A Quote by Mickalene Thomas

I'm using the grid as formation. I wanted a relationship between the paintings and videos so that way when you are looking at the videos there's a direct relationship to the paintings.
Some people draw a line between music videos and short films, looking down on music videos as a format, but there's so much potential in music videos.
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.
Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you'll find it. It's there in paintings of photographs, photographs of advertising, sculpture with ready-made objects, videos using already-existing film.
My friend Phil Morrison directed a lot of my favorite videos back in the mid- to late-90s - all the Yo La Tengo videos that were funny, a Juliana Hatfield video. He was such an influence with me, and I wanted to do a video the way Phil used to do videos. I did that for Phil.
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
I can't stress to you enough how much I can relate to teens being cyberbullied. Something that helps me is looking at old videos of me and my friends from middle school, or videos of my family. I love watching funny videos of my favorite people - it really cheers me up.
The paintings have a lot to do with the idea of seeing and doing, and the relationship between your hand and your eye, and the object.
I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.
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.
I think that there are many aspects to the relationship between humans and animals. But briefly, humans appear to have always been fascinated by them from the time of cave paintings and before.
I started directing videos at the same time that Michel Gondry was starting to direct videos, and I watched what he'd do. They all seemed to be pushing some new visual effects idea, but never just for spectacle. They all captured a feeling.
We've always wanted to control the video player for our videos. We really want to evolve how comments on videos work.
They were wrestling with canvases, using violent colors and huge brush strokes. I arrived with gray, silent, sober, oppressed paintings. One critic said they were paintings that thought.
Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.
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.
The spot paintings, the spin paintings, they're all a mechanical way to avoid the actual guy in a room, myself, with a blank canvas.
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