I don't really have a historical overview of my work at all. I'm not an art historian. I don't see that there's this period and that period.
The great thing that guys like Facebook's Mark Zuckerberg and the Google guys have in common is they treat their technology like it's art, and I suppose in the hands of virtuosos like them, it is.
Poor France, thy fine climate, rich vineyards, and the wishes of the learned avail nothing; thou art a destitute beggar, and not the powerful friend thou wert represented to me.
I was at the Royal Art School. That was a preparatory school specially for art teachers. You see, it was not so much for the development of artists. But we had there terribly stiff training.
I don't listen to what art critics say. I don't know anybody who needs a critic to find out what art is.
I could never figure out why photography and art had separate histories. So I decided to explore both.
Art to me is a humanitarian act and I believe that there is a responsibility that art should somehow be able to effect mankind, to make the word a better place.
Art has this ability to allow you to connect back through history in the same way that biology does. I'm always looking for source material.
I spend much more time looking at art history and at different references to art than I do at actual objects.
The strangeness will wear off and I think we will discover the deeper meanings in modern art.
One has complexes. One has the art complex. One goes to the School of Fine Arts and catches the complexes.
There's good art and there's bad art. A lot of action films are bad art, but Paul Greengrass showed us with the Bourne films that it's possible to make an action film with a political, social conscience.
The public needs art - and it is the responsibility of a 'self-proclaimed artist' to realize that the public needs art, and not to make bourgeois art for a few and ignore the masses.
If commercialization is putting my art on a shirt so that a kid who can't afford a $30,000 painting can buy one, then I'm all for it.
I was a product of Andy Warhol's Factory. All I did was sit there and observe these incredibly talented and creative people who were continually making art, and it was impossible not to be affected by that.
I need to be working with the art world in N.Y.C. as much as I need to be working in my studios in Chicago and rural Wisconsin.
The history of American art, in a way, begins with Jackson Pollock and his big paintings. This theme of bigness - all painters and sculptors have dealt with it ever since.
I was always making things. Even though art was what I did every day, it didn't even occur to me that I would be an artist.
The good moral work of art should have all the qualities that a good amoral work of art should have, such as formal unity, balance, contrast, and a sensitivity to the material out of which it is made.
Everyone in those days expected that art students were wild, licentious characters. We didn't know how to be, but we sure were anxious to learn.
You say a new era in art is preparing; you sensed it coming; continue your studies without weakening. God will do the rest.
