A Quote by Mary Beth McKenzie

Sometimes working on one painting will help solve a problem in another painting. — © Mary Beth McKenzie
Sometimes working on one painting will help solve a problem in another painting.
The idea of an isolated American painting , so popular in this country during the thirties, seems absurd to me, just as the idea of a purely American mathematics or physics would seem absurd... And in another sense, the problem doesn't exist at all; or, if it did, would solve itself: An American is an American and his painting would naturally be qualified by the fact, whether he wills or not. But the basic problems of contemporary painting are independent of any one country.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
A painting has its own existence and reality, and I make changes freely to meet the painting's needs. This sometimes takes me in another direction.
I don't think it's wise to manufacture a painting, just for the sake of working... if the impulse isn't truly there, the painting will lack power.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
We cannot solve a problem by saying, "It's not my problem." We cannot solve a problem by hoping that someone else will solve it for us. I can solve a problem only when I say, "This is my problem and it's up to me to solve it."
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
Comedy is the one absolutely self-aware art form. Actually, hip-hop's another one, I suppose. Because in your songs you're talking about how good a hip-hop artist you are. It's like a painter painting a panting of himself painting a painting.
I would always be painting and drawing. If I was stuck at home, I was in the basement working on a painting.
Try drawing or painting a scene you're working on. Often this will help free up you imagination.
Sometimes I can see the whole painting from the outset in my mind's eye. But more often than not, that idea doesn't last the duration of the painting. Sometimes it comes out easy, just as I had envisaged. But that is reasonably rare.
I will do a lot of research and create a lot of material for use in one painting. And then I go on discovering and working with a whole other range of material in another painting. I'm interested in a fairly comprehensive and orchestrated synthesis that might bring about a new situation consisting of this hidden material. I'm interested in hidden source material.
You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
The coming and going of birth and death is a painting. Unsurpassed enlightenment is a painting. The entire phenomenal universe and the empty sky are nothing but a painting.
I like painting because it's something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I'm working on fifteen or twenty pictures at the same time. I do that because I want to - because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting.
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