A Quote by Gerald Brommer

Painting several comparative images is a profitable way to begin to understand the concept of content. — © Gerald Brommer
Painting several comparative images is a profitable way to begin to understand the concept of content.
We’re face to face with images all the time in a way that we never have been before... Young people need to understand that not all images are there to be consumed like fast food and then forgotten – we need to educate them to understand the difference between moving images that engage their humanity and their intelligence, and moving images that are just selling them something.
What art is not processed? "Conceptual art." Somebody making a painting has to conceive of the size. I don't understand where these words came from. I can't accept the fact that the concept of art as our concept of humanity is expanding.
Every single painting is different. I'm always trying to figure out what I'm interested in. Usually when I go through and I make the collages or the images for ideas that I want to paint, it's like an Ouija board. Each painting I do is trying to understand what the hell I'm looking at, or want to look at.
When I do only images, people don't connect with the images because the images are too weird to understand. But when I explain the weird images with straight words, then all of a sudden there is a tension between the two that the audience wants to see.
We shall be made truly wise if we be made content; content, too, not only with what we can understand, but content with what we do not understand-the habit of mind which theologians call, and rightly, faith in God.
There are no more simple images... The world is too much for an image. You need several of them, a chain of images.
The world needs sustainable, profitable, vibrant content companies staffed by dedicated professionals; especially content for people that grew up on the web, whose entertainment and news interests are largely neglected by television and newspapers.
I don't feel that this concept of disruptive technology is the solution for everybody. But I think it's very important for innovators to understand what we've learned about established companies' motivation to target obvious profitable markets - and about their inability to find emerging ones. The evidence is just overwhelming.
Pop Art is not painting because painting must have content and emotion.
Content is king. When you are asking people to read you several times a day, you better have some fine content.
The abstract expressionists had that thing of, subject matter becomes content, content becomes form. And I always thought there was no room for style. I felt with my painting, the style really is the content. The style holds everything together.
Because Bin Laden's culture doesn't permit the worship of images, they understand how powerful images are. We wouldn't have thought of creating a visual bomb. In a way, he's chopped down two iconic buildings, and used our very truth imagery, to express himself. It's fascinating... I mean, dreadful.
The profitable part of the online business is very likely several years away. Entering the business because it's the hot topic of the day doesn't make a profitable business nor satisfied customers. That's why it will be a part of Nintendo's strategy, not the mainstay, as other companies are attempting to do. There still are too many barriers for any company to greatly depend on it.
When realistic images or patterns are seen in an abstract painting, they are often parallels brought about by processes in painting which echo processes in nature.
You see a picture and you understand perfectly, immediately, the basic thing that's happening. It's probably more accessible because we are in a culture of images. People are used to seeing stories that way. They understand looking at pictures.
One of the reasons I work serially, but also one of the reasons that I try to claim space in painting, is I'm desperately interested in asking: How can a group of images, or even two images, have meaning together?
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