A Quote by Chuck Close

Any innovation that is evident in my paintings is a direct result of something that happened in the course of making a print. — © Chuck Close
Any innovation that is evident in my paintings is a direct result of something that happened in the course of making a print.
Everything good that has happened to me has happened as a direct result of something bad.
People are still making paintings. People are still enjoying paintings, looking at paintings. Paintings still have something to tell us. There's a way of being in the world that painting brings to us, that painters bring to the task that we absorb and are able to be in dialogue with. That's something that's part of us.
You have to act and this is something that happened in abstract expressionism too, it was a discovery particularly in De Kooning's paintings, great paintings. There's a lot of speed in his work and the speed produces things that only speed can produce.
What I don't like so much is to give explanations about people's behaviour... I'm not interested in making conclusions. I would never think about myself or anyone else, 'Well, this happened, this happened, this happened, so this must be the result.' It doesn't work like that with me.
When I first started, everything happened at once. I became religious, my musical career took off, I got married, I had kids, and all that happened within the course of a year. I had an excitement about this newly found faith, and so I was writing about that in a very evident kind of way.
Leapfrog innovation - consistent, constant, ridiculous leapfrog innovation - only happens within a dictatorship. Any time you try to do something really innovative, most people aren't going to understand it until after they experience it. So when you're developing in innovation, you have to be a dictator.
What happened to fantasy for me is what also happened to rock and roll. It found a common denominator for making maximum money. As a result, it lost its tensions, its anger, its edginess and turned into one big cup of cocoa.
Now, success is not the result of making money; making money is the result of success - and success is in direct proportion to our service. Most people have this law backwards. They believe that you're successful if you earn a lot of money. The truth is that you can only earn money after you're successful.
Everybody has a direct view of the person "behind" the art, so there is going to be a certain amount of awareness of who is making songs. But I like paintings where you can see the brush-strokes.
Hindsight is, of course, 20/20. Any time you go back, and you look at something, and now you've got the result of something, you say, 'Yeah, maybe it wasn't the right idea.'
I took a film course in grade ten that made me want to direct, and I've always been making short films and home videos with my friends, so it's definitely something I wanna pursue as well.
Any story has a beginning, middle, and end, of course, but the question is, where do you start it exactly? It's about a guy who is murdered in a fistfight, but how does it evolve and what does it mean? That's what I discovered scene by scene, and this innovation of coming in as a first-person narrator was a complete surprise to me. It just happened.
It is evident from the state of the country, from the habits of the people, from the experience we have had on the point itself, that it is impracticable to raise any very considerable sums by direct taxation.
I am convinced that an electronic machine, no matter how smart and intelligent, being still a mere spatial structure in concept, can neither innovate nor even understand the self-evident proposition: 'No spatial structure can be a representation of any feeling'. Such innovation can only be a work of a non-spatial mind, like a human being, and only such innovation, it should be acknowledged, can pave the way for further scientific achievements.
Success is not the result of making money; earning money is the result of success — and success is in direct proportion to our service.
I absolutely refuse to accept the fact that any country in the world goes into a kind of film-making crisis. What happens is they lose confidence, they lose focus and the young film-makers of any particular generation can very easily get lost in that mix. It's happened in Italy, happened in France, happened in the U.K. during my lifetime.
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