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What most paintings do is give you a path for your eye to move around. The painting actually tells your eye, go here, now go here, now go here, go here. So all you have to do is look at it, give it a few seconds, and your eye will start to move through the painting.
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The only thing worth doing is what's never been done before.
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People talk about this often in the art world. The press releases have reached a level of absurdity and creativity - creative absurdity - that has completely detached from its intended object. It's left reality behind long ago. It's like something out of William Burroughs.
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I feel that the only thing that really matters in art and life is to go against the tidal wave of literalism and literal-mindedness-to insist on and live the life of the imagination.
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Ever since I started painting, I have tried to get the fluidity and surprise of image connection, the simultaneity of film montage, into painting.
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For me, art history is like a feather bed - you fall into it and it catches you.
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The pictures present an improvised view of life as normal. Life is shown as we think we see it but in fact never do. The pictures imitate life to find a way out.
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I think people have to be given - or take - the permission to say that something is nothing. Just because it's in a museum doesn't mean it's anything.
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It's a mistake to ask a work of art to be all things to all people.
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I feel like all the American artists are aesthetically not very interesting and mired in a complaining relationship to its own culture, whereas the Italian work, from a different era, is so comfortable with its relationship to nature and to culture.