A Quote by Jackson Pollock
He drove his kind of realism at me so hard I bounced right into nonobjective painting.
Related Quotes
Painting, like music, has nothing to do with the reproduction of nature, nor interpretation of intellectual meanings. Whoever is able to feel the beauty of colors and forms has understood nonobjective painting.
I think I probably had to have been two or three when I fell in love with anything that bounced - any kind of ball that bounced, I was running and screaming after it.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
One thing that really interests me is-and it comes out of Chinese and Japanese painting-where you have a number of different kinds of space in the same painting. You have a kind of deep space, and then you have something like right up on the surface.
I gravitate much more toward realism, realism in the work that I do, but magical realism got me hooked on film. I think it was my first time realizing that there was something besides popcorn movies.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
I drove right into the music with the same sort of attitude as I went into the football stuff with. Just found a routine and hard work, and it helped me progress a lot faster.
Mourinho knows me! He sat in my lap as a little boy, and wanted his photograph taken with me. I knew his father and so I bounced little Jose on my knee. He always looked up to me.
I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong.
It is so hard and long before a student comes to a realization that these [first] few large simple spots in right relations are the most important things in the study of painting. They are the fundamentals of all painting.
I do work hard at trying to find the right expression for something, which might be like finding the right image - choosing not only the right words but down to the right number of lines. I remember being in Maine once at Colby College with Alex Katz. It houses hundreds of his works. There was a painting of just one seagull against a blue sky. I was admiring it and Alex said, "45 brush strokes exactly."
Art is beauty, and every exposition of art, whether it be music, painting, or the drama, should be subservient to that one great end. As long as nature is a means to the attainment of beauty, so-called realism is necessary and permissable [sic], but it must be realism enhanced by idealism and uplifted by the spirit of an inner life or purpose.
Check this out,” Nine says. He holds up a small purple stone and then places it on the back of his hand. The stone slides into his hand—through it. Nine turns his hand over just as the stone pops out in his palm. “Pretty cool, right?” he asks me, waggling his eyebrows. “Uh, but what is it supposed to do?” Eight asks, looking up from his own Chest. “I dunno. Impress girls?” Nine looks over at me. “Did it work?” “Um . . .” I hesitate, trying not to roll my eyes too hard. “Not really. But, I’ve seen guys teleport so I’m kind of hard to impress.” “Tough crowd.
Unfortunately, philosophers of science usually regard scientific realism and scientific anti-realism as monistic doctrines. The assumption is that there is one goal of all scientific inference - finding propositions that are true, or finding propositions that are predictively accurate. In fact, there are multiple goals. Sometimes realism is the right interpretation of a scientific problem, while at other times instrumentalism is.
There is one thing the photograph must contain, the humanity of the moment. This kind of photography is realism. But realism is not enough - there has to be vision, and the two together can make a good photograph.
I always wanted to do something creative, but as much as I'm creative, it's in a really hard-core, right-brained way. For me, painting doesn't do it for me. There's no constraint.
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