A Quote by Joshua L. Goldberg
Representational painters: loosen the grip of inflexibility! Abstract painters: tighten your hold on crafting your images! In both types of painting students need to unlearn what one has acquired.
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Abstract and conceptual painters face different demons than representational painters, but neither group has a monopoly on either authenticity or originality.
When you talk about painters and you talk about painters painting masterpieces, there is no painter who painted only one painting and that was a masterpiece. You have to do a whole bunch of paintings to get to the place of mastering your craft.
Representational painters: place your works in a larger context. Give your work not only breadth but breath. Do not 'copy' what you see outwardly but give it 'spirit.
I arrived on earth in 1928. Born into a milieu of painters, I acquired my taste for painting with my mother's milk.
What a funny thing painting is. The abstract painters always insist on their connection with the visible reality, while the so called figurative artists insist that what they really care about, is the abstract qualities of life.
Abstract painters: redefine your perspectives. Think in terms of the whole, not simply its parts.
There are, of course, always painters whom I admire and find fascinating. I've often thought, 'Goodness, if I could paint like the Danish Golden Age painters, the early 19th century painters, the way they could paint a landscape - absolutely beautiful.'
You will say good-bye for all the right reasons. You're tired of living in wait for his apocalypse. You have your own fight on your hands, and though it's no bigger or more noble than his, it will require all of your energy. It's you who has to hold on to earth. You have to tighten your grip -- which means letting go of him.
The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural... Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.
I'm often asked by younger filmmakers, 'Why do I need to look at old movies?' I've made a number of pictures in the last 20 years and the response I have to give them is that I still consider myself a student. The more pictures I've made in 20 years, the more I realize I really don't know. And I'm always looking for something or someone that I could learn from. I tell the younger filmmakers, and the young students, that do it like painters used to do—that painters do—study the old masters, enrich your palette, expand the canvas. There's always so much more to learn.
Studio Ghosts: When you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out.
In some ways painters have been more important in my life than writers. Painters teach you how to see—a faculty that usually isn’t highly developed in poets. Whether you take a walk in the woods with a painter, or go to a museum with one, through them you notice shapes, colors, harmonies, relationships that enhance your own seeing.
You are in a place that has not been seen for tens of thousands of years, because it was so sealed off. There is such silence that when you hold your breath you can hear your own heartbeat. Everything is so fresh that you have the sensation that the painters have merely retreated deeper into the dark and that they are looking at you.
When I say be creative I don't mean that you should all go and become great painters and great poets. I simply mean let your life be a painting, let your life be a poem.
How are we going to make painters by lecturing to them? We are going to make questioners, doubters, and talkers. We are going to make painters by painting ourselves, and by showing the paintings of others. By working frankly from our convictions, we are going to make them work frankly from theirs.
Photography has arrived at the point where it is capable of liberating painting from all literature, from the anecdote, and even from the subject. In any case, a certain aspect of the subject now belongs to the domain of photography. So shouldn't painters profit from their newly acquired liberty, and make use of it to do other things?
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