A Quote by Gerhard Richter
These pictures possibly give rise to questions of political content or historical truth. Neither interests me in this instance. And although even my motivation for painting them is probably of no significance, I am trying to put a name to it here, as an articulation, parallel to the pictures, as it were, of my disquiet and of my opinion.
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I was not out to paint beautiful pictures; even painting good pictures was not important to me. I wanted only to help the truth burst forth.
I collected pictures and I drew pictures and I looked at the pictures by myself. And because no one else ever saw them, the pictures were perfect and true. They were alive.
When I travel with my kids abroad, I am not myself, but I'm more a father who wants to protect them. Sometimes, I am even aggressive about certain things and get surprised seeing myself like that: for instance, when people want to take pictures of them. I am fine if they want to take my pictures, but they are not public property.
Pictures! Pictures! Pictures! Often, before I learned, did I wonder whence came the multitudes of pictures that thronged my dreams; for they were pictures the like of which I had never seen in real wake-a-day life. They tormented my childhood, making of my dreams a procession of nightmares and a little later convincing me that I was different from my kind, a creature unnatural and accursed.
My pictures are devoid of objects; like objects, they are themselves objects. This means that they are devoid of content, significance or meaning, like objects or trees, animals, people or days, all of which are there without a reason, without a function and without a purpose. This is the quality that counts. Even so, there are good and bad pictures.
When I get off a flight, I'm not trying to sit there and let them take pictures of me. I'm tired. I'm scratching my eyes. I just don't like taking pictures in general.
Still I should paint my own places best; painting is with me but another word for feeling, and I associate "my careless boyhood" with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful; that is, I had often thought of pictures of them before ever I touched a pencil, and your picture ['The White Horse'] is one of the strongest instance I can recollect of it.
For all the talk of my pictures being narratives or that they're about storytelling, there's really very little actually happening in the pictures. One of the few things I always tell people in my pictures is that I want less - give me something less.
You know, I put my little brother in the movies and he's still in the pictures. My mother makes me put him in the pictures.
Why do they put pictures of criminals up in the Post Office? What are we supposed to do, write to them? Why don't they just put their pictures on the postage stamps so the postmen can look for them while they deliver the mail?
My first wedding was 15 people at our condo. The second was maybe about a hundred people at this fabulous casino. And you know what? I have almost no pictures of the second one, because I put disposable cameras on the tables, because everyone said, "The best pictures are the most candid! The best pictures are the ones people just take!" So, I put disposable cameras on the tables, and guess what? There were so many kids there that those cameras were stomped on. I had so many pictures of the floor, of people's eyes, of someone's finger.
In one way or another, I always marked my pictures. But there were times when I put my signature on the back of the canvas. All my works from the cubist period, until about 1914, have my name and the date on the back side of the stretcher. I know someone spread the story that in Céret, Braque and I decided not to sign our pictures anymore. But that's just a legend!
I was always trying to take art photographs, but the most interesting pictures were the snapshots. The artsy pictures were boring, always.
I really did put up all my wedding pictures on my website. And I swear to you, my wedding pictures got downloaded just as much as my bikini pictures.
My mother had found this album of all these old slides from the '50s of me as a kid and I said, 'We should have these made into pictures because the color's so beautiful.' There were pictures of me from 1955 as a little baby wearing all these elaborate outfits, and in these pictures was this amazing story of a gay man and his mother.
The hallway of every man's life is paced with pictures; pictures gay and pictures gloomy, all useful, for if we be wise, we can learn from them a richer and braver way to live.
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