A Quote by Brice Marden
A painting, you know, it's all dirty material. But it's about transformation. Taking that earth, that heavy earthen kind of thing, turning it into air and light.
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The thing that is most beautiful about Antarctica for me is the light. It's like no other light on Earth, because the air is so free of impurities. You get drugged by it, like when you listen to one of your favorite songs. The light there is a mood-enhancing substance.
Stained glass is unique from the outside, but as a painting insider, I know that oil painting's all about light. And it's about the depiction of light, the way that it bounces off different types of skin, different landscapes. The mastery of that light is the obsession of most of my painter friends.
I did a lot of heavy-lifting - construction, demolition, that kind of thing. Dusty, dirty work.
All material in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to Light.
I will do a lot of research and create a lot of material for use in one painting. And then I go on discovering and working with a whole other range of material in another painting. I'm interested in a fairly comprehensive and orchestrated synthesis that might bring about a new situation consisting of this hidden material. I'm interested in hidden source material.
Consider paint a film of light reflecting/absorbing material, and a colored paint a material which gives a particular, characteristic transmission of light via differential absorption and reflection. Call this reflected quality 'luminance' and measure it in millilamberts. This measure is as real and present as height, breadth, depth; and I find the phenomenon equally sumptuous and convincing. . . . Painted light, not color, not form, not perspective, or line, not image, or words, or equations, is painting. I make paintings which do not represent light, they are light.
It's kind of like sentencing. A lot of people say that we have a heavy sentence for this crime and a light sentence for another crime, and what we ought to do is reduce the heavy sentence so it's more in line with the other. Wrong. In most cases we ought to increase the light sentence and make it compatible with the heavy sentence, and be serious about punishment because we are becoming too tolerant as a society, folks, especially of crime, in too many parts of the country.
A circle swoop, and a quick parabola under the bridge arches
Where light pushes through;
A sudden turning upon itself of a thing in the air.
A dip to the water.
They don't want to get dirty and they know that Trump loves this kind of thing. And your polls, and yours are what's giving them the material that they need, it's the oxygen that the Trump campaign requires, a poll every three or four days showing him where he is.
My work is about your seeing. There is a rich tradition in painting of work about light, but it is not light -- it is the record of seeing. My material is light, and it is responsive to your seeing.
Art is both the taking and giving of beauty; the turning out to the light the inner folds of the awareness of the spirit. It is the recreation on another plane of the realities of the world; the tragic and wonderful realities of earth and men, and of all the inter-relations of these.
The idea of being close to where pigments were mined - that's the first thing in making a painting, getting the material. And what's the last thing you do in making a painting? You put a frame around it.
It was dawn now on Long Island and we went about opening the rest of the windows downstairs, filling the house with gray-turning, gold-turning light. The Shadow of a tree fell abruptly across the dew and ghostly birds began to sing among the blue leaves. There was a slow, pleasant movement in the air, scarcely a wind, promising a cool, lovely day.
Aside from the fact of just taking things out of context, I don't know why. That's part of a mystery. In a way, a transformation is a mystery to me. But there is a transformation, and that's fascinating.
There are different kinds of painting, some with lights and some without, but still if you look at any painting here (in the light) and then over here (out of the light) it's an entirely different thing. The consciousness of this came to the Impressionists and I'm very interested in that.
The earth doesn’t care where death occurs. ...It’s the artist, by coming in and writing about it or painting it or taking a photograph of it, that makes the earth powerful and creates death’s memory. Because the land will not remember by itself, but the artist will.
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