A Quote by Lawrence Weiner

You can't have a $2 million painting unless it's on the wall somewhere and somebody saw it. — © Lawrence Weiner
You can't have a $2 million painting unless it's on the wall somewhere and somebody saw it.
Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here - is - away from the easel - into some sort, some kind of wall, wall painting.
That's one thing that's always, like, been a difference between, like, the performing arts, and being a painter, you know. A painter does a painting, and he paints it, and that's it, you know. He has the joy of creating it, it hangs on a wall, and somebody buys it, and maybe somebody buys it again, or maybe nobody buys it and it sits up in a loft somewhere until he dies. But he never, you know, nobody ever, nobody ever said to Van Gogh, 'Paint a Starry Night again, man!' You know? He painted it and that was it.
Who passed Wall Street deregulation that enabled the meltdown of Wall Street and the disappearance of nine million jobs, the theft of 5 million homes?
It's either 'Saw' made for $4 million or 'Star Wars,' 'Star Trek,' 'Guardians of the Galaxy' et cetera being made for $150 million. So the $30 and $40 million films don't get made unless they're maybe 'Ride Along.' But I don't really know why. I don't get paid to know why.
However varied you try to make your work, you still bump up against the end of you. You keep knocking into a wall, and the wall is your own skull. But when you adapt somebody's work, it's like a door into somewhere else. It feels like a holiday from myself.
The big shots are not the only ones who are important. Remember, you can't sell anything on Wall Street unless someone digs it up somewhere else first.
There's a property in Panama where Trump has collected somewhere around $30 million just from selling his name to this property - it's somewhere between $30 million and $50 million. It would be so easy for a developer to slap on an extra $6 million to a Trump licensing deal and have that be a backdoor bribe. Who are we to say what that is worth? It's so ephemeral. And this is the appeal of selling something as ephemeral as a brand name, is that it can be inflated beyond all reason.
I'm projecting somewhere between 100 million and 200 million computers on the Net by the end of December 2000, and about 300 million users by that same time.
There are absences, but there are also presences. It's about how painting can evolve its own abstractions. I didn't know the painting was going to be about that, but it has to have that journey; I have to learn something, I have to end up somewhere I didn't expect to be, otherwise, I don't think it's painting.
I don't understand why a Mark Rothko painting - as much as I love Mark Rothko - has to cost $73 million. I mean, I think $14 million is a pretty reasonable sum of money for a good Rothko painting. What's disturbing about this present moment is that these prices have been so out of control.
I remember the first time I went to the Los Angeles County Museum of Art and saw a Kerry James Marshall painting with black bodies in it on a museum wall... It strengthened me on a cellular level.
When somebody brings up a movie (of mine) that I haven't heard about in a long time, I feel like a 70-year-old pitcher at a bar somewhere, and somebody walks in and says, 'Oh, my God, I was in St. Louis and I saw you. You pitched a shutout.' It's real. I really did do that, because someone today remembers it.
Realist painting has to do with leaving out a lot of detail. I think my painting can be a little shocking in all that it leaves out. But what happens is that the mind fills in what's missing . . . Painting is a way of making you see what I saw.
When I saw Virginia Woolf, somewhere between the first and second acts, someone I had known as my mother became somebody else.
I have seen Colonial churches since I was very small, Colonial painting and polychrome sculpture. And that was all I saw. There was not a single modern painting in any museum, not a Picasso, not a Braque, not a Chagall. The museums had Colombian painters from the eighteenth century and, of course, I saw Pre-Columbian art. That was my exposure.
I recently adopted for my own a good motto I saw somewhere, on a barroom mirror or possibly a washroom wall: 'The time you enjoyed wasting wasn't wasted.' I think I'll have that printed some day on a T-shirt or the bedroom ceiling.
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