How are we going to make painters by lecturing to them? We are going to make questioners, doubters, and talkers. We are going to make painters by painting ourselves, and by showing the paintings of others. By working frankly from our convictions, we are going to make them work frankly from theirs.
I'm not just painting for painting's sake. I want to be truthful.
When things become peculiar, frustrating and strange, I think it's a good time to start painting.
I'm not going to stop painting just to take orders.
I don't buy art. I'd rather buy a beautiful location or a beautiful site than buy art. A beautiful home is like owning a beautiful painting, except you can live in it.
Although cover notes for classical music albums tend to say that the trill of flutes suggests mountain streams and so on, I don't think anybody listens to music with the expectation that they're going to be presented with a sort of landscape painting.
In the early '60s, it was still a fairly subversive thing, though, to say that you should take a painting, cut it, set it on fire, step on it, hammer nails into it.
The surrealists, and the modern movement in painting as a whole, seemed to offer a key to the strange postwar world with its threat of nuclear war. The dislocations and ambiguities, in cubism and abstract art as well as the surrealists, reminded me of my childhood in Shanghai.
There have been many, many paintings of Theseus and the Minotaur, as it is one of the more popular myths, so how could I make mine different and new? I decided it would be best to make the most dynamic painting I could. I wanted to capture the moment right before the Minotaur's horn was snapped.
Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.
I don't want to be a film-maker. I think painting is far more exciting and profound.
When the painting is hanging on your wall for a long time, you don't notice it. You get tired of it, even if it's a Picasso. When the next generation inherits the painting, they sell it. I don't want to be sold.
Photography, painting or poetry - those are just extensions of me, how I perceive things; they are my way of communicating.
My dad's an artist, and my grandfather paints - he's not a painter; my grandfather's a butcher - but he does a lot of crafts, stained glass, painting, that stuff. There is art in our family, and I was an art major in college along with being a theater major.
My working habit is to separate my aims as a painting from my aims as a poet. They come from very different places and ultimately lead me to very different places... I'll leave what I mean by 'places' ambiguous.
At art college, I started to do music and then painting and drawing - and that would have been my ideal life, to be an artist and be paid for it, to be able to create stuff. I realized it was difficult, but I don't know if I had the application for it.
When I started painting 17 years ago, I never imagined that anyone would look at my work or buy my pieces. But now I do about 14 exhibitions each year.
I've come up through art school, through painting, through graphic design, through advertising, through TV commercials and music video. I've designed books, built billboards, matchbooks, corporate identities. I continuously paint, I've done conceptual art pictures.
I couldn't live on the singing at first, so I worked as a cleaner, in a launderette, in a garage, face painting and doing the windows of shops at Christmas, 'cause I had been to art college.
I'm not going to sit for some painting. That's so 1800s. I'm not doing that.
Years ago, when I was in Siena for the first time, I saw the works of Duccio, whose deeply emotional painting from the thirteenth century has never left me.
Painting is the frozen evidence of a performance.
I will give a proof to demonstrate with facts that there are no rules in painting and that 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.
I love Christmas tree bulbs, and I started putting them in my paintings. You've got to plug this painting in, and it's got a rig in the back, so that each one can be replaced if it burns out.
Because I'm so busy and because I think of myself as a painter, I desperately guard the time that I have to paint. And sometimes I'm irresponsible to my career in order to paint. Because painting is obsessive. I forget to eat. I forget to sleep.
In fiction, plenty do the job of conveying information, rousing suspense, painting characters, enabling them to speak. But only certain sentences breathe and shift about, like live matter in soil.
Certainly one of the surprising truths of having a book published is realizing that your book is as open to interpretation as an abstract painting. People bring their own beliefs and attitudes to your work, which is thrilling and surprising at the same time.
There are a lot of artists in Gowanus, and certain things come into your visual vocabulary from living there - the scale of the subway and the canal, sometimes it almost looks like a de Chirico painting, with the intense angles of the shadows and everything.
I've been asked which of the other arts novel-writing is most like, and I have come to believe it is acting. Of course, in terms of pattern it can be like music, in terms of structure it can be like painting, but the job to me is most like acting.
I'd like to think, that were he alive today, Warhol would be painting the Housewives.
Sunday is the one day I keep reminding myself that I should lay around and take it easy, but because I am O.C.D. and an extreme multitasker, I find it hard to get lazy. I love Sundays for painting because it's quieter; the gallery is closed, and there are no interruptions.
Photography led me to experiment in graphic work and, actually, painting.
There are plenty of millionaires who would pay millions to hang a Van Gogh painting on the wall, but hardly one that would have ever had the crazy nut over for dinner. I feel like the big companies are like that with musicians. They'll say, 'We love music! It's all about the music!' - but if a musician shows up at the door, they call security.
I think photography is closest to writing, not painting. It's closest to writing because you are using this machine to convey an idea. The image shouldn't need a caption; it should already convey an idea.
I don't get my inspiration from books or a painting. I get it from the women I meet.
I have ridiculously bad eyesight, but I have learned to live with an impressionistic view. Life is a Monet painting. I wander around enjoying myopia.