This kind of painting with its large frames is a bourgeois drawing-room art. It is an art dealer's art-and that came in after the civil wars following the French Revolution.
The art of an artist must be his own art. It is... always a continuous chain of little inventions, little technical discoveries of one's own, in one's relation to the tool, the material and the colors.
I do not deny that I have made drawings and watercolors of an erotic nature. But they are always works of art. Are there no artists who have done erotic pictures?
I do see myself as the heir to a vast, great, rich culture of painting - of art in general - which we have lost, but which places obligations on us.
What goes on in abstract art is the proclaiming of aesthetic principles... It is in our own time that we have become aware of pure aesthetic considerations. Art never can be imitation.
In the United States there has been a kind of a structure in the Modern art world. The New York School was nearly a coherent thing-for a minute.
Time extracts various values from a painter's work. When these values are exhausted the pictures are forgotten, and the more a picture has to give, the greater it is.
I always enjoyed art history because, growing up in California, my exposure was limited, and it was a new experience. To learn the history of art opened up certain things to me, made me see. It intrigued me.
I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.
Instead of art I have taught philosophy. Though technique for me is a big word, I never have taught how to paint. All my doing was to make people to see.
In my regular life, I am very involved in commissions for cities and sometimes countries. And I think of public art as a team sport. The outcome is only possible with the interaction of all the players.
That's the test of street art - to see if anybody stopped. People would cross out ones they didn't like and would star others. I liked that people would engage with them.
I remember being an art student and going to the Whitney in 1974 to see the exhibition of Jim Nutt, the Chicago imagist. It was then I transferred to school in Chicago, all because of that show.
I am very conscious of the viewer because that's where the art takes place. My work really strives to put the viewer in a certain kind of emotional state.
I drew a picture on the back of a calendar in pencil. In those days they used to give out free calendars, I had no art paper, so I took whatever else I could.
I don't think art is propaganda; it should be something that liberates the soul, provokes the imagination and encourages people to go further. It celebrates humanity instead of manipulating it.
The concept of commercialism in the fashion and art world is looked down upon. You know, just to think, 'What amount of creativity does it take to make something that masses of people like?' And, 'How does creativity apply across the board?'
Art and nature shall always be wrestling until they eventually conquer one another so that the victory is the same stroke and line: that which is conquered, conquers at the same time.
Everybody thinks they know what art should be. But very few of them have the sense that is necessary to experience painting, that is the sense of sight, that sees colors and forms as living reality in the picture.
When I judge art, I take my painting and put it next to a God made object like a tree or flower. If it clashes, it is not art.
The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider's web.
