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.
But I'm interested in the Barnes Collection in Philadelphia. I hear there are some of the worst Matisses there. I like seeing bad art by good artists. It's inspiring. I'm able to identify with them. It makes them real.
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.
I have cut four albums so far, and all of them have been trendsetters and commercially successful. I believe that once you start taking art in commercial terms, it ceases to be art.
Music is the biggest tool of revolution - the best way to reach out to the youth and involve them. If you can't contribute to the world with your art, I don't see the meaning of life.
The dean of the American Film Institute has written that I'm one of the very few auteurs in America. I've had freedom for 40 years to create art that is totally personal and is what I believe in.
I probably had some impact, because everyone keeps telling me that I did. I like to feel like I'm coming out with something to try to make room for other young women to make their art.
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.
These maxims and the art of interpreting them may be said to constitute the premisses of science but I prefer to call them our scientific beliefs. These premisses or beliefs are embodied in a tradition, the tradition of science.
Just think for a moment if science really could move in the field of authenticity of works of art. There would be a cultural revolution to say the least, but also, I would say, a market revolution, let me add.
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.
Art is not the application of a canon of beauty but what the instinct and the brain can conceive beyond any canon. When we love a woman we don't start measuring her limbs.
Medicine is not only a science; it is also an art. It does not consist of compounding pills and plasters; it deals with the very processes of life, which must be understood before they may be guided.
France has lived a long time - eight or nine centuries - and yet art in France, too, was derivative up until the 19th Century.
I didn't have any real art training, but when I was about twelve nad thirteen, another boy and I went to a sign painter's house every Friday night and took lessons.
As I walked up the imposing steps of the Royal Academy, I came fact to face with Alwen Hughes. She looked just as stunning as she had done in my first year at art school.
I think we're much smarter than we were. Everybody knows that abstract art can be art, and most people know that they may not like it, even if they understand there's another purpose to it.
But what does interest me is the notion that if you do a lot of work it means there's a potential for other people to understand that a lot of things are possible with a sustained effort and that the broadening of experiences is possible and I think ...
