You can fool people. You can fool anybody anytime of the day, but you can't fool yourself. At night, when you go home, you've got to be straight up with you.
At home, when the heating pipes made noises, I imagined a tiny person was in there skipping with a rope. The fantasy world of tiny things became my escape.
My work since the late '80s specifically questioned what was presented as the 'natural' order of things in the history of post-war-N.Y. painting.
I love California. It has such a strong contribution to the history of culture, and popular culture. For better and worse, of course. Even the worst can be interesting to some degree sometimes for somebody creative.
And my real enemy is not to hold the specimen sterile, but it's the lighting. The light is our real enemy. So we have to work with very very poor lighting. But we can increase the light with computers.
I grew up in a broken home. My dad was out of the home when I was five years old. I never knew him very well.
Does not the very word 'creative' mean to build, to initiate, to give out, to act - rather than to be acted upon, to be subjective? Living photography is positive in its approach, it sings a song of life - not death.
Beautiful dreams - if the world were more beautiful they would come true - But the world is relentless & cruel - people are - they must be, I suppose, or they could not live.
The usual channels of university studies or secretarial work did not appeal to me. I cherished difficult dreams through confidence in myself.
Most big cities like London and Glasgow have great big rivers that are unmissable. What's brilliant about the Water of Leith is that it's so hidden. It's a secret.
We discovered that there was a great deal of keen interest in America for the kinds of products that we thought could be produced here. Also there was an interest in Britain for Australian material generally.
I think that's why I like baseball. There's something great about it - you're young, the pitcher's young and he's got this great arm, and he doesn't really realize anything about strategy.
I've been asked a great deal about the influence I've had with my work and it's impossible to say, you know.
All my ex-girlfriends or wives are all kind of great friends and I've never understood somebody who can live with somebody for five or six years and then not like them.
I think photographs should be provocative and not tell you what you already know. It takes no great powers or magic to reproduce somebody's face in a photograph. The magic is in seeing people in new ways.
Argentina is a marvelous place. Argentines are great bankers of information. They import information; if someone sneezes in Milan or in New York, they clean their faces very fast there.
If we're reading a first-person account, we know that each and every one of us, myself included, have a great desire to be seen in a certain way, or to be perceived in a certain way. It's unavoidable.
I mean, movies are all geared to be basically under 25, and they're all tentpoles, explosions, excitement and all that - they take advantage of the big screen, which is great.
Pollock was well known, certainly, but for all the wrong reasons. He was known as much for being wild and unconventional in his working methods as for being a great artist.
To his doctrines I owe my great and glorious ambition for the sex to which I proudly belong and whose independence I shall defend until my dying day.
I don't want to be an artist that gets stuck doing one thing. I don't want to be an artist who people look back at and say, 'His early work was really great.'
