A Quote by Greil Marcus
You're going to react to a painting in a way that the painting demands you react.
Related Quotes
I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.
When I make a tackle or make a play and I have a slight pain or something, you're going to react the way you react.
You are a human being, you do react. If you react to negativity, you also react to positivity.
Change no one. Change nothing. React to no one, react to nothing. Do not live in the past and do not, worry about the future. Stay in the eternal now, where all is well. After all you are me and I am you. There's no difference. Do not react to the world. Do not even react to your own body. Do not even react to your own thoughts. Learn to become the witness. Learn to be quiet.
Democrats don't react the same way Republicans do, because they are not forced to react the same way Republicans are forced to react. They get to be as corrupt as, basically, they want, and just ignore it.
The coming and going of birth and death is a painting. Unsurpassed enlightenment is a painting. The entire phenomenal universe and the empty sky are nothing but a painting.
I felt, if I'm going to react I might as well over react.
Everybody else is going to react differently to the film [Aquarius], but what I love about it is that both men and women are going to react to it because they will find themselves represented.
My stories are about humans and how they react, or fail to react, or react stupidly. I'm pointing the finger at us, not at the zombies. I try to respect and sympathize with the zombies as much as possible.
One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
What you feel and how you react to something is always up to you. There may be a "normal" or a common way to react to different things. But that's mostly just all it is.
I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not translate into decoration on pottery. I thought it was going to, and in fact I made, while still in school, a plate with one of my paintings on it, and that's exactly what it was, it was a plate with a painting on it. It was not a decorated plate; it was just a painting superimposed over a three-dimensional ceramic form.
One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
Realist painting has to do with leaving out a lot of detail. I think my painting can be a little shocking in all that it leaves out. But what happens is that the mind fills in what's missing . . . Painting is a way of making you see what I saw.
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