A Quote by Jerry Saltz
Decades ago, Gerhard Richter found a painterly philosopher's stone. Like Jackson Pollock before him, he discovered something that had been in painting all along, always overlooked or discounted.
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When I was growing up, all the art that touched me was lens-generated, like Gerhard Richter, or Polke, Rauschenberg, Warhol.
Who among us has not gazed thoughtfully and patiently at a painting of Jackson Pollock and thought "What a piece of crap?"
Just as Pollock used the drip to meld process and product, Richter 'found' and used the smudge and the blur to ravish the eye, creating works of psychic and physical power.
I'd overlooked the obvious because my focus had always been elsewhere! All along, this that I had been seeking was already here.
I discovered the foundations of Ayurveda and Siddha, and more importantly I found that all of Western control systems engineering principles had actually been discovered by the great ancient Indian sages, 5,000 years ago.
The moment of creative impulse is what an artist gives you. You look at a Pollock, and it can't give you the tools to do a painting like that yourself, but in doing the work, Pollock shares with you the moment of creative impulse that drove him to do that work.
I was a student at Harvard, and that's where I learned about so-called avant-garde music. Jackson Pollock, abstract expressionism and painting were well known at this time.
I'd been asked by Takashi Murakami to collaborate on something, which was an honor for me. I was really pleased. And then he had me as a guest speaker on his radio show, and we were talking about art. I don't think he knew I was interested in the topic - he was really surprised to find out that I own some original Andy Warhol and Gerhard Richter and Jean-Michel Basquiat works. So, in some ways, I think he simply wanted to see what I have.
Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.
Everything I do, it's a bit painterly. I like being surrounded by objects, mostly on paper. I like the images. I like the painting. I like good photography. It's something that makes me an emotional connection, and I feel comfortable around it.
The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.
I'm not really an art collector - I'm more of a person who picks up things. I have pieces by people like Gerhard Richter, for example, but then also others by unknown Japanese artists, and not many real art collectors do that.
He had lived a very long time, and only since he gained Anna had he learned to fear. He’d discovered that he had never been brave before—just indifferent. She had taught him that to be brave, you have to fear losing something.
Before I had children I always wondered whether their births would be, for me, like the ultimate in gym class failures. And I discovered instead... that I'd finally found my sport.
It would have been the equivalent of Jackson Pollock's attempts to copy the Sistine Chapel.
I like to treat paint as material - to daub it, drop it, let it slide. There was Action Painting, but I also compare it to paint effects found on the streets. This approach is superimposed on a sculptural surface that is also 'painterly.'
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