HOW CONCISE THAT YOU CAN CRY FROM AWFUL WOUNDS, DESERTION, HAPPINESS, MEMORIES, HUMILIATION, DISAPPOINTMENT OR GRANDEUR.
I often find that having an idea in my head prevents me from doing something else. Working is therefore a way of getting rid of an idea.
The thing is, if you believe in the unconscious - and I do - there's room for all kinds of possibilities that I don't know how you prove one way or another.
I use printers to make prints of the images that I am creating. And I try to have that surface kind of replicated in the painting.
I think you always, as an artist, feel like you would like to be more and more specific about your intent and your interests.
In 19th-century France, artists were part of government. Artists are very sensitive to their time. They're very thoughtful people - it makes sense to hear what they have to say.
Growing up in Hollywood, like I did, I have a passion and a love for the movies, so I go to the cinema all the time.
We are not yet at the point where our size, our being the drama industry, is sufficient to support full time professional crews, and that is very very important.
They will open up to what I would call corporate broadcastings where the non-commercial material will have air time. There's no possibility of that here right now, none.
In this case we're building a corner to stretch a fence and hang a gate. It had a real purpose in the ranch here. I needed to do this. But at the same time, it made a beautiful structure.
His failures are as valuable as his successes: by misjudging one thing he conforms something else, even if at the time he does not know what that something else is.
The time when I had desire to go to the United States I didn't have a penny. It was in the middle of the depression, you know. I couldn't get as far as Hoboken at that time.
Formulating the proposal is about 80% of the actual time of the process. In the end, the time spent filming, editing and postproduction is a very small proportion of the total time you spend in the production of the film.
It was in the 1920s, when nobody had time to reflect, that I saw a still-life painting with a flower that was perfectly exquisite, but so small you really could not appreciate it.
As basic rules of a language must be practiced continually, and therefore are never fixed, so exercises toward distinct color effects never are done or over. New and different cases will be discovered time and again.
I don't ever work in a way where something is an illustration of an event, but when something is occurring at the same time I see it as very informed by that.
As time goes on, I realize more and more that, beginning in the early 30's, David Smith began setting the precedent for what was to come later for many of us.
Well, let's say we acknowledged the School of French Painting - the Paris School of painting as the leading force and vitality of the time. I think that was understood and felt and experienced.
I draw all the time. Drawing is my backbone. I don't think a painter has to be able to draw, I just think that if you draw, you better draw well.
I'm trying to do what I have never done - give the impression one has on entering a room: one sees everything and at the same time nothing.
In a way, I pattern myself after all the bands I used to like as a kid. Every time they put out LPs, they had a whole new look and a new sound.
