A Quote by Arnold Friberg

I am doing what I want to do - painting pictures people want and understand. I have no burning ambition to create the kind of 'art' which the confused critics praise for its 'plastic significance,' 'fluid lines,' and 'inner awareness,' or 'must be understood on three levels.
It's not the journalists; it's the critics that I can't understand. I've never understood what kind of a person would want to criticize someone else's work.
What I want is the world to remember the problems and the people I photograph. What I want is to create a discussion about what is happening around the world and to provoke some debate with these pictures. Nothing more than this. I don't want people to look at them and appreciate the light and the palate of tones. I want them to look inside and see what the pictures represent, and the kind of people I photograph.
I'm not anti conceptual art. I don't think painting must be revived, exactly. Art reflects life, and our lives are full of algorithms, so a lot of people are going to want to make art that's like an algorithm. But my language is painting, and painting is the opposite of that. There's something primal about it. It's innate, the need to make marks. That's why, when you're a child, you scribble.
I don't want you to praise me...Some praise me because I am a colored girl, and I don't want that kind of praise. I had rather you would point out my defects, for that will teach me something.
Norman Rockwell spent his career painting pictures that helped people understand their own feelings...pictures that enriched their own experiences and celebrated their own lives. But the art establishment branded him an 'illustrator', a sentimental one at that. Real artists, they said were doing art for art's sake, not for the sake of the bourgeois public. Real artists were putting swiggles, smears or daubs of paint on the canvas. They were doing 'innovative' and 'creative' work. If they were hideous and grotesque; we know that's what life really is!
I am dominated by one thing, an irresistible, burning attraction towards the abstract. The expression of human feelings and the passions of man certainly interest me deeply, but I am less concerned with expressing the motions of the soul and mind than to render visible, so to speak, the inner flashes of intuition which have something divine in their apparent insignificance and reveal magic, even divine horizons, when they are transposed into the marvellous effects of pure plastic art.
I teach art at a famous art school, and yet I don't have really the least notion what post-modernism means, but we have people in the letters and science department that understand it quite well and the students go there if they want to understand what this term that is being bandied about is all about, but I've never understood it.
Most people don't really like to pose. It is difficult to get them to be present and relaxed under this kind of molecular scrutiny. I want them to understand I'm not simply painting them: I am painting them within a precise moment in time, as a shadow moves across their eyebrows. Then it is gone. The moment is over.
What people want now, they want jobs. They want great jobs with good pay. And I'll tell you, we're spending a lot of money on the inner cities - we are fixing the inner cities - we are doing far more than anybody has done with respect to the inner cities. It is a priority for me, and it's very important.
These pictures possibly give rise to questions of political content or historical truth. Neither interests me in this instance. And although even my motivation for painting them is probably of no significance, I am trying to put a name to it here, as an articulation, parallel to the pictures, as it were, of my disquiet and of my opinion.
I want to unfold. I don't want to stay folded anywhere, because where I am folded, there I am a lie, and I want my grasp of things to be true. I want to describe myself like a painting that I looked at closely for a long time, like a saying that I finally understood, like the pitcher I use every day, like the face of my mother, like a ship that carried me through the wildest storm of all.
I want to take some quite incredible photographs that have never been taken before... pictures which are simple and complex at the same time, which will amaze and overwhelm people ... I must achieve this so that photography can begin to be considered a form of art.
To me, I will be a stronger person if I'm moving forward, doing the work I want, and continue to drive: force the purpose that I want to create versus doing what other people think I should be doing, which is never a way to live.
What we need to do together is to put in place the kind of - foster the kind of environment where businesses of all sizes - small, medium or large - want to invest, want to do the innovative things that our businesses here in America are known for doing, want to grow our economy and want to create the kind of jobs that will bring - reduce that unemployment rate.
Bureaucrats want you to think that the system is too complex because they want you to be stupid about it and uninterested in it. They work very hard to create as many levels as possible away from the simplistic government our Founding Fathers formed for one simple reason: they don't want you to know what they are doing.
People want Art. And they are given it. But the less Art there is in painting the more painting there is.
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