A Quote by Michael Heizer

The size thing is not some gimmick or attention-getting trick but a genuine undercurrent of the work. Frank Gehry for instance likes to imagine his buildings as sculptures. I like to imagine my sculptures as architectural.
Frank Gehry for instance likes to imagine his buildings as sculptures. I like to imagine my sculptures as architectural.
I've been making bronze sculptures for a long time. My sculptures are wholly unsuccessful and uncommercial. No one is even the remotest bit interested in them. So it's almost like my hobby.
Frank Gehry designs buildings that make other architects half his age (he's 78) gasp with envy. Neotony is what makes him lace up his skates and whirl around the ice rink, while visionary buildings come to life and dance in his head.
I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work.
There are hundreds of Frank Lloyd Wright buildings around the United States and in other countries, too. Wright lived into his 90s, and one of his most famous buildings, the Guggenheim Museum in New York, was completed just before his death. Wright buildings look like Wright buildings - that is their paradox.
Imagine craving absolutely nothing from the world. Imagine cutting the invisible strings that so painfully bind us: what would that be like? Imagine the freedoms that come from the ability to enjoy things without having to acquire them, own them, possess them. Try to envision a relationship based on acceptance and genuine care rather than expectation. Imagine feeling completely satisfied and content with your life just as it is. Who wouldn't want this? This is the enjoyment of non-attachment.
I am finally getting the chance to build large structures and break preconceptions that my designs are just sculptures for people to be in. But my work always comes down to the human scale.
Frank Gehry not only understood my sense of fun and adventure but also reciprocated it and translated that feeling into his work.
What I like to do is treat words as a craftsman does his wood or stone or what-have-you, to hew, carve, mold, coil, polish, and plane them into patterns, sequences, sculptures, fugues of sound expressing some lyrical impulse, some spiritual doubt or conviction, some dimly realized truth I must try to reach and realize.
I just can't imagine my life without Dostoevsky and The Brothers Karamazov. I can spin off of that and talk about Crime and Punishment and Tolstoy. I could talk about other novels, but for me it's Dostoevsky. His sheer size and grandeur, his sacramentality, his ecclesiology, and his sense of the human predicament are as powerful as it gets. Can't imagine not reading the Russians.
Imagine all human beings swept off the face of the earth, excepting one man. Imagine this man in some vast city, New York or London. Imagine him on the third or fourth day of his solitude sitting in a house and hearing a ring at the door-bell!
I think about my art works as paintings, because they refer to the history of painting. I also have to think about them as sculptures, because every part of the process is part of the project. They're sculptures because they play on the idea of what should be hanging in a gallery. In that sense they're also kind of ready-mades.
I'm showing some of my sculptures in Holland in the spring, so we'll see.
You know the John Lennon song 'Imagine'? 'Imagine no possessions, no religion'? That's what it was like in Cambodia. The only thing people had was a spoon, for eating the daily pourridge. And that pourridge was grossly insufficient for the work they were made to do in the fields.
I think it was Henry Moore who was asked where he got his ideas for his sculptures, and he said something like, "I continue to do as an adult the things I did as a child." I think that's what art is about.
I love everything that Frank Gehry does. I wish I could have that man build me a Wayne Manor-style mansion, like his idea of it.
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