A Quote by Michael Heizer
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.
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This theme of bigness — all painters and sculptors have dealt with it ever since.
Before they did all those shows on Jackson Pollock, I loved the way he formulated his paintings. I loved Basquiat - I was into the whole Beat generation, Kerouac, etc., and all those artists talked about that and Kerouac, so I just got in the middle of being spontaneous.
I'm interested in Jackson Pollock's kind of art, where art is beautiful, but it's nothing, and yet it's incredible.
Far from being dominated by ideas from Paris and New York, Latin American artists were often the innovators. They were doing drip paintings in advance of Pollock, creating language art before the American conceptualists, and fashioning shaped canvases decades before Kelly or Stella.
The noblest art is the nude. This truth is recognized by all, and followed by painters, sculptors and poets. Only the dancer has forgotten it, who should remember it, as the instrument of [the dance] art is the human body itself.
I don't say, 'Francis Ford Coppola, what a wonderful Italian-American director.' I judge him based on his film, his craft, his art. That's the way I feel I should be dealt with in this industry.
The Metropolitan Museum of Art some time ago held a display of contemporary art at which $52,000 was awarded to American sculptors, painters, and artists in allied fields. The award for the best painting went to the canvas of an Illinois artist. It was described as "a macabre, detailed work showing a closed door bearing a funeral wreath." Equally striking was the work's title: "That which I should have done, I did not do."
Good art theory must smell of the studio, although its language should differ from the household talk of painters and sculptors.
Painters, especially American painters since the Second World War, have been much more troubled, beset by formal perplexity, than American writers. Theyve been a laboratory for everybody.
Every man is the builder of a temple, called his body, to the god he worships, after a style purely his own, nor can he get off by hammering marble instead. We are all sculptors and painters, and our material is our own flesh and blood and bones. Any nobleness begins at once to refine a man's features, any meanness or sensuality to imbrute them.
If I am not mistaken, the word "art" and "artist" did not exist during the Renaissance and before: there were simply architects, sculptors, and painters, practicing a trade.
It used to be that painters were crazy and sculptors clever. Today it's the other way around.
I love art, and it plays a huge role in my life. It's definitely one of my greatest joys, and I'm a bit fanatical about certain painters and poets and musicians and sculptors.
If you look at the paintings that I love in art history, these are the paintings where great, powerful men are being celebrated on the big walls of museums throughout the world. What feels really strange is not to be able to see a reflection of myself in that world.
Ever since I was a child, I always had insecurity or suspicions about my own personal identity. That's why I started going to a lot of movie theaters, because I felt more comfortable there than at school. Now, the search for a personal identity is becoming a common topic for young Japanese people, and it's a big theme in their own lives. But it's been a theme in my life, as well, ever since I was young.
We are all sculptors and painters, and our material is our own flesh and blood and bones. Any nobleness begins at once to refine a man's features, any meanness or sensuality to imbrute them.
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