Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters.
I've often thought that if planners were botanists, zoologists, geologists, and people who know about the earth, we would have much more wisdom in such planning than we have when we leave it to the engineers.
My father's parents were carpenters. They were also builders partly. They were painters. And several of them were very, active in the theatre and all such nonsense, you know.
By the time I discovered Chicano painters in the mid-'80s, I recognized that these guys were really world-class painters, but they weren't getting any attention, which was good in one sense in that I could get their work for cheaper!
I am astonished at the high prices paid for works by painters who are dead, prices none of them could expect when they were alive. It is a kind of tulip trade, in which living painters suffer but do not profit.
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.'
I was raised around a lot of artists, musicians, photographers, painters and people that were in theater. Just having the art-communal hippie experience as a child, there wasn't a clear line that was drawn. We celebrated creative experience and creative expression. We didn't try and curtail it and stunt any of that kind of growth.
I like to move among painters, mathematicians, psychologists, people who can tell me something.
Abstract and conceptual painters face different demons than representational painters, but neither group has a monopoly on either authenticity or originality.
Musicians are also interpretive artists and we are just as creative as painters and writers. We interpret in a way that expresses ourselves.
All those crazy Impressionist painters in France were friends but they would write about how jealous and competitive they were. That's what makes good art.
Both my parents were painters.
At Sarah Lawrence, I realized that everybody was already what they were going to be. The painters were painting, the writers writing, the dancers dancing. And nobody wore any makeup. The art was uppermost.
Today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source. They work from within.
My models were oral, were storytellers. Like my grandmothers and my aunts. It's true, a lot of people in my life were not literate in a formal sense, but they were storytellers. So I had this experience of just watching somebody spin a tale off the top of her head. I loved that.
I was supporting myself, but nothing like the guy painters, as I refer to them. I always resented that actually.. we were all getting the same amount of press, but they were going gangbusters with sales.
I always say Philadelphia, Pennsylvania is my biggest influence. But for painters, I like many, many painters, but I love Francis Bacon the most, and Edward Hopper.