Architecture is a very dangerous job. If a writer makes a bad book, eh, people don't read it. But if you make bad architecture, you impose ugliness on a place for a hundred years.
I'm often called an old-fashioned modernist. But the modernists had the absurd idea that architecture could heal the world. That's impossible. And today nobody expects architects to have these grand visions any more.
In architecture, you arrive so late. I look at doctors, lawyers I know, and they're all buying boats and bailing out at 62. My career is just getting started.
My art has always been in response to visions. Rather than confine my subject to representations of the outer worlds, I include portrayals of the multi-dimensional imaginal realms that pull us toward consciousness evolution.
When I travel, I draw and paint sketches which is great fun. And as long as you are fully aware that it has nothing to do with actual art, I think that's all right.
For me, the heyday was in 1959. It was before the Ferus Gallery moved across the street, in the days when Ed Kienholz and Walter Hopps ran it. At that time, art was taken very seriously in terms of being an artist, and not as a profession.
Warhol's images made sense to me, although I knew nothing at the time of his background in commercial art. To be honest, I didn't think about him a hell of a lot.
I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I'm trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social ...
Even when I was a little girl, I remember going to the Museum of Modern Art. I think my parents took me there once or twice. And what I really remember is the design collection.
I feel uncomfortable with the term public art, because I'm not sure what it means. If it means what I think it does, then I don't do it. I'm not crazy about categories.
I have tons of art books. I have them all over the place. They are in my car, in my bag, and in my studio. There are books around me all the time.
You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
You don't have to have a great art idea - just get to work and something will happen. So that's pretty much my modus operandi and pretty much my principal position, such as it is.
I'd already decided I wanted to design shoes after I saw a sign in the Museum of African and Oceanic Art forbidding high heels. Well, who could resist?
I look at a lot of artists. I'm inspired by - I suppose I shouldn't say 'inspired,' but it's not really influenced. I am inspired. Art comes from art.
Great art - or good art - is when you look at it, experience it and it stays in your mind. I don't think conceptual art and traditional art are all that different.
I think art is good at looking back and looking forward. I don't think art is good at looking head-on. At the end of the day, people are more important than paintings.
Shadows sometimes people don't see shadows. The Chinese of course never paint them in pictures, oriental art never deals with shadow. But I noticed these shadows and I knew it meant it was sunny.
What an artist is trying to do for people is bring them closer to something, because of course art is about sharing. You wouldn't be an artist unless you wanted to share an experience, a thought.
Anyway I feel myself a bit on the edge on the art world, but I don't mind, I'm just pursuing my work in a very excited way. And there isn't really a mainstream anymore, is there?
I don't think geometric art is... I don't like to call it that. I don't think it's any more pure than pop art or anything else. It doesn't have anything to do with purity.
