Dan Graham Quotes
Quotes to Explore
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I haven't done Vine in a long time, and when I first started, I just did stuff that I thought was funny.
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There was a special challenge in describing the awful childhood of a person who happens to be my own husband. It was very painful at times, for both of us.
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History is a race between education and catastrophe.
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Whenever I do something, it seems so right. And turns out so wrong.
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Sometimes, especially when it's cold, I get dry skin, so I scratch a lot. I scratch my arms incessantly.
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For my parents' generation, the idea was not that marriage was about some kind of idealized, romantic love; it was a partnership. It's about creating family; it's about creating offspring. Indian culture is essentially much more of a 'we' culture. It's a communal culture where you do what's best for the community - you procreate.
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I think escapism is something artists write about pretty frequently - it's something everyone can relate to, the concept of wanting something more, wanting to find solace, wanting to have something better.
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What I care about is readers because without readers I can't make a living... And I think it's a bad thing for the world if people don't read anymore. I want people to read a lot.
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I love auditioning. Since 'The Notebook' and 'Wedding Crashers,' I don't have to audition anymore, and I miss it. You get to show your interpretation of the character. I get nervous when I don't audition. What if they hate what I want to do?
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When I think of a story, somehow it just always seems to come out involving spooks and spies and government skullduggery.
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My books are never about the crimes. They are about how the characters react to the crimes.
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If you read all your history books, there are no women in them.
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There's going to be positive and negative in anything in life.
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The real heroes were my good buddies who died during the battles.
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If you're in a Gay Mafia and you get whacked, is that good or bad? gay voice Say hello to my little friend.
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Irony regards every simple truth as a challenge.
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Koons's work has always stood apart for its one-at-a-time perfection, epic theatricality, a corrupted, almost sick drive for purification, and an obsession with traditional artistic values.
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Unfortunately, being a brand is really important nowadays.
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Working with Gale Anne Hurd has been a dream of mine. I mean, I grew up watching 'Terminator' and 'Aliens' and watching Sigourney Weaver just slay!
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No art is less spontaneous than mine. What I do is the result of reflection and the study of the great masters.
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My art teacher was really encouraging me, because he really liked that I could draw. I felt very torn. At that time, I had to pick one, and I felt much more confident in the arts than I did in chemistry. My big thing was that I actually wanted to be like Jacques Cousteau.
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It is rarely a mysterious technique that drives us to the top, but rather a profound mastery of what may well be a basic skill set.
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For Ripley I learned to play some songs on the piano, and I never really played them again.
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In fact I always disliked conceptual art, because my work is about anarchistic humor.
