A Quote by Philip Taaffe
I don't understand why a Mark Rothko painting - as much as I love Mark Rothko - has to cost $73 million. I mean, I think $14 million is a pretty reasonable sum of money for a good Rothko painting. What's disturbing about this present moment is that these prices have been so out of control.
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There was a review by Fairfield Porter from the 1950s about Mark Rothko, one of the more hallowed names in American art. Porter says something like, "Yeah, Rothko paints rectangles of color. They have mass but no weight." That's not in any way a detraction, but it's a description. And it has nothing to do with the spiritual dimension. The main thing is as an intelligent viewer, to identify just what those things are that it does, that those rectangles do, and then not assume that they do these things over here. I don't know why that's challenging.
I have always dreamed of bringing an exhibit of Mark Rothko to Moscow.
It's strange, but something about lack of structure needs a structure itself. Otherwise, after a while, it's like looking at a Rothko painting or a Peter Greenaway film. You think, 'OK, I want to see something else now.'
Indeed, artists, particularly modern artists, have intentionally limited the scope and vocabulary of their expression to convey, as Mark Rothko and Ad Reinhardt do, the most essential, even spiritual, ideas of their art.
I've always worn a hat when I work. I think it also comes from a picture of Rothko I saw with a painter's hat on.
Part of the strength of Pollock and Rothko's art, in fact, is this doubt as to whether art may be there at all.
I'm not trying to spell out a story. I still think you feel the painting, and the reason you read the mark is because you also feel the mark.
(On the energy radiated by the Sun) It's four hundred million million million million watts. That is a million times the power consumption of the United States every year, radiated in one second, and we worked that out by using some water, a thermometer, a tin, and an umbrella. And that's why I love physics.
The spirit of a painting is very hard to explain and articulate. I can't say it's not intentional because that is the mark I'm trying to hit, however I don't feel I have much control over it.
To be secure everywhere is the mark of sophistication, to be unshakable is the mark of courage, to be permanently in love with every person is the mark of masculinity or femininity, to forgive is the mark of strength, to govern our senses and passions is the mark of freedom.
When I build something for somebody, I always add $50 million or $60 million onto the price. My guys come in, they say it's going to cost $75 million. I say it's going to cost $125 million, and I build it for $100 million. Basically, I did a lousy job. But they think I did a great job.
I think a good painting or a good work of art does many things it wants, I mean, maybe 15 or 20 or 100. One of the things a painting does is to make the room look better. It improves the wall that it's on. Which is much harder than it looks. And that's a good thing. And if one engages with a painting on that level, that's fine, that's great. After some time, familiarity, the other things that a painting does, the other layers, they just start to make themselves felt.
A woman is more than the sum of her parts. So I had an opportunity to present some work at the White House. I chose not just to talk about the sky, the planet, love or heartache. I wanted to actually be there, to place a mark on that moment.
Cows provide approx 100 million tonnes of dry dung a year costing Rs 5000 crores which saves 50 million tonnes of firewood which again means that many trees saved and more environmental damage prevented. It is calculated that if these 73 million animals were to be replaced, we would need 7.3 million tractors at the cost of 2.5 lac each which would amount to an investment of 180,000 crores. In addition 2 crore, 37 lakh and 50 thousand tonnes of diesel which would mean another 57,000 crore rupees. This is how much we owe these animals, and this is what we stand to lose by killing them.
The idea of a company that's earning money, not losing money, that's not, let's say 'industrially endangered,' to have just cutbacks so they can earn another $12 million or $20 million or $40 million in a year where no one's counting is really a horrible act when you think about it on every level. First of all, it's certainly not necessary. It's doing it at the worst time. It's throwing people out to a larger, what is inevitably a larger unemployment heap for frankly no good reason.
When we talk about Oscars, it's almost as a symbol of excellence, and the American public and the worldwide public accept that symbol. So, a movie like 'The Artist' that costs $14 million, has to go out and compete with movies that cost $140 million. How does David deal with Goliath?
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