A Quote by Molly Crabapple
No painting is ever not an infinitely reproducible image any more.
Related Quotes
When everything is immediately available and infinitely reproducible, nothing is valuable.
The edge of a painting is its frontier... where the artist negotiates his boundaries with the real world... where art begins and ends and where the eye enters and leaves the image. It determines, in an infinitely subtle number of ways, how you read a painting - which, unlike a book or a piece of music, has no pre-determined beginning or end.
Ever since I started painting, I have tried to get the fluidity and surprise of image connection, the simultaneity of film montage, into painting.
Marilyn Monroe gave more to the still camera than any actress, any woman I've ever photographed; infinitely more patient, more demanding of herself and more comfortable in front of the camera than away from it.
The natural scientist is concerned with a particular kind of phenomena ... he has to confine himself to that which is reproducible ... I do not claim that the reproducible by itself is more important than the unique. But I do claim that the unique exceeds the treatment by scientific method. Indeed it is the aim of this method to find and test natural laws.
We all have to die a bit every now and then and usually it's so gradual that we end up more alive than ever. Infinitely old and infinitely alive.
If you're too sloppy, then you never get reproducible results, then you never get reproducible results, and then you never can draw any conclusions; but if you are just a little sloppy, then when you see something startling, you nail it down. So I called it the "Principle of Limited Sloppiness".
A painting is merely the image of a tree, a man, or any other object reflected in a fountain. The difference between a painting and sculpture is the difference between a shadow and the thing which casts it.
It is astonishing how much the word infinitely is misused: everything is infinitely more beautiful, infinitely better, etc. The concept must have something pleasing about it, or its misuse could not have become so general.
I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong.
What interested me in film was the image-making aspect of it. So, I went to school in cinematography. I was really convinced that image was what I wanted to do, and I think it came from the fact that I lived in a small town my whole life, but my mother was very interested in painting, so she would bring us to Paris for two weeks. So, we're going to the Louvre and to the museums and to see shows. In the evening we were seeing theater. Painting is basically what led me. I think the image was key.
We know that behind every image revealed there is another image more faithful to reality, and in the back of that image there is another, and yet another behind the last one, and so on, up to the true image of that absolute, mysterious reality that no one will ever see.
The narrative image has more dimensions than the painted image - literature is more complex than painting. Initially, this complexity represents a disadvantage, because the reader has to concentrate much more than when they're looking at a canvas. It gives the author, on the other hand, the opportunity to feel like a creator: they can offer their readers a world in which there's room for everyone, as every reader has their own reading and vision.
We all know of course, that we should never ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever fiddle around in any way with electrical equipment. NEVER.
Painting is self-discovery. You arrive at the image through the act of painting.
My being subsists only from a supreme point of view which is precisely incompatible with my point of view. The perspective in which I fade away for my eyes restores me as a complete image for the unreal eye to which I deny all images. A complete image with reference to a world devoid of image which imagines me in the absence of any imaginable figure. The being of a nonbeing of which I am the infinitely small negation which it instigates as its profound harmony. In the night shall I become the universe?
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