A Quote by Glenn Ligon
Willem de Kooning paintings are a language to be learned. When they were first shown, they were ridiculed as being just drips and splatters and splashes. You had to learn how to read them.
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I felt like the Germans were being mean to me at training, but they were actually just trying to help. I learned really quick - which made me a better player. I'm appreciative of the way they treated me. It's just the language and, of course, as an American, I had to learn that. No offense to them; I love them to death, and I love my teammates.
What if at school you had to take an 'art class' in which you were only taught how to paint a fence? What if you were never shown the paintings of Leonardo da Vinci and Picasso? Would that make you appreciate art? Would you want to learn more about it? I doubt it..........but this is how math is taught and so in the eyes of most of us it becomes the equivalent of watching paint dry. While the paintings of the great masters are readily available, the math of the great masters is locked away.
If I've learned anything, it's there's just no drama, which is awesome. I've also just learned to read when it's a good time to talk about something serious and when it's not. And whenever I start to have a conversation with them, and I kind of see their eyes start to glaze over, I'm like, 'Okay, another time is better.' You learn how to compromise and you learn how to read each other. Honestly, being in a band with two guys has prepared me so much for when it's time for me to get married!
Being a successful couple was learning what you were willing to compromise on, and what you weren't; learning when to stand your ground, and when to give it up; what was truly important enough to fight over, and what was just you being pissy. You learned each other's hot buttons, the places that hurt, or angered, when you pressed them. Love makes you learn where all the pitfalls are, and how to avoid them, or how to set them off.
People who were gay were pitied and ridiculed by my parents - they had no modern sense of people being allowed to be who they were.
The earliest paintings I loved were always the most non-referential paintings you can imagine, by painters such as Mondrian. I was thrilled by them because they didn't refer to anything else. They stood alone, and they were just charged magic objects that did not get their strength from being connected to anything else.
I have a very close friend who is a brilliant clown, and I always wanted to do a show with him. So I did one year at La MaMa Theatre. I had not done stilts before that show, and I had about two weeks to learn how to do that, and they were just made with off-off Broadway money. The ones that I had in Rogue One were made by [Industrial Light & Magic]. So they were really easy. They were made with actual prosthetic feet on the bottom. They were athletic, in a way. I could run in them. There was a bounce to them that I could use.
I feel like it's not so much a tradition as a system that has been codified over the centuries starting in the Renaissance that applies to any painted surface. So if you're engaging in paintings, this is the language that one has to learn and is obliged to speak. I was very fortunate that I learned this language when I was a kid before I went to California, where I learned the language of attitude. Somehow the two things began to coexist.
I love being the person my kids depend on to learn. Everything they learn, for the most part, comes from you - how they treat people, how they look at the world, how they process things. I love being that example for them, just like my parents were for me.
I had been brought up in an elementary school where, my first few grades, I remember being specifically told that my teachers were gay. I was just that age and that was just how it was, and my parents were very... You know, that's how I was raised. Like super-progressive.
The technical challenges were technical challenges that were not unbeatable; it was just that we had to learn how to do things and how to build a sensitive enough device. That took us 20 years after we built the first version of the LIGO detector.
I didn't want to teach my kid how to read, so I used to read to him at night and close the book at the most interesting part. He said, “What happened then, daddy?” I said, “If you learn to read, you can find out. I'm too tired to read. I'll read to you tomorrow.” So, he had a need to want to learn how to read. Don't teach children how to read. Don't teach them mathematics. Give them a reason to want it. In school, they're working ass-backwards.
My mum used to wear the guys' Chesty Bonds tanks, and I used to end up wearing them after she'd finish with them. She's a painter, and they would be covered in paint splatters. She would wear them and wear them until they were super-soft, and then I'd get them. But I was just a kid, so they were like a dress on me.
What I learned constructive about women, not just ethics like never blame them if they pox you because somebody poxed them and lots of times they don't even know they have it — that's in the first reader for squares — is, no matter how they get, always think of them the way they were on the best day they ever had.
You were told how much space so it was a matter of whether you could send in two paintings or three paintings, you know, pending where the show was being held. You did submit work to be accepted. Once you were accepted that was it. You did your own selection of what went in.
When I was living in China, I learned to make things hyper-explicit because often they were being read by people whose command of English kept them from picking up what I thought were obvious signals.
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