On my first days here I did not start work immediately but, as planned, I took it easy for a few days - flicked through books, studied Japanese art a little.
Well, Art is Art, isn't it? Still, on the other hand, water is water. And east is east and west is west and if you take cranberries and stew them like applesauce they taste much more like prunes than rhubarb does. Now you tell me what you know.
We've lost these qualities, these abilities to do something by hand. Some illustrators have it still, but it's just not art. We have photography. We have cameras and computers that do it better and faster.
The artist himself is actually the subject in everything after, say, 1900. Eventually, art becomes so removed from the community that you have to know about the artist before you can even look at the painting, because there is a conceptual idea going...
Art is magic... But how is it magic? In its metaphysical development? Or does some final transformation culminate in a magic reality? In truth, the latter is impossible without the former. If creation is not magic, the outcome cannot be magic.
I'm either offered window-dressing parts in large movies or little art films no one ever sees. People think the movies I end up doing are my real choices. I do the best things I'm offered.
When I went to art school, I was just having fun. I realised that was the last chance I had, and then I would have to get a job.
Let's talk of a system that transforms all the social organisms into a work of art, in which the entire process of work is included... something in which the principle of production and consumption takes on a form of quality. It's a Gigantic project.
I'm just following my own art, and I just think that the only thing I can do to be a great artist is do the best job I can in whatever movie I do.
It's strange because even in the vaudeville days, ventriloquists were never the main attraction. They were the guys brought out to stand in front of the curtain while sets were being changed. Ventriloquism wasn't even celebrated as an art until Edgar...
My attitude towards drawing is not necessarily about drawing. It's about making the best kind of image I can make, it's about talking as clearly as I can.
I believe people can have a profound experience by being surrounded by something beautiful - that's what I aim for. My sculpture is about the way you feel when you're standing under it and inside it. It's experiential art.
I recognize that it is through the engagement with my craft - by recognizing an idea and drawing it out, building physical models, collaborating with experts, constructing the sculptures at urban scale, and maintaining them through years of weather a...
In the place where I was a child, there were no artists and there was no art, so I really didn't know what that meant. I think I thought it meant that I would be in a situation different than the one that I was in.
I was raised in South Carolina; I wasn't aware of any art in South Carolina. There was a minor museum in Charleston, which had nothing of interest in it. It showed local artists, paintings of birds.
I believe that my art gets across the point that I'm in this morality theater trying to help the underdog, and I'm speaking socially here, showing concern and making psychological and philosophical statements for the underdog.
I've always enjoyed feeling a connection to the avant-garde, such as Dada and surrealism and pop art. The only thing the artist can do is be honest with themselves and make the art they want to make. That's what I've always done.
When I was a freshman in high school, I read a book about the making of Disney's 'Sleeping Beauty' called 'The Art of Animation.' It was this weird revelation for me, because I hadn't considered that people actually get paid to make cartoons.
In our family, there wasn't anything else besides art. Nothing else in the world existed. My father never spoke about going to a movie or listening to music, other than my mother's singing.
I discovered the 7th art at home when I was kid, through Charlie Chaplin's movies and those of my father who shot documentaries. He was my biggest influence. So I took his camera and started shooting.
Well, I'd say that the beginning of this thing came through with Art of This Century, Peggy Guggenheim's, where she opened this gallery and began showing some things that caused a little talk, amongst a lot of other things.
