Look, we're all saddled with things that make us better or worse. This world is a crazy place, and I've chosen to make my work about that insanity.
I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.
As a painter today you have to work without that essential platform. But if one does not deceive oneself and accepts this lack of certainty, other things may come into play.
You can't do a machine without knowing something about how it's going to work. As for the romantics, the costumes bored me and I don't enjoy doing period clothes.
A lot of my work is about what's abstract and what's pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line and watching things dip this way and that.
People always say that my work is sensational or shocking but there are truly shocking things you could do, and my sculptures don't go anywhere near that.
What moves those of genius, what inspires their work is not new ideas, but their obsession with the idea that what has already been said is still not enough.
I find in working always the disturbing intrusion of elements not a part of my most interested vision, and the inevitable obliteration and replacement of this vision by the work itself as it proceeds.
My friends and neighbors were always fixing their cars. Soldiers who felt restless wanted to work on something, and they understood cars. Me, I like to look at cars but I was never really a mechanic.
I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.
I like my drawings to be direct. I don't generally work on them for too long, but that doesn't mean that they are not works in their own right.
Today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source. They work from within.
I guess I created LeRoy Neiman. Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work.
Usually I am on a work for a long stretch, until a moment arrives when the air of the arbitrary vanishes, and the paint falls into positions that feel destined.
Sometimes when I walk into a gallery and I see someone's work, I think to myself, 'Gee, I wish I had done that.'
Association with my pupils has kept me young in my work. Criticism of their work has kept my own point of view clear.
When you work at a microscopic level, you have to control every part of your body movement - your fingertips, your joints, the pulse in your fingers.
Nou, Stanley Donne legde ons uit dat alle godsdiensten ter wereld, occulte broederschappen, alle mystici en sjamanen, of het nu Rozenkruisers, Ridders van de Ronde Tafel, Egyptische hogepriesters, Tibetaanse boeddhistishce monniken, Zuid-Amerikaanse ...
Verslaving heeft volgens mij altijd te maken met het herstellen van een evenwicht tussen gevoel en verstand. Iemand die veel drinkt benevelt zijn geest en dat benevelen is noodzakelijk om een controle over het lichaam te verliezen. Je houdt dat licha...
P.L. Travers: The rumor is that this is to be your Mr. Van Dyke, is it? Richard Sherman: We hope so. P.L. Travers: Hmm. We'll see about that, he's totally wrong. Totally and utterly. Robert Sherman: Dick is one of the greats! P.L. Travers: Dick Van D...
Modernism', as a label, has currency in the arts, architecture, planning, landscape, politics, theology, cultural history and elsewhere.
