At first I had some idea that the absence of color made the work more physical. Early on I was very involved with the notion of the painting as an object and tended to attack that idea from different directions.
When you have an idea for a work and when you've finished your model for it, for the artist it's almost complete, in a way. But then bringing it to the finish is really something you do for the audience. It is always exciting.
When you're on tour, you're trying to get the crowd involved and really sing and perform to them. When you're going to write and be in the studio, it's like, 'Now I have to think about me.' That's the mind-set you have to work with.
The dripping... well, if it happens, it happens; it does not take anything from the work. The dripping just proves that you were not trying to control the work, but the work was developing by itself and if it drips, it's a natural part in the evoluti...
The work I did in Vertigo meant nothing if no one cared about the movie. Luckily, Vertigo had a revival and people had begun to recognize there was something special and it gained in reputation. But it just as well could have ended up rotting in film...
After a couple of failed attempts, I came up with a weird tuning where I was dropping the G string down a step so that it became a seventh, and it got me to a place where I could play all these figures fairly easily. It was not an easy thing to work ...
My own image of my work is that I no sooner settle into something than a break occurs. These breaks are always painful and depressing but despite them I see that there's a consistency that holds out, but is hard to define.
As Minister of Foreign Affairs. I will work on deepening Haiti's links with its traditional partners from the North and the South, while exploring all the opportunities for economic, cultural, scientific and technological cooperation that may benefit...
The size thing is not some gimmick or attention-getting trick but a genuine undercurrent of the work. Frank Gehry for instance likes to imagine his buildings as sculptures. I like to imagine my sculptures as architectural.
My odyssey to become an astronaut kind of started in grad school, and I was working, up at MIT, in space robotics-related work; human and robot working together.
Their educations ended with high school - my father going to work as a clerk and then salesman in a company dealing in printing and stationary, and my mother working as a secretary and then bookkeeper in a firm of wool merchants.
I learned quickly, as I tell my graduate students now, there are no answers in the back of the book when the equipment doesn't work or the measurements look strange.
I don't know what people find or like in me, I'm hopelessly commonplace! Current appreciation of my work is a bit highbrow, I've always considered myself a popular artist.
My own feeling is that one should refuse to participate in any activity that implements American aggression - thus tax refusal, draft refusal, avoidance of work that can be used by the agencies of militarism and repression, all seem to me essential.
One does not lash hat lies at a distance. The foibles that we ridicule must at least be a little bit our own. Only then will the work be a part of our own flesh. The garden must be weeded.
To finish a work? To finish a picture? What nonsense! To finish it means to be through with it, to kill it, to rid it of its soul, to give it its final blow the coup de grace for the painter as well as for the picture.
When a man undertakes to create something, he establishes a new heaven, as it were, and from it the work that he desires to create flows into him... For such is the immensity of man that he is greater than heaven and earth.
Some of our early work was two minutes twenty when it actually came out on vinyl, very, very, very short. Sometimes if you made a three-minute record they would make you do an edited version for radio, particularly in America.
I'm a producer. I'm a musician. And my job is to come in and, you know, put - you know, I treat all of the artists that I work with, like, you know, the way da Vinci was looking at Mona Lisa, you know, there's an interesting backdrop.
To make our way, we must have firm resolve, persistence, tenacity. We must gear ourselves to work hard all the way. We can never let up.
There are confirmed stories of people who can break instruments and cause them to fail by walking in a room. I'm the opposite - I can walk into a room and something will work better than it is supposed to.
