A Quote by George Bellows
I found myself in my first art school under the direction of Robert Henri... My life began at this point.
Related Quotes
And what we called photojournalism, the photos seen in places like Life magazine, didn't interest me either. They were just not good-there was no art there. The first person who I respected immensely was Henri Cartier-Bresson. I still do.
I'm a huge, huge fan of photography. I have a small photography collection. As soon as I started to make some money, I bought my very first photograph: an Henri Cartier-Bresson. Then I bought a Robert Frank.
I love art, my mother is a painter, I majored in art history at Wellesley, and as I was having my second child I was thinking, what am I going to do, I have to do something to keep myself sane, and I began to ask myself, what are the most horrific circumstances under which art can be created?
I see myself as a man who is searching for meaning in life. This is rather different from being a staunch believer in something. A believer is someone who senses a consciousness or a direction and believes in it. The one who searches for meaning has not found the direction yet.
In an era when museum curators were busy introducing the public to photographs of daily life taken by Robert Frank, Henri Cartier-Bresson, and Diane Arbus, why did they simultaneously disdain paintings depicting the same kind of people?
After high school I went to the San Francisco Art Institute, and I began a formalized art education where we went through the history of art but we also went through the art of my contemporaries.
The first turning point, when I stopped doing things by myself and the Bastille project began, was the inclusion of more electronic music into the sound.
I was quite keen on silviculture, the growing of trees, and that was something I gave a lot of thought to. Maybe I could've gone in that direction. But it just so happened that while I was trying to make up my mind, I enrolled in art school, and there I began to develop my interest in music, parallel with my interest in the visual arts.
Olives changed the direction of my life. My husband Michel and I found a ruined farm with an olive grove near Cannes. I became fascinated by olives and found myself travelling around the Mediterranean for 17 months, researching two books on the subject.
When I found myself regarded as respectable, I began to wonder what sins I had committed. I must be very wicked, I thought. I began to engage in the most uncomfortable introspection.
In high school, I began to dig my way into Ethiopian history, and began to understand myself as a young man formed by multiple narratives.
I'd rather do anything than make commercial art. I didn't go to school for art. Making art has certain advantages for me but they would never be in commercial direction.
Growing up I was very into art. In high school I was into the surrealists and impressionists, and I loved Klimt. In '91 or '92 I saw one of those Felix Gonzalez-Torres Untitled billboards. I was just really arrested by it. It was kind of my first foray into contemporary art. It was a turning point for me as to what art could be and what it meant and the impact it could have.
I went to this massive co-ed school for the first time when I was 16. Everyone there had been together since elementary school, and I found it quite difficult, especially when I'd never stepped into a classroom with boys. So I started looking out in the community for a social outlet. I started getting involved in student films and community theater. Acting began as a hobby.
I graduated in June 1948 and then went in the fall to the art school. I stayed with my cousins on Seventeenth Street in the beginning, and later had my own apartment very near there and was able to walk to the Art Institute on Elmwood Avenue. The school had a faculty of local artists - Jeanette and Robert Blair, James Vullo who were well known in the area. It was a school that I think thrived on returning GIs, as many schools did at that time. It was a very informal program - but it was professional.
We were grooving, at that point, in the same direction, but remember, Roy Hamilton and myself were going into a path and a direction that had no programming.
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