us and take us away. They're just snatching people like devils; death comes and grabs each of us.
I go to the studio every day, but I dont paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things.
What counts isn't being able to do a thing, it's seeing what it is. Seeing is the decisive act, and ultimately it places the maker and the viewer on the same level.
I go to the studio every day, but I don't paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things.
When I begin, theoretically and practically I can smear anything I want on the canvas. Then there's a condition I have to react to, by changing it or destroying it.
I can only approach it as a woman. Masculinity has been depicted in very black-and-white terms. There never seems to be a wide range of emotional definitions of men.
I think this is pretty clear, but maybe not to everybody: Despite the fact that the work is personal or taken from life, it's not about me telling my personal story.
The smallest modification of tonality affects structure. Some things have to be rather large, but elegance is the presentation of things in their minimum dimensions.
I'm not a very confessional artist, you know. I don't ever reveal what I'm feeling in my work, or what I think about the President. I use nature. I use found images.
You think you're developing and getting better and then you see something you did years ago. Looking at your early work.. sometimes it has a depth that surprises you.
I think people are quite surprised that the handwriting I use in my drawings and paintings is my own handwriting. They're slightly shocked when I write them a letter.
With a brush you have control. The paint goes on the brush and you make the mark. From experience you know exactly what will happen. With the squeegee you lose control.
All that is happening in art is part of a process of exploration and discovery. I hope to live for a few more years so that I can catch glimpses of the oncoming future.
I do an awful lot of thinking and dreaming about things in the past and the future - the timelessness of the rocks and the hills - all the people who have existed there.
The thing that a lot of people may or may not know is every artist is a cinephile, whether they watch movies whether they're painting, or have films that influence them.
I thought you had to give up a lot for art, and you did. It required complete concentration. It also required that whatever money you had had to be put into art materials.
I don't draw every day. I tend to draw intensely during certain periods of time. I draw to amuse myself on occasion, when I am bored and drawing is the only fun to be had.
There's a kind of slowness and inefficiency about rendering text in paint. We're in a world that's very fast, so things that slow you for a minute-give you pause-are good.
In 2011, 'Yourself in the World,' a book of my writings and interviews, was published in conjunction with a retrospective of my work at the Whitney Museum of American Art.
Profits on the exchange are the treasures of goblins. At one time they may be carbuncle stones, then coals, then diamonds, then flint stones, then morning dew, then tears.
...Let's get to the image as quickly as possible, let's get to the message even faster, and let's find the scale to knock you over the head with the image and the message.
We've been like that all season. They're starting to have the vision I've been asking them to have for a while. Our settled, normal offense stuff, we need to work on that.
Sometimes I start with music on and then I get distracted because I'm working to a different rhythm; I'm not working to myself. So, I don't have music on when I'm working.
I like comedy but I guess I don't think [my art] is that funny, either. It's too dark and a bit weird in places to be genuinely, uniformly hilarious and function as comedy.
If I don't know what's coming - that is, if I have no hard-and-fast image, as I have with a photographic original - then arbitrary choice and chance play an important part.