A Quote by Man Ray
Speaking of nudes, I have always had a great fondness for this subject, both in my paintings and in my photos, and I must admit, not for purely artistic reasons.
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I was a student, and as such you generally rely on prior models of how to make art, but these were not satisfying. Then I discovered in photos what had been missing in paintings; namely that they make a terrific variety of statements and have great substance. That is what I wanted to convey to paintings and apply to it.
A photo is like a map, a way of giving me a foot into a kind of reality I want... I'm not trying to make paintings look like photos. I want to make paintings using photos as a reference, the way painters did when photography was first invented.
It always surprises me how much my followers appreciate how candid my photos are - they may not have a particularly unique subject, but it's more about the light you shed on the subject than the subject itself.
I've always had a great fondness for English detective fiction such as Agatha Christie and Dorothy Sayers.
I've spent the majority of my life estranged from either one or both of my parents, and I've really had a lot of time to break down all the reasons why. There was something buried inside of me that said, I've got to kind of unravel the reasons why I don't talk to them; why not just one, but both of my parents and I have these really messed up relationships. And why I've been so fractured all these years. I got to the point where I thought, I was not the best kid. I openly admit that. But then I realized it doesn't matter. I was a kid!
I love Instagram! I like LaLa Anthony and Rihanna's photos. They always have great photos.
Subjects who reciprocally recognize each other as such, must consider each other as identical, insofar as they both take up the position of subject; they must at all times subsume themselves and the other under the same category. At the same time, the relation of reciprocity of recognition demands the non-identity of one and the other, both must also maintain their absolute difference, for to be a subject implies the claim of individuation.
I have always been fascinated by paleontology and prehistoric people, and I've always thought that one of the most intriguing moments in human history was the birth of artistic imagination. I always loved those cave paintings.
Should I not be proud, when for twenty years I have had to admit to myself that the great Newton and all the mathematicians and noble calculators along with him were involved in a decisive error with respect to the doctrine of color, and that I among millions was the only one who knew what was right in this great subject of nature?
Speaking purely from a musical standpoint, I think I am a great performer.
Do not compromise on national security for purely budgetary reasons. The world is dangerous, and we must always be prepared for anything that might threaten our national interests and security.
Good work is no done by "humble" men. It is one of the first duties of a professor, for example, in any subject, to exaggerate a little both the importance of his subject and his own importance in it. A man who is always asking "Is what I do worth while?" and "Am I the right person to do it?" will always be ineffective himself and a discouragement to others. He must shut his eyes a little and think a little more of his subject and himself than they deserve. This is not too difficult: it is harder not to make his subject and himself ridiculous by shutting his eyes too tightly.
I've always found paintings of nudes depressing because they can't compete with photographs. The grainiest photograph of some girl, a blurry Polaroid - you'd rather look at that than the Venus de Milo, because you think, Wow, that's really somebody... This camera really was in front of this real naked lady.
In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new.
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
Makeup ignites a psychological transformation of both the wearer and the observer. My paintings sought to locate the subject of art within the manipulation of that altered predisposition.
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