A Quote by China Machado

When Dick Avedon died, I was so upset that I just started painting. — © China Machado
When Dick Avedon died, I was so upset that I just started painting.
I don't think anyone could be the next Dick Vitale. I mean that in a good way. More than an announcer, Dick is an ambassador for the game. Dick is in class by himself. Like what he does or not, what he has done to expand the popularity of college basketball is phenomenal.
I think my first song ever was when my cat died. It was this awful, dreadful black cat who was angry and hated everything. Yet I was so upset when it died.
I live in a high-rise apartment building, so I just have two cats. They're both pound kitties. One of them, Dick, is an evil, foot-biting cat. When I write a tiger morph, I'm always imagining Dick.
Picasso didn't stop painting when he was 41 years old because he felt he wasn't relevant, but he kept going and the painting he made before he died are now worth 40 million dollars.
THE DEATH OF LEOPOLD GURSKY Leopold Gursky started dying on August 18, 1920. He died learning to walk. He died standing at the blackboard. And once, also, carrying a heavy tray. He died practicing a new way to sign his name. Opening a window. Washing his genitals in the bath. He died alone, because he was too embarrassed to phone anyone. Or he died thinking about Alma. Or when he chose not to.
My father died early. My mother died early. I started hanging with the gangs. I'm on the streets; I'm committing crimes. And the music came along, and this music just took me on a different road.
People are very upset with Washington. They're upset with Democrats. They're upset with Republicans. They're upset with the establishment.
We started on the pole but by Lap 150 we were ninth or 10th and we were struggling. The car was sliding around a lot, but I did not get upset. I just said, 'Let's just keep working hard.' Last year, I would have been so upset about getting passed by those cars I would have been overly aggressive and would have worn our tires out. You can't do that in a 500-mile race if you want to be strong at the end.
In the beginning, I started doing portraits of children, and of course, children have large eyes. For some reason, they just started getting bigger and bigger. Then, when I started painting imaginary children rather than real ones, they became bigger still.
I went to art school, and every Tuesday and Friday we drew the nude. If you look at Western painting, male and female nudes are in the center of every painting. It's difficult and exciting to draw the nude. Why get so upset about this? It's our duty to break taboos.
Ever since I started painting, I have tried to get the fluidity and surprise of image connection, the simultaneity of film montage, into painting.
The toughest part is that when your kid's upset, you're upset. You're rocked until they're not upset. Even when they're not upset, you're like, "I hope that doesn't happen, down the line." You're always nervous because you want your kid to be happy.
I was always interested in drawing and painting. I enrolled in college to study painting. But I didn't have any livelihood when I graduated. My mother died very young, and I didn't have any home, so I had to find a way to earn a living. It seemed to me that photography - to the great disappointment, I have to say, of my painting teacher - could offer that. So I went and did a degree in photography, and then after that I could go out and get paid for work. For portraits, things like that.
I don't know how the 'Richie' started. My name is Richard, and they called me Dick in the minor leagues.
I remember this time I worked with Linda Evangelista on a shoot for Richard Avedon. I just put grease on her face, and it was beautiful.
Dick Moss, my agent. Dick became my agent in 1979 when I signed my contract with the Houston Astros.
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