Painting Quotes
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I started making work that I assumed would be far too garish, far too decadent, far too black for the world to care about. I, to this day, am thankful to whatever force there is out there that allows me to get away with painting the stories of people like me.
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When you walk past a painting in a museum, if it doesn't make you feel something, then it's probably a failure.
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For years, I've been painting black men as a way to respond to the reality of the streets. I've asked black men to show up in my studio in the clothes that they want to be wearing. And often times, those clothes would be the same trappings people would see on television and find menacing.
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You wind up creating from silence, like painting a picture on a blank canvas that could bring tears to somebody's eyes. As songwriters, our blank canvas is silence. Then we write a song from an idea that can change somebody's life. Songwriting is the closest thing to magic that we could ever experience. That's why I love songwriting.
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I don't work from drawings. I don't make sketches and drawings and color sketches into a final painting.
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In music, they're not endlessly rewriting Beethoven's 'Third Symphony;' in visual art, they aren't painting portraits of 16th-century royalty. Art moves forward.
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Not that painting would have been a release. The reason for doing it is the desire to create. I've got to do it! I've seen that, I can still remember it, I've got to paint it.
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You don't look at a painting and ask if the artist was gay or straight. I think it's irrelevant in any situation - I don't care if my garbageman is gay or straight as long as he picks up the garbage.
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It is not hard to understand modern art. If it hangs on a wall it's a painting, and if you can walk around it it's a sculpture.
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I'm kind of an insecure artist. I hop from piece to piece. I always think my life depends on every painting. Every painting is my first painting.
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Every artist is supposed to get emotional. You're painting pictures of emotions.
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As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together.
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The thought that all experience will be lost at the moment of my death makes me feel pain and fear... What a waste, decades spent building up experience, only to throw it all away... We remedy this sadness by working. For example, by writing, painting, or building cities.
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When you're looking through a magazine, what makes you stop and think is when you see an image and imagine the narrative that is going on inside of it. Those are the ones I make into paintings.
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Painting is an infinitely minute part of my personality.
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I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
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It's a real triumph taking a painting out from a pit-hole with a loose and open approach. Some aspects in its favour are those strange accidents that can produce amazing results.
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RADIO – DADA DIX whose monumental painting 'Barricade' now lost created such a sensation in Dresden
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..As a matter of fact, last winter I was painting on ivory; I've already got a collection of forty studies, but these are original miniatures, of a kind I've never seen before, entirely done with the point of a brush, with details that are closer to the brushwork of Velásquez than to that of Mengs.
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There's something always instinctively visually right about nature. There's no difference, to my eye, between looking at a great painting and looking at nature. Because painting, when it's great, has the same immutable rightness, unquestioned rightness, about it.
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There's no indication or hint about the material world in my painting. No, I don't paint about the world. Everybody else is painting about the world. That's enough.
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I like building houses, working as a carpenter, painting. You work with your hands to the best of your ability, and at the end of the day, you go home with some satisfaction: 'I built that!'
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The key is in remaining just aloof enough from a painting so that you know when to stop.
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If you want to paint the inner life, you paint it from the exterior. From the exterior, you breathe the inner life into your painting.
