Quotes of All Topics . Occasions . Authors
Optical units close to each other on a picture plane tend to be seen together and, consequently, one can stabilize them in coherent figures.
You can carry a photograph with you on a thumb drive, and you can make it bigger or smaller - it's a very malleable form of mass production.
I love drawing, whether it's considered work or not, but I'm always drawing, and that's the core of the work. Everything comes from drawing.
If you make something good and interesting and not ridiculing someone or being offensive, the creators of the original material will like it.
I choose depending on the way I feel; randomly, in other words. When I haven't done anything for a long time, I always start small, on paper.
Creative activity is not a superimposed, extraneous task against which the body, or brain protests, but an orchestration of ... joyful doing.
There are many amazing female directors that made work in more skewed times, so we should be thankful for the boundaries they pushed through.
I believe we don't need to widen the divide between the West and Islam. Rather, we need to build dialogue to encourage tolerance and respect.
I think a person permeates a spot, and a lost presence makes the environment timeless to me, keeps an area alive. It pulsates because of that.
I am a serious artist in my own right, in the sense that I've spent my entire life being an artist and trying to be an artist and making work.
Every museum is full of nice things. That's the opposite of before. It was important things or serious things. Now we have interesting things.
Cubism came about because, in the process of analyzing form, something that lay in the form, a plane, could be lifted out to float on its own.
Artists today think of everything they do as a work of art. It is important to forget about what you are doing - then a work of art may happen.
When I make a representation of something, this, too, is an analogy to what exists; I make an effort to get a grip on the thing by depicting it.
Painting is consequently an almost blind, desperate effort, like that of a person abandoned, helpless, in totally incomprehensible surroundings.
The possibilities for creation and insight are endless. We're constantly collecting more data, and it's starting to be very relevant to our lives.
I like everything that has no style: dictionaries, photographs, nature, myself and my paintings. (Because style is violent, and I am not violent.)
Every time I make something I think about the people who are going to see it and every time I see something, I think about the person who made it.
My mother is my last point of security in relation to my past, and if that breaks, I will not ever have that type of pure love or pure attachment.
My work is basically images set to my particular voice. It's the way the images rhyme and the rhythm. It's a way of economical storytelling for me.
Whoever wishes to win in this game must have patience and money, since the values are so little constant and the rumours so little founded on truth
I had grown up in a world dominated by women - I had aunts and sisters and great-aunts - and I just felt like I lived in a completely female world.
Cage is much more disciplined. He made chance a method and used it in constructive ways; I never did that. Everything here is a little more chaotic.
I do see myself as the heir to a vast, great, rich culture of painting - of art in general - which we have lost, but which places obligations on us.
Picturing things, taking a view, is what makes us human; art is making sense and giving shape to that sense. It is like the religious search for God.
Abstract pictures are fictive models, because they make visible a reality that we can neither see nor describe, but whose existence we can postulate.
I thought my father was biggest, tallest, smartest, handsomest man in the world, so if he was telling me something, I was taking it really seriously.
If you have come to help me, you are wasting your time. But if you have come because your liberation is tied up with mine, then let us work together.
I would like to try to understand what is. We know very little, and I am trying to do it by creating analogies. Almost every work of art is an analogy.
I started making art with art therapy. It's what I know how to do. I got a lot of criticism for that when I was in school. But I think it works for me.
I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.
I'm making art and making decisions and editing things. I don't live my life to broadcast it into the art world; I don't see it as my life on the stage.
An artwork is an arrangement of things. The ideal show for me would be if everything touched, literally touched, so that everything would blur together.
My struggle is to preserve that abstract flash - like something you caught out of the corner of your eye, but in the picture you can look at it directly.
If you seek just a little truth, as most, you should not ignore abstract forms, the basis from which all short-lived experiences we call reality springs.
I was always very proud of myself that I could wrest emotion from a doll or a puppet. It never occurred to me that I could find real emotion in a person.
To me, editing is not something you can do in a rush because the artists themselves are not always their own best editors. Time is absolutely everything.
I'm a secretive bastard. I would never let anybody watch me painting... it would be like somebody watching you have sex - painting is that personal to me.
Sometimes commercial galleries ask for particular work to sell, but I try not to be bossed around by them. I didn't become an artist to get bossed around.
In high school, driver's ed was at the same time as drama class. And I had to take drama class. Now I can sing the lead in 'Oklahoma!,' but I can't drive.
I want people to take pride in Spanish Harlem. These are people that everyone in the community could relate to... people who mean something special to us.
You don't have to know anything about art to appreciate it or to look at it. There aren't any hidden secrets or things that you're supposed to understand.
We don't have real hours and we don't have a boss, so artists create rules for themselves that they then break. It's transgressive in such a personal way.
You use metaphor to make yourself feel at home in the world. You use metaphor to extinguish the unknown. The problem is the unknown is where I want to be.
When you actually get successful, if you became a recognized director, people would let you come up with an idea for a video and they would let you do it.
In '89, I got a grant from the National Endowment for the Arts. That's when I started to get into group shows. Suddenly, I sort of 'came out' as an artist.
I admire the abstract expressionists and pop artists so right now I'm referencing American '60s art and at the same time referencing Japanese manga culture.
I don't like theorizing about my work myself, but that's not to say I have no interest in theory. Other people are free to say what they want about my work.
Three things are needed for success in painting and sculpture: to see beauty when young and accustom oneself to it, to work hard, and to obtain good advice.
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.