Quotes of All Topics . Occasions . Authors
Doors have an immediate familiarity. They're everywhere. They're scaled to our bodies, so there's something human about them.
We interpret the world through stories... everybody makes in their own way sense of things, but if you have stories it helps.
A non-analogue image has an extremely compressed life. It starts as this and, in increasingly short time spans, becomes that.
Artists are interpreters for us of richness and meaning. Artists can reinforce a healthy sense of God's grandeur and nearness.
Whether I'm painting or not, I have this overweening interest in humanity. Even if I'm not working, I'm still analyzing people.
Art is not arbitrary. A fine painting is not there by accident; it is not arrived at by chance. We are sensitive to tonalities.
They are specific places I have discovered here and there when I am on the road to take photos. I go especially to take photos.
I'm innately conservative, and painting is an ideal place to exercise a progressive conservatism. I operate well within limits.
I'm not really interested in making someone endure a performance or stand there for too long. I like to think about the length.
I don't really have studios. I wander around around people's attics, out in fields, in cellars, anyplace I find that invites me.
I never sat down and decided to make work about life and death. It just all comes out of my head like water pouring out of a jug.
When I look back on the townscapes now, they do seem to me to recall certain images of the destruction of Dresden during the war.
It might be more useful, if not necessarily more true, to think of photography as a narrow, deep area between the novel and film.
I don't really have studios. I wander around - around people's attics, out in fields, in cellars, anyplace I find that invites me.
I'm not pretending to be somebody who's got really limited craft skills. I just am a person who's got really limited craft skills.
I'm never really that worried about doing something a little different, 'cause it always just seems to fit into what I want to do.
I don't think I've ever made any conscious decision to be a comic artist, but to me there's something quite anarchic about comedy.
I don't want to just spend my life ridiculing something that I find ridiculous, although there is an element of satire in my work.
So I have been careful about where I go and who I hang out with because if you tell someone the wrong thing, then it's everywhere.
The field of action of a photograph should be that chessboard of the heart and mind upon which poetry and art have always operated
My contribution to the world is my ability to draw. I will draw as much as I can for as many people as I can for as long as I can.
I think it's really important as an artist not to be drawn to the haters, because there are so many people who are nice and quiet.
I like actual songs and bands, but it's usually parts, like the production, the bassline, the drums, that I'm really attracted to.
Like all artists, I'm a complete cinephile; I see everything. I see past movies, present movies, indie movies, experimental movies.
I've always loved music and held it as a sacred thing that I can't touch, as I don't really want to deconstruct it or be a musician.
I encourage everyone to become their dream. Most young people get sidetracked and never end up doing what they really set out to do.
Méret's Oppenheim art was aesthetically beautiful. Drinking champagne and eating a cherry off some tits, this is no big deal really.
Poetic and speculative photographs can result if one works carefully and accurately, yet letting chance relationships have full play.
The year is always correct, also the month, only the day can be another. But that occurs to me only in the moment of writing it down.
If commercialization is putting my art on a shirt so that a kid who can't afford a $30,000 painting can buy one, then I'm all for it.
Shapes that contain no inner components of positive/negative relationships will function better with other shapes of the same nature.
A good film is always nourishing. It's not about it being hopeful or bleak; it's about how it touches you, how it moves or stirs you.
You know, the emotion - it comes in my art. The kind of person I am, I can deal with things, and I do and I can, but I'm not a crier.
I prefer winter and fall, when you feel the bone structure of the landscape. Something waits beneath it; the whole story doesn't show.
Poets use metaphors and symbolism to construct images. I construct my images in the same way, except that I am using a different form.
Obama is the first African-American president, and for some people, that means a great deal, and for some people, it means very little.
I don't think an artist should always know why they gravitate toward something or someone. You are just drawn to things, and that's OK.
My aim is not to exhibit craft, but rather to submerge it, and make it rightfully the handmaiden of beauty, power and emotional content.
I think what I have done is claimed the space and pushed it forward as much as I can in relationship to who I am and how I live my life.
This knowledge I pursure is the finest pleasure I have ever known. I could no sooner give it up that I could the very air that I breath.
I've found that when everyone rallies behind a cause, and when they learn their effort can contribute something bigger, they get engaged.
I'm a different person. I don't want to be titled as Courtney Love and Kurt Cobain's daughter. I want to be thought of as Frances Cobain.
My landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all 'untruthful'.
I don't dare to think my paintings are great. I can't understand the arrogance of someone saying, 'I have created a big, important work.'
Drawing is still basically the same as it has been since prehistoric times. It brings together man and the world. It lives through magic.
If somehow I can, before I leave this earth, combine my absolutely mad freedom and excitement with truth, then I will have done something.
I wanted to get it all down, maybe out of my system. I wanted to be able to say, Everything's possible-if you believe and can get excited.
I think you can have a ridiculously enormous and complex data set, but if you have the right tools and methodology then it's not a problem.
I've never been a big cinephile, which may be why I could treat 'The Clock' like a puzzle and force the pieces to fit together in odd ways.
I'm interested in ways that digital interfaces can be utilized as powerful narrative devices, and to engage people in new and exciting ways.