A Quote by Kehinde Wiley
On the contrary, my desire is that the viewer sees the background coming forward in the lower portion of the canvas, fighting for space, demanding presence.
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Space is not just going up and coming back down again. Space is getting into orbit and being there, living there, establishing a presence, a permanence.
Art is the space between the viewer and the rectangle that hangs on the wall. Unless something of the person that created the work is there, there's nothing for the viewer to take away.
There must be an open space in the paintings - an entry space for the viewer, or even for me. Just white space where you can get into it.
Lesser-skilled workers suffer the entire burden of lower wages but capture only a portion of the benefits from lower-priced offshore goods.
The tools are real. The viewer is real, you, the artist, is real and a part of everything you paint. You connect yourself to the viewer by sharing something that is inside of you that connects with something inside of him. All you have as your guide is that you know what moves you. All you have to do it with is a brush, some chemical and canvas, and technique.
I like the idea of accessibility, coming from a lower-middle-class background myself, I feel like beauty and products should be accessible to all women over the world.
Clearly, all fear has an element of resistance and a leaning away from the moment. Its dynamic is not unlike that of strong desire except that fear leans backward into the last safe moment while desire leans forward toward the next possibility of satisfaction. Each lacks presence. (29)
Whether we're fighting climate change or going to space, everything is moved forward by computers, and we don't have enough people who can code
Make notes—I’ve lost more material than I’ve ever written. Contrary to popular opinion, it’s not still up there in one’s brain. It’s in outer space and it ain’t coming back.
My desire to contribute to the spaceflight team as we move forward in our exploration of space has only increased over the years.
We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the desire between us and the object of desire that fills the space in between with the blue of longing.
The future remains uncertain and so it should, for it is the canvas upon which we paint our desires. Thus always the human condition faces a beautifully empty canvas. We possess only this moment in which to dedicate ourselves continuously to the sacred presence which we share and create.
I want the viewer to be overwhelmed. I want the space to feel like it is caving in on the viewer and that they are forcibly entering the world of my paintings. I want there to be a feeling of overpowering decadence to the work, that is almost too much to take. I don't want them to be subtle.
What I never wanted in art - and why I probably didn't belong in art - was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don't know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.
We take pleasure in truth and it amazes the eye of the viewer to see in stone, in canvas, or in wood an inanimate thing that seems to move.
At a certain moment the canvas began to appear to one American painter after another as an arena in which to act-rather than as a space in which to reproduce, re-design, analyze or express an object, actual or imagined. What was to go on the canvas was not a picture but an event.
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