A Quote by Mordicai Gerstein
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.
Related Quotes
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.
In Germany, we often hear the absurd complaint that museums don't have the money to buy paintings. Of course, I'm not talking about me and my paintings. There are, after all, more popular painters in this country.
At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.
When you talk about painters and you talk about painters painting masterpieces, there is no painter who painted only one painting and that was a masterpiece. You have to do a whole bunch of paintings to get to the place of mastering your craft.
All German painters have a neurosis with Germany's past: war, the postwar period most of all, East Germany. I addressed all of this in a deep depression and under great pressure. My paintings are battles, if you will.
It's also one of these strange points where metaphysics converges with economy. Because really what the experts are doing is creating value by banishing doubt. All great dead painters basically have this one person, this expert who has the metaphysical power to grant a seal of authenticity.
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.
My success has depended wholly on putting things over on people, so I'm not sure that I'm that great a role model. I am, however, an expert on pretending to be an expert on pretending to be an expert.
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.
The earliest paintings I loved were always the most non-referential paintings you can imagine, by painters such as Mondrian. I was thrilled by them because they didn't refer to anything else. They stood alone, and they were just charged magic objects that did not get their strength from being connected to anything else.
Painters of paintings, writers of books, never could tell the half.
By the time I discovered Chicano painters in the mid-'80s, I recognized that these guys were really world-class painters, but they weren't getting any attention, which was good in one sense in that I could get their work for cheaper!
I love painters because I don't paint, so I get to enjoy art; I like collecting paintings.
How are we going to make painters by lecturing to them? We are going to make questioners, doubters, and talkers. We are going to make painters by painting ourselves, and by showing the paintings of others. By working frankly from our convictions, we are going to make them work frankly from theirs.
I never thought I'd be an expert at sword fighting, I never thought I'd be an expert in protein powders - I'm close to being an expert in both. It's great!
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.
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