A Quote by Ellsworth Kelly
I noticed that the large windows between the paintings [in the Musee d'Art Moderne] interested me more than the art exhibited. From then on, painting as I had known it was finished for me.
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For me, architecture is an art the same as painting is an art or sculpture is an art. Yet, architecture moves a step beyond painting and sculpture because it is more than using materials. Architecture responds to functional outputs and environmental factors. Yet, fundamentally, it is important for me to stress the art in architecture to bring harmony.
I met Keith Haring at SVA college where he was having an art show, later we had a group art show at the Mud Club in NYC. Keith owed me $50, so he gave me a large framed canvas with barking dogs that had large dicks. I painted over Keith's painting to paint flowers for my mom's living room.
When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
Art has become more than painting, sculpture or music: art is more than Van Gogh painting a landscape or Wagner composing an opera. The whole of reality itself has become the object of art.
I love movies; I grew up loving movies. I've always loved movies. I never thought about making movies until I took art classes and then I started studying different artists. As you study paintings, you see light and shadow, of course - Rembrandt, Eugène Delacroix. You start to understand the relationship between people and art, and images. For me, between movies that I watched and art, it was like, I'd love to make moving art. Moving pictures.
Since 2000, I've been based in Paris at the Musee d'Art Moderne de la Ville, curating the programme there. Internationally, it's a very open situation that goes beyond national boundaries; directors and curators move from one country to another, which has opened up the museum landscape.
The more I've gotten interested in writing about history and making sense of myself within the continuum of history, the more I've turned to paintings, to art. I look to the imagery of art to help me understand something about my own place in the world.
To me, the art of cinema is the same as the art of painting. The artist takes a 2D medium and gives you the illusion of depth. If you look at any of the great paintings, you have the illusion of depth. Which is part of the art. The same with the great movies.
I had always drawn, every day as long as I had held a pencil, and just assumed everyone else had too…Art had saved me and helped me fit in…Art was always my saving grace…Comedy didn’t come until much later for me. I’ve always tried to combine the two things, art and comedy, and couldn’t make a choice between the two. It was always my ambition to make comedy with an art-school slant, and art that could be funny instead of po-faced.
Growing up in the '70s and '80s when my dad had an art gallery, one of the things that frustrated me was the world seemed so tiny, and to appreciate contemporary art, you needed a history of art, a formal education. I was more interested in the people, and that's why I went into the movie business in the first place.
To the question, ‘Is the cinema an art?’ my answer is, ‘what does it matter?’... You can make films or you can cultivate a garden. Both have as much claim to being called an art as a poem by Verlaine or a painting by Delacroix… Art is ‘making.’ The art of poetry is the art of making poetry. The art of love is the art of making love... My father never talked to me about art. He could not bear the word.
Art experts are unfailingly opposed to Art for the simple reason that they are interested in Art - but Art is not interested in Art. Art is interested in life.
This kind of painting with its large frames is a bourgeois drawing-room art. It is an art dealer's art-and that came in after the civil wars following the French Revolution.
I really love any and all manifestations of art, really respect any kind of artistic impulse, whether it's paintings and sculptures or really good filmmaking or music. I really see the relationships between these different mediums as very fluid. I think you see that nowadays, in this postmodern context, there's much more use of different mediums in contemporary art. For me, if you're a creative person, you can choose to make a painting, you can choose to make a film.
I loved surrealism and abstract painting, and anything related to those. I always thought painting was the highest form of art. What led me to drawing was seeing so much self-important, pretentious, conceptual-type art in university. I wanted to reject that by making quick, fun art.
The proletarian writer is a writer with a purpose; he thinks no more of art for art's sake than a man on a sinking ship thinks of painting a beautiful picture in the cabin; he thinks of getting ashore - and then there will be time enough for art.
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