A Quote by T. Allen Lawson
The transition from painter to artist comes when you cross the line of painting what you see to painting what you feel about what you see.
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You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
Comedy is the one absolutely self-aware art form. Actually, hip-hop's another one, I suppose. Because in your songs you're talking about how good a hip-hop artist you are. It's like a painter painting a panting of himself painting a painting.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting.
Painting is an illusion, a piece of magic, so what you see is not what you see. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
Just the way you might look at a painting and see the painting, and the painting is outside you, so this immaterial intellect would see the forms and behold them, as if they were standing before it. And Plotinus said that that can't be right because it falls prey to sceptical objections.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
When I look at a painting it isn't only the painting I see but the thing that I am. If there is more in the painting that I am, then I won't see it.
My first sense of myself was as an artist, a painter. I would see a Van Gogh painting and just love it, the more emotional and passionate the more it attracted me.
I was at an art museum with my parents, and was quite taken with a [Vincent] Van Gogh painting. I stood admiring the painting for some time, and then realized that in addition to feeling moved by the beauty of the painting, I felt a little jealous of the painter.
I'm just a landscape painter. I look out the window and I see what's going on, and I paint it. While I'm painting it, I also write thoughts about what I see going on out there.
I would never put a sculpture in front of a painting, so that it is difficult to see the painting. I always place each thing so you can see it isolated. You can focus on every individual work.
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