Painting Quotes - Page 33

• I would advise puppeteering for any artist. It's a way to break down pretensions. It's a sculpture that can talk. It's a painting that can talk. And it's pure play. I think every artist needs to stay in touch with the idea of playing. The artist should always be playing, always. All art is performance.

  Wayne White

  Art, Thinking, Play

  "That's what art really tries to do. Just strip away all the pretense and it's trying to entertain and excite". Interview with Julie Thomson, logger.believermag.com. October 9, 2013.

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• Arts is like the power of now. When you're performing, when you're playing, when you're sculpting, painting, it's that moment. I'm in the moment of my life, and that's what I love to do.

  Herb Alpert

  Art, Moments, Power Of Now

  FaceBook post by Herb Alpert from Apr 26, 2017

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• Now, at a moment when photography is so pervasive that it's been forced to grapple with its own identity and look inward, it feels like a natural moment for painting to look out, to reclaim that directive of picturing America.

  Cynthia Daignault

  Photography, America, Identity

  Source: www.interviewmagazine.com

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• For me, going back to itinerant landscape painting, it's not about returning to an older method, but about building on what happened in the 20th century in photography. And also highlighting what the differences are between a painting and a photograph in picturing space.

  Cynthia Daignault

  Photography, Differences, Space

  Source: www.interviewmagazine.com

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• One of the reasons I work serially, but also one of the reasons that I try to claim space in painting, is I'm desperately interested in asking: How can a group of images, or even two images, have meaning together?

  Cynthia Daignault

  Two, Space, Trying

  Source: www.interviewmagazine.com

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• Painting is the chance to create a different space, or different way of picturing a literal stream of images.

  Cynthia Daignault

  Space, Different, Way

  Source: www.interviewmagazine.com

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• Artworks, whether fiction, music, or painting, because they have the power and possibility to become truth, when repeated enough or told enough are somehow truth about what America is, whether they were or not.

  Cynthia Daignault

  America, Fiction, Enough

  Source: www.interviewmagazine.com

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• In the paintings I was always interested in taking elements of space and the reality that we know and dissolving it into patterns.

  Francesca DiMattio

  Reality, Space, Elements

  Source: www.interviewmagazine.com

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• Like in the paintings, there has to be moments that are completely right to be able to feel how wrong it is when the space gets flattened or the space collapses. It's the same with the technique in the sculptures: for some to feel really wrong, you have to have parts be really right.

  Francesca DiMattio

  Space, Technique, Sculpture

  Source: www.interviewmagazine.com

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• I don't believe in art like I used to. I believe in something beyond it, something that contains art and everything else. But I just don't quite have the nerve to chuck drawing and painting. Part of it is that I enjoy it too much, and part is that I don't have the courage to renounce the world. I don't want to move out of this nice neighborhood so that I can live in a shed and devote myself to meditating and touching something I can't feel. I'm addicted to the fun of playing in the world.

  Jim Woodring

  Art, Fun, Nice

  Interview with Ross Simonini, staging.believermag.com. 2008.

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• It was never my goal to capitalize on punk. I could never make it as a commercial artist. I didn't back then and I still don't have the temperament and don't care for drawing or painting or making art for any other purposes other my own.

  Raymond Pettibon

  Art, Drawing, Goal

  Interview with John O’Connor, www.believermag.com. December 2004.

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• I feel no shame about having paintings be as grandiose and ridiculous as possible.

  Laura Owens

  Ridiculous, Shame, Feels

  Interview with Rachel Kushner, www.believermag.com. May 2003.

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• For me, at some point, the idea of struggling through the process was not as interesting as doing tests and executing the painting after I figured out all of its elements and how they were going to work together.

  Laura Owens

  Struggle, Ideas, Interesting

  Interview with Rachel Kushner, www.believermag.com. May 2003.

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• I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.

  Laura Owens

  Art, Book, Other Cultures

  Interview with Rachel Kushner, www.believermag.com. May 2003.

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• I want it to be more universal than that - like a painter doesn't have to explain his life story away to justify his painting.

  Beth Orton

  Stories, Want, Life Story

  Interview with Hector de la Manzana, believermag.com. March 2003.

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• Yeah, it's not that I wanted to do a painting, I wanted to do writing like that. What jolted me about Jasper Johns was how important it is to start with a convention, how important it is to start with what everybody knows and everybody takes for granted, whether it's a number, an alphabet letter, a set of alphabet letters, a target.

  Vito Acconci

  Writing, Numbers, Important

  Interview with Shelley Jackson, believermag.com. January 1, 2007.

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• You must put the essence of what you want to say into a painting. The rest is arbitrary. Chosen with discernment, but chosen, and choice involves elimination.

  Louise Bourgeois

  Essence, Choices, Arbitrary

  Louise Bourgeois (1998). “Destruction of the Father, Reconstruction of the Father: Writings and Interviews, 1923-1997”

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• The value of a work of art cannot ultimately turn on the more or less of its subservience to ideology; for painting can be grandly subservient to the half-truths of the moment, doggedly servile, and yet be no less intense.

  T. J. Clark

  Art, Half, Moments

  T. J. Clark (2015). “The Painting of Modern Life: Paris in the Art of Manet and His Followers”, p.78, Princeton University Press

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• I was always artistic - right from childhood - but my love of painting came a bit later. It followed my love of music.

  Sean Scully

  Childhood, Artistic, Music Love

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• I was in love. With a two-dimensional object. A mute in love with a painting. Lovely. Just lovely.

  Leanna Renee Hieber

  Two, Lovely, Mute

  Leanna Renee Hieber (2011). “Darker Still: A Novel of Magic Most Foul”, p.52, Sourcebooks, Inc.

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• But in order to survive in this foreign world, I had to teach myself that love was very much like a painting. The negative space between people was just as important as the positive space we occupy. The air between our resting bodies, and the breath in our conversations, were all like the white of the canvas, and the rest our relationship- the laughter and the memories- were the brushstroke applied over time.

  Alyson Richman

  Laughter, Memories, Air

  Alyson Richman (2011). “The Lost Wife”, p.236, Penguin

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• You see, for me a painting is a dramatic action in the course of which the reality finds itself split apart. For me, that dramatic action takes precedence over all other considerations. The pure plastic act is only secondary as far as I'm concerned. What counts is the drama of that plastic art, the moment at which the universe comes out of itself and meets its own destruction.

  Francoise Gilot

  Art, Drama, Reality

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• I visited the Museum of Modern Art last spring and spent time with David Alfaro Siqueiros's painting, 'Echo of a Scream (1937).' I got spun out by the way he creates tension and movement through the interlocking details in the painting. This poem began as an emulation of Siqueiros's compositional style and, in the process, became an ekphrastic aubade about my old neighborhood.

  Adrian Matejka

  Art, Spring, Style

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• I realized that I had things in my head not like what I had been taught - not like what I had seen - shapes and ideas so familiar to me that it hadn't occurred to me to put them down. I decided to stop painting, to put away everything I had done, and to start to say the things that were my own.

  Georgia O'Keeffe

  Ideas, Shapes, Taught

  Georgia O'Keeffe, Doris Bry (1988). “Some Memories of Drawings”, Atlantis Editions Book

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• The most joyous painting is not done for the art world, it is done for the inner world.

  Michael Leunig

  Art, Done, World

  Michael Leunig (2013). “The Holy Fool: Artworks”, p.9, Allen & Unwin

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