A Quote by Larry Clark
My greatest lesson in composition was looking at paintings.
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This is the greatest lesson a child can learn. It is the greatest lesson anyone can learn. It has been the greatest lesson I have learned: if you persevere, stick w/it, work @ it, you have a real opportunity to achieve something. Sure, there will be storms along the way. And you might not reach your goal right away. But if you do your best and keep a true compass, you'll get there.
People are still making paintings. People are still enjoying paintings, looking at paintings. Paintings still have something to tell us. There's a way of being in the world that painting brings to us, that painters bring to the task that we absorb and are able to be in dialogue with. That's something that's part of us.
I tell you before God, and as an honest man, your son (W A Mozart)is the greatest composer known to me by person and repute, he has taste and what is more the greatest skill in composition.
I've had enough experience with knowing that things will turn out just fine. I pray for that. There's a lesson in everything. Looking for the lesson is grounding.
There's a lesson in everything. Looking for the lesson is grounding.
The lesson that Americans today have forgotten or never learned - the lesson which our ancestors tried so hard to teach - is that the greatest threat to our lives, liberty, property, and security is not some foreign government, as our rulers so often tell us. The greatest threat to our freedom and well-being lies with our own government!.
I'm using the grid as formation. I wanted a relationship between the paintings and videos so that way when you are looking at the videos there's a direct relationship to the paintings.
Apart from my children, spending time with refugees was the greatest gift... the greatest life lesson I could ever receive.
Look at the paintings of Picasso. He is a great painter, but just a subjective artist. Looking at his paintings, you will start feeling sick, dizzy, something going berserk in your mind. You cannot go on looking at Picasso's painting long enough. You would like to get away, because the painting has not come from a silent being. It has come from a chaos. It is a by product of a nightmare. But ninety-nine percent art belongs to that category.
All photographs are there to remind us of what we forget. In this - as in other ways - they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.
Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.
In large studio paintings... composition, or arrangement, may be better studied, and nearer perfection, washes may be more suavely graded.
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
Only when the habit of one's consciousness to see in paintings bits of nature, madonnas and shameless nudes... has disappeared, shall we see a pure painting composition.
I am against the line and all its consequences: contours, forms, composition. All paintings of whatever sort, figurative or abstract, seem to me like prison windows in which the lines, precisely are the bars.
Good composition is like a suspension bridge; each line adds strength and takes none away... Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer – that is composition.
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