Industry in art is a necessity—not a virtue—and any evidence of the same, in the production, is a blemish, not a quality; a proof, not of achievement, but of absolutely insufficient work, for work alone will efface the footsteps of work.
My contribution to the world is my ability to draw. I will draw as much as I can for as many people as I can for as long as I can.
When it is working, you completely go into another place, you're tapping into things that are totally universal, completely beyond your ego and your own self. That's what it's all about.
The scene then as now was centered in New York. For the most part, I've kept a bit apart from that attractive and seductive city. I've done it by living in the country within commuting distance.
I always say I'm Catholic - but a cultural Catholic. I wouldn't say I'm a spiritual person, although I pray every day.
To express your emotions, you have to be very loose and receptive. The unconscious will come to you if you have that gift that artists have. I only know if I'm inspired by the results.
And, since the model he faithfully copies is not going to be hung up next to the picture, since the picture is going to be there on its own, it is of no interest whether it is an accurate copy of the model.
Painting is sometimes like those recipes where you do all manner of elaborate things to a duck, and then end up putting it on one side and only using the skin.
The procedure was that an artist got a mural and then he would have anywhere from two to ten assistants depending on the size of the mural and how many assistants he needed, or she needed.
I don't know if I'm an impressionist or an expressionist. You can call me an American first... I've been labeled doing neimanism, so that's what it is, I guess.
I played an artist in a comedy called 'Rooster.' It was a zany film by Glen Larson, a friend who produced several successful television series including 'Magnum PI.'
Thus, the more succinctly a train of thought was expounded, and the more comprehensive the unity of its basic idea, the closer it would approximate to the prerequisites of the mathematical way of thinking.
I paint to evoke a changing language of symbols, a language with which to remark upon the qualities of our mysterious capacities which direct us toward ultimate reality.
Between words and objects one can create new relations and specify characteristics of language and objects generally ignored in everyday life.
Everything we see hides another thing, we always want to see what is hidden by what we see, but it is impossible. Humans hide their secrets too well....
I don't collect books just because other people collect them, and I'm not going to have books in my collection if I think it's badly written.
I don't think any one person, whether artist or not, has been given permission by anyone to put the responsibility of the way things are on anyone else.
And also the new excitement and variety of ways that the abstract expressionists were applying paint. You could put it on as though it were colored air and it would be painting.
I am a socialist, so I am not worried about socialism. I am worried about dictators who are putting everyone into a socialist state for their own benefit.
I'm not an abstractionist. I'm not interested in the relationship of color or form or anything else. I'm interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on.
I'm really interested in the difference between selfishness and generosity. It confuses me to no end because sometimes it all just feels like pure indulgence on my part.
