Painting Quotes
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Because I went to Chouinard, which then became CalArts, I became a multi-discipline artist - it wasn't just about painting, it was about media and performance.
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As far as I am concerned, a painting speaks for itself. What is the use of giving explanations, when all is said and done? A painter has only one language.
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To me, this was an oxymoron, doing a painting of a dancer. Dancers are always moving.
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90% of every art form is garbage - dance and stand-up, painting and music. Focus on the 10% that's good, suck it up, and drive on.
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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.
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And since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art.
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I tried painting for a short time and realized that I was not a child prodigy at painting.
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I don't want to be a film-maker. I think painting is far more exciting and profound.
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There are no rules in painting and.. ..the oppression, or servile obligation, of making all study or follow the same path is a great impediment for the Young who profess this very difficult art that approaches the divine more than any other.
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Sculpture is what you bump into when you back up to see a painting.
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I can't imagine painting my face in a team colour and roaring with delight as a multi-millionaire kicks a ball at a net.
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In painting it is the forming of the image.
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How do you make something the same but different? That's the question I had to deal with in my approach to the cover painting for 'Percy Jackson's Greek Heroes.' I wanted it to have many similarities to 'Percy Jackson's Greek Gods,' but I knew they couldn't be too similar.
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I like to write about painting because I think visually. I see my writing as blocks of color before it forms itself. I think I also care about painting because I'm not musical. Painting to me is not a metaphor for writing, but something people do that can never be reduced to words.
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If we fall into the trap of painting all Muslims with a broad brush and imply that we are at war with an entire religion, then we are doing the terrorists' work for them.
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I like to think of my work and the way people approach it in the same way people approach a Lichtenstein painting. You can write a one-hundred-page dissertation about why he used comics. Or it could be like, 'This is cute!'
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When I get my hands on painting materials I don't give a damn about other people's painting... every generation must start again afresh.
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I had always loved expressionist painting, like every European. In fact I admired it all the more because these were precisely the paintings despised by my father's generation.
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When you think of painting as painting it is rather absurd. The real world is before us - glorious sunlight and activity and fresh air, and high speed motor cars and television, all the animation - a world apart from a little square of canvas that you smear paint on.
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I have to work things out by painting them. I can't just imagine what will happen. I have to do it and see it. That's the only way I find out if it will go anywhere.
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Sculpture should walk on the tips of its toes, unostentatious, unpretentious, and light as the spoor of an animal in snow. Art should melt into and even merge with nature itself. This is obviously contrary to painting and sculpture based on nature. By so doing, art will rid itself more and more of self-centredness, virtuosity and absurdity.
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I am working again on my painting 'Moscow' 'Moscow I' ('Mockba I'), 1916. It is slowly taking shape in my imagination. And what was in the realm of wishing is now assuming real forms. What I have been lacking with this idea was depth and richness of sound, very earnest, complex, and easy at the same time.
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A painting requires a little mystery, some vagueness, and some fantasy. When you always make your meaning perfectly plain you end up boring people.
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In any case, once you're dealing on a nonverbal level, ambiguity is unavoidable. But it's the ambiguity of all art, of a fine piece of music or a painting - you don't need written instructions by the composer or painter accompanying such works to 'explain' them. “Explaining” them contributes nothing but a superficial 'cultural' value which has no value except for critics and teachers who have to earn a living.
