Drawing is not what you see but what you must make others see.
I spend much more time looking at art history and at different references to art than I do at actual objects.
A work of art which did not begin in emotion is not art.
I have always said to young artists that scholastic training and the studying of art history are crucial to fully developing as an artist.
Desire is not what you see, but what you imagine.
Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time.
I started going out with one of my managers and he really grew me up in a lot of ways. He introduced me not just to being a full-time traveler, which I was, but he was also really very interested in history and art and continued to open my eyes up to regional history; less splashy histories. He was interested in historical societies and stuff like that. He introduced me to a way of looking at the way communities form that is the foundation for the book that I've just finished writing that has to do with what I see as effective community-building wherever I've been traveling.
Mexico City is the center of art and culture and politics and has been and continues to be for Latin America in a way that I think really called to me as an artistic person, as someone that was interested in the politics of Latin America, you know. God, every single famous person in Latin American history and art and politics seems to have found their way to Mexico City.
You see the Earth as a bright blue and white Christmas tree ornament in the black sky. It's so small and so fragile - you realize that on that small spot is everything that means everything to you; all of history and art and death and birth and love.
I don't really deal with the attention I receive to be honest. I build up a fantasy world around me that I inhabit. I cherry pick elements of literature, music, film, history and art, then weave them together to construct a fantasy reality to live in. It doesn't always work out though, I got evicted from my own fantasy once, which was quite embarrassing.
I learned more from my mother than from all the art historians and curators who have informed me about technical aspects of art history and art appreciation over the years.
Many, perhaps most, very learned people prefer the company of their books to sitting in a crowd listening to history and art being mangled; furthermore, it is unlikely that the venerable scholars will stand up afterward to declare, "This lecture was a load of crap." The more profound a professor's distaste with the proceedings, the more likely he is to melt away at the end of the talk.
I like art history and art criticism. Leo Steinberg has always been my favorite. Hes very original, very accurate and acute.
All history and art are against us, but we still expect happiness in love.
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