I need to be working with the art world in N.Y.C. as much as I need to be working in my studios in Chicago and rural Wisconsin.
The history of American art, in a way, begins with Jackson Pollock and his big paintings. This theme of bigness - all painters and sculptors have dealt with it ever since.
Fashion week is very inspiring, and you can't look at things one dimensionally. And I think that everyone who works in this industry has a very three-dimensional view of what fashion is and what art is.
When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.
I was always making things. Even though art was what I did every day, it didn't even occur to me that I would be an artist.
Coming from the Midwest, I didn't know about stand-up as an art. I just thought stand-up comedians were old men in suits talking about their wives.
The good moral work of art should have all the qualities that a good amoral work of art should have, such as formal unity, balance, contrast, and a sensitivity to the material out of which it is made.
Everyone in those days expected that art students were wild, licentious characters. We didn't know how to be, but we sure were anxious to learn.
You say a new era in art is preparing; you sensed it coming; continue your studies without weakening. God will do the rest.
Making a living out of acting sounded like science-fiction when I was growing up. I didn't know anyone around me who lived from anything related to art.
The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public.
I think I realized it was an art form at the beginning, but it took me a really long time before I was able to view what I was performing myself as an art form.
Writing is a kind of performing art, and I can't sit down to write unless I'm dressed. I don't mean dressed in a suit, but dressed well and comfortably and I have to be shaved and bathed.
It would be obvious for me to do conceptual art, and I think I've done it already with smashing bass guitars and whatever - I consider that as conceptual.
Silent films were, I think, more different than we know to sound films. We think of it as simply that we added dialogue and in actual fact I think it was an entirely different art form.
What I wish to show when I paint is the way I see things with my eyes and in my heart.
I think for a long time it seemed like working in an art form and being a feminist meant portraying women in a perfect, angelic light. And there's nothing feminist about that.
I think of my peace paintings as one long poem, with each painting being a single stanza.
Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.
In the early '90s, when those little art films started coming out, we were introduced to Quentin Tarantino and guys like that, and independent cinema was something that everyone wanted to be a part of.
'Toonami' was a tremendous vehicle, delivering the art of Japanese animation to a massive audience that may have otherwise never experienced it. I feel an immense debt of gratitude to everyone involved with the show and to every fan who supported it.
