A Quote by David Kassan
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
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I understand all the work to be of a nonabstract nature regardless of the style, form, or explicit subject matter because all the work... is concerned with evoking experiences that are in themselves - and their relationship to you, the viewer - the ultimate subject and content of the work. I want to equate the experience of the work with its meaning.
I want the viewer to be overwhelmed. I want the space to feel like it is caving in on the viewer and that they are forcibly entering the world of my paintings. I want there to be a feeling of overpowering decadence to the work, that is almost too much to take. I don't want them to be subtle.
What I aspire to is to have the viewer look directly at the subject, as if they're looking through a window at the real thing.
Through a portrait, we can potentially see everything — the history and depth of a person's life, as well as evidence of a primal universal presence. I have dedicated my life and creative energy to capturing these transcendent moments in which a connection is made between the subject, the photographer, and the viewer.
As an interviewer, I don't think you can dance around the subject. Certainly the interview subject knows if you are dancing, and the viewer knows that you are dancing. If it's a hard question, you just have to ask it.
People want to know those details. They think it gives them greater insight into a piece of art, but when they approach a painting in such a manner, they are belittling both the artist’s work and their own ability to experience it. Each painting I do says everything I want to say on its subject and in terms of that painting, and not all the trivia in the world concerning my private life will give the viewer more insight into it than what hangs there before their eyes. Frankly, as far as I’m concerned, even titling a work is an unnecessary concession.
I am sorry to have to introduce the subject of Christmas. It is an indecent subject; a cruel, gluttonous subject; a drunken, disorderly subject; a wasteful, disastrous subject; a wicked, cadging, lying, filthy, blasphemous and demoralizing subject. Christmas is forced on a reluctant and disgusted nation by the shopkeepers and the press: on its own merits it would wither and shrivel in the fiery breath of universal hatred; and anyone who looked back to it would be turned into a pillar of greasy sausages.
A lot of the pieces I've done over the years have involved alterations of scale and the idea of the viewer's relationship to the object and how we see things by either enlarging or reducing objects, it causes the viewer to look at them again. It's hard to do because our culture is so bombarded by images and media. How do you make something fresh for a viewer? That's a real challenge.
If you're not excited about the subject, the viewer won't be either.
The inherent non-linearity of the digital allows for more input from others, including the subject and reader as collaborators. The top-down, bedtime-style story is of limited use. A non-linear narrative that allows for increased complexity and depth, and encourages both subject and reader to have greater involvement, will eventually emerge more fully from the digital environment. This, in a sense, is the more profound democratization of media.
Even if the painting is green, well then! The 'subject' is the green. There is always a subject; it's a joke to suppress the subject, it's impossible.
This pre-eminence is something [men] have unjustly arrogated to themselves. And when it's said that women must be subject to men, the phrase should be understood in the same sense as when we say we are subject to natural disasters, diseases, and all the other accidents of this life: it's not a case of being subjected in the sense of obeying, but rather of suffering an imposition, not a case of serving them fearfully, but rather of tolerating them in a spirit of Christian charity, since they have been given to us by God as a spiritual trial.
The power and appeal of Documentary is the way it alters and plays with the way the viewer relates to and understands the subject.
The subject matter that I am really spending my time on has become an acceptable subject matter. Living, lifestyle, family, is now in the forefront of interest in America, and I've just stuck with it. I mean, I've been doing this for years, and I never got angry. I never said, you know, listen, I'm fighting for this subject. That wasn't my point. My point was to continue working in a subject matter, knowing full well that finally it would be recognized as a viable subject once again.
I want art to affect the viewer and for the viewer to take it away to enhance, embrace, and elevate life. That's the spiritual aspect. Painting is a spiritual practice, but sometimes it is hard to give up control!
The personality and style of a photographer usually limits the type of subject with which he deals best. For example Cartier-Bresson is very interested in people and in travel; these things plus his precise feeling for geometrical relationships determine the type of pictures he takes best. What is of value is that a particular photographer sees the subject differently. A good picture must be a completely individual expression which intrigues the viewer and forces him to think.
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