A Quote by Jerry Saltz
Think of an abstract painting as very, very low relief - a thing, not a picture.
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I've certainly always had a very high regard for Botswana and so I paint a very good picture of the country and I've never pretended to be painting an entirely realistic picture.
Having a background in doing printmaking and letterpress, I think that I became very interested in images that were flat and graphic. And my painting still today is very flat...American craft is like that too - the painting is very flat. And also the painting that you see on the storefronts, handmade signs, tend to be very flat. That's probably my biggest influence.
Life is very cyclical. And my career has been very-high-very-low, very-high-very-low, and I think it'll probably keep on rolling that way.
Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.
When I see people making 'abstract' painting, I think it's just a dialogue and a dialogue isn't enough. That is to say, there is you painting and this canvas. I think there has to be a third thing; it has to be a trialogue.
I'm very low-maintenance, and that is a problem. I'm not demanding at all, and sometimes I feel that I should be throwing tantrums. But since I don't party or socialise, and am very low-key, I think that makes me very low-maintenance. Actually, I'm the most boring person at a party.
When I'm painting the picture, I'm really painting a picture. I may have a flat-footed technique, or something like that, but still, to me, the thrill, or the meat of the thing, is the actual painting. I don't get any thrill out of laying it out.
I know the world that I am painting is not a reality. It is a whim, an entertainment to provoke something in people, whether as escapism or relief. I think that is very valid.
People who have grown up in a world where this was not a concern and suddenly start hearing about climate change - it's very difficult. It's a very, very abstract concept. So we need to work on making it very educational and very, very clear, in very simple terms.
Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here - is - away from the easel - into some sort, some kind of wall, wall painting.
It's very difficult to know when you're crossing the boundary. I hate the word boundary because I never think about it when taking a picture. Very often it doesn't mean anything because it depends on who's looking at the picture more than the content of the picture itself.
I guess I have no motivation to make an abstract painting, even if they sometimes read as abstract. I think, with abstraction, it's easy to fall into a sort of pastiche.
Painting is a duality and abstract painting is an entirely aesthetic thing. It always remains on one level. It is only really interesting in the beauty of its patterns or its shapes.
Before a painter puts a brush to his canvas, he sees his picture mentally.... If you think of yourself in terms of a painting, what do you see?... Is the picture one you think worth painting?... You create yourself in the image you hold in your mind.
Some of the most vulnerable people to getting the SARS virus are health care providers. The general public, walking in the street, there is really not that much risk at all. It's a very, very low risk - a very, very low risk.
That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!
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