If you give people tools, and they use their natural abilities and their curiosity, they will develop things in ways that will surprise you very much beyond what you might have expected.
I felt the most intense pleasure in piercing the stone in order to make an abstract form and space; quite a different sensation from that of doing it for the purpose of realism.
One must be entirely sensitive to the structure of the material that one is handling. One must yield to it in tiny details of execution, perhaps the handling of the surface or grain, and one must master it as a whole.
A wartime C.E.O. may not delegate. They make every decision based on the next product release. They may use a lot of profanity.
People say the most important thing is building a world-class team.
You can't worry about the mistakes, because you're going to make a lot of them. You've got to be thinking about your next move.
If somebody's going on your board, and you're going to be C.E.O., it will help if that person knows how to be C.E.O., who has done it before.
St. Petersburg is a wonderful city. You have wonderful parks, birds singing in the trees, manatees in the water, pelicans. So it's like this little paradise on Earth.
I keep telling people: Don't make me the poster boy for AA because I don't know a lot about sobriety, but I do know a lot about drinking.
I have been both praised and criticized. The criticism stung, but the praise sometimes bothered me even more. To have received such praise and honors has always been puzzling to me.
I think historically America has been pretty tolerant. It seems when there's a mass influx from one place, that's when it becomes problematic for Americans.
She always says I'm the best friend that she's ever had... how do you hang up on someone who needs you that bad? ~From 'Laura' on The Nylon Curtain
And it was dark So dark at night And we held on to each other Like brother to brother We promised our mothers we'd write And we would all go down together
I think people have to set up little battles. They have to demonize people whom they disagree with or feel threatened by. But it's the ideological framing of the debate that scares me.
I like suggesting that 'we are slaves to the objects around us,' that 'plenty should be enough,' or that the 'buyer should beware,' within the context of conventional selling space.
I always wanted to be a part of a New York-based label, so I've worked really hard to try and network with people that I felt would put me in the right place.
I always feel the desire to look for the extraordinary in ordinary things; to suggest, not to impose, to leave always a slight touch of mystery in my paintings.
Painting is a language which cannot be replaced by another language. I don't know what to say about what I paint, really.
The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.
I want to add something worthwhile rather than just chucking loads of stuff into the world. I don't want to feel responsible for adding to the soup of mediocrity.
Mum says that, since I was a tiny baby, I've had the most strong-willed and stubborn personality known to man. Although that was a real pain for her, she admired my resolve.
