A Quote by Mark Rothko
You think my paintings are calm, like windows in some cathedral? You should look again. I'm the most violent of all the American painters. Behind those colours there hides the final cataclysm.
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United should have won more than three European Cups. When you look back at some of those semi-final and quarter-final defeats, we could and should have gone on to win the competition.
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.
UNIX has a philosophy, it has 25 years of history behind it, and most importantly, it has a clean core. It strives for something - some kind of beauty. And that's really what struck me as a programmer. Operating systems that normal home users are used to, such as DOS and Windows, didn't have any way of life. Nobody tried to design Windows - it just grew in random directions without any kind of thought behind it. [...] I don't think Microsoft is evil in itself; I just think that they make really crappy operating systems.
I bought Windows 2.0, Windows 3.0, Windows 3.1415926, Windows 95, Windows 98, Windows ME, Windows RSVP, The Best of Windows, Windows Strikes Back, Windows Does Dallas, and Windows Let's All Buy Bill Gates a House the Size of Vermont.
From what has been said it is also evident, that the Whiteness of the Sun's Light is compounded all the Colours wherewith the several sorts of Rays whereof that Light consists, when by their several Refrangibilities they are separated from one another, do tinge Paper or any other white Body whereon they fall. For those Colours ... are unchangeable, and whenever all those Rays with those their Colours are mix'd again, they reproduce the same white Light as before.
For them it's normal that people of all colours are equal. When I look at schoolkids, I think that we should all be like that.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
I decided I should use the most obvious colours - the basic colours with simple names: red, purple, yellow, pink. I don't distort the objects, I don't change the objects, I draw them exactly as they are. I do the opposite with the colours.
One of the characteristics of North American culture is that you can always start again. You can always move forward, cross a border of a state or a city or a county, and move West, most of the time West. You leave behind guilt, past traditions, memories. You are as if born again, in the sense of the snake: You leave your skin behind and you begin again. For most people in the world, that is totally impossible.
Every time somebody writes a theory about where literature's going, that person is not only contributing thought but nudging things to happen in one way or the other. Just as in painting, there's much more interest in the American scene painters and the early American... like the Ashcan school of painters. Who would have thought, 50 years ago, that Norman Rockwell would again be considered a serious painter? And yet, there are a lot of people who are saying Rockwell was a very accomplished technician. These things are constantly moving.
The history of American art, in a way, begins with Jackson Pollock and his big paintings. This theme of bigness - all painters and sculptors have dealt with it ever since.
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.
Culture hides more than it reveals, and strangely enough what it hides, it hides most effectively from its own participants.
Culture hides much more than it reveals, and strangely enough, what it hides, it hides most effectively from its own participants.
Sometimes you look out the window and you look at all the windows, and think inside very single one of them is somebody with some huge, weird, terrible problem, some great jokes.
I'm the expert when it comes to my paintings. I think all great painters have to have that confidence in what they are seeking and when they're getting there.
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