A Quote by Frank Stella
I never noticed competing with other generations. There's competition within your own generation, but that competition is good. Maybe you're annoyed that somebody's getting more money than you are, but what's really annoying is if someone's painting a better painting than you're making. So it's something to think about and work toward and stay focused on.
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I think a good painting or a good work of art does many things it wants, I mean, maybe 15 or 20 or 100. One of the things a painting does is to make the room look better. It improves the wall that it's on. Which is much harder than it looks. And that's a good thing. And if one engages with a painting on that level, that's fine, that's great. After some time, familiarity, the other things that a painting does, the other layers, they just start to make themselves felt.
People always say there is competition in nature, but I think that because we are human, it's not only competition. Because we are human we have something other than competition - sharing, helping others, or being oneself. Competition is really kind of ugly.
The kind of society which we still have is maybe, in some cases, getting worse. Competition is becoming a virtue. Intense competition drives people to go more and more into self-interest. Even to see other folks as competition.
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.
All you have to do is play better than the other guy and things go well. If you don't play better than the other players then somebody takes your place. Now a lot of guys, in this day and time with the transient nature of the sport, as soon as the competition gets too good, they want out.
There are absences, but there are also presences. It's about how painting can evolve its own abstractions. I didn't know the painting was going to be about that, but it has to have that journey; I have to learn something, I have to end up somewhere I didn't expect to be, otherwise, I don't think it's painting.
Don't work harder than your competition, be your own competition.
I don't think my competition is with the heroes. I don't think I'm competing with anyone. I don't mean to sound Zen, but genuinely, when I stopped competing with anything is when I started enjoying my work, and that brought out the best in me. I'm living in a universe of my own, and I'm enjoying that. I love to appreciate other people's work.
I didn't know about competition or the Olympics until Peggy Fleming won in 1968. My mother looked after all of the competition stuff. I just skated. I didn't really love competition, but that was the only way to get better. You'd see more talent.
It's one thing to execute dishes on your own time for family and friends, but quite another to perform and be judged in a competition. And that's what cooking in a high profile restaurant is. It's a competition. You're up against every other three-star restaurant in your city, and if you want to stay in business, you'd better deliver.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
All I care about these days is painting — photography has never been more than a way into painting, a sort of instant drawing.
Painting from life was incredibly important for me because it allowed me to train my eyes to see everything that is there. But I realized early on that painting from life wasn't something that I was all that invested in. I was always more interested in the painting than I was the people. For me, removing that as a compulsion offered me a lot more freedom to actually paint and think about color, form, movement, and light.
Our focus is to see that we are growing faster than the industry and, whichever product we launch, we do better than competition. We try and manage our operations better than competition. Essentially, we try to be better than what we were the previous year.
I'm never interested in the painting being a mirror to culture. I think that's really boring. What I'm interested in is painting as an affective space. The place where the hierarchies of the world can be rearranged within the space of a painting. And they can be articulated in different ways.
If you ask people to remember a painting and a photograph, their description of the photograph is far more accurate than that of the painting. Strangely enough, there is a physical element intertwined with the painting. It shakes loose an emotional element within the viewer.
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