A Quote by Joe Bradley
Technology's always changing. There was a time where oil painting was a new technology. That changed painting.
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Make a small painting of what you want to do... and project it up on a white wall... The enlarged version is so changed that there is no way of just visualizing it in the brain... It's a whole new dimension in painting.
Painting should educate and enrich. Modern painting merely offers a split-second emotion: You see it, you have an instant reaction and move on. Instead, real painting can be looked at over and over again and each time it has something new.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
I tried different techniques during my career, but I especially fell in love with painting with oil and pallette-knife. Every artwork is the result of long painting process; every canvas is born during the creative search; every painting is full of my inner world.
I think time has changed everything. Not only music but our surroundings, technology, fashion - everything has changed with time, and it will keep changing every day.
I think every age lives in a blend of technology so there's always older ones mixed in with newer ones, and when the new technology goes down, the immediate fallback position is either that technology just before that or one several technologies back.
I don't believe that government is good at picking technology, particularly technology that is changing. By the time you get it done and go through democracy, it's so outdated.
People always think of technology as something having silicon in it. But a pencil is technology. Any language is technology. Technology is a tool we use to accomplish a particular task and when one talks about appropriate technology in developing countries, appropriate may mean anything from fire to solar electricity.
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.
Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is 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.
Rural technology is moving from kind of the back office to where everything, every company - sales, marketing, customer acquisition, new product development, media - all industries are becoming technology industries. And it's not information technology: it's business technology.
People in the future look back on primitive machinery or technology or painting, and in some ways, it always seems amazingly intricate and finely wrought.
Whenever I got a new studio I made the largest possible painting, and since the ceiling was low, the painting became horizontal. As I changed studios and got larger spaces, I made bigger paintings.
So many people for so many years have promoted technology as the answer to everything. The economy wasn't growing: technology. Poor people: technology. Illness: technology. As if, somehow, technology in and of itself would be a solution. Yet machine values are not always human values.
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.
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