A Quote by Paul Auster

Paintings. Or the collapse of time in images. — © Paul Auster
Paintings. Or the collapse of time in images.
A United States collapse would be much different than a Greece collapse. Greece can collapse, and there's a ripple. We collapse, and the world feels it.
The collapse of Enron and the subsequent collapse of Arthur Andersen were tremendous tragedies. But as I stated at the time of my indictment on July 8, 2004, failure does not equate to a crime.
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
I am myself a professional creator of images, a film-maker. And then there are the images made by the artists I collect, and I have noticed that the images I create are not so very different from theirs. Such images seem to suggest how I feel about being here, on this planet. And maybe that is why it is so exciting to live with images created by other people, images that either conflict with one's own or demonstrate similarities to them.
I don't covet images or belongings. My television set and video are rented, any paintings aren't worth a fortune, and money is of little interest.
We’re face to face with images all the time in a way that we never have been before... Young people need to understand that not all images are there to be consumed like fast food and then forgotten – we need to educate them to understand the difference between moving images that engage their humanity and their intelligence, and moving images that are just selling them something.
My method is subtraction. I use erasers to make the images in my paintings. You really have to see it to fully get it, but it is basically erasing shapes from a background of paint.
Images exist; things themselves are images... Images constantly act on and react to one another, produce and consume. There is no difference between images, things and movement.
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.
I'm not a lyric writer to make statements. What I enjoy doing is making paintings with lyrics, creating colorful images. I think that's more what entertainment and music should be.
When I do only images, people don't connect with the images because the images are too weird to understand. But when I explain the weird images with straight words, then all of a sudden there is a tension between the two that the audience wants to see.
My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings.
Paintings invariably sum up; photographs usually do not. Photographic images are pieces of evidence in an ongoing biography or history. And one photograph, unlike one painting, implies that there will be others.
Choose paintings, sculptures, realistic or abstract or animal images woven into fabrics, rather than a faux zebra rug or a sullied Lion's head on the wall.
Time is of the essence, particularly if we're sending images out on social media. The reality is that the majority of images are only viewed for a few seconds, often on a phone or computer. There are so many images freely available that it takes a lot of will power to concentrate and prolong the gaze on one picture at the expense of the thousands of others waiting to be viewed!
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