A Quote by Jenny Saville
Whether you think you like Rubens or not, his influence runs through the pathways of painting. Like Warhol, he changed the game of art.
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Like everybody, I wanted to meet Andy Warhol. I was impressed by his work and how daring he was. I think he changed the cinema completely, simply by opening his camera and letting it go.
Andy Warhol: I think everybody should like everybody.
Gene Swenson: Is that what Pop Art is all about?
Andy Warhol: Yes, it's liking things.
I'd like to think, that were he alive today, Warhol would be painting the Housewives.
I'd like to think, that were he alive today, Andy Warhol would be painting the Housewives.
Painting is like breathing to me. It’s what I do all the time. Every day I make art, whether it is painting, writing or making a movie.
I'm not anti conceptual art. I don't think painting must be revived, exactly. Art reflects life, and our lives are full of algorithms, so a lot of people are going to want to make art that's like an algorithm. But my language is painting, and painting is the opposite of that. There's something primal about it. It's innate, the need to make marks. That's why, when you're a child, you scribble.
For somebody like Kanye, fame is the fullest realisation of his art in a way. It's like an Andy Warhol dream or something. He's able to marshal all of these different artforms and media into his story, in this very layered, idiosyncratic way.
Take an exhibit, in the days when we saw the Pop art - Andy Warhol and all that - tomato soup cans, etc., and coming home, you saw everything like A. Warhol.
The painting is like a thread that runs through all the reasons for all the other things that make one's life.
You like it, that's all, whether it's a landscape or abstract. You like it. It hits you. You don't have to read it. The work of art-sculpture or painting-forces your eye.
Warhol was definitely an inspiration when I was younger. I wouldn't quantify his sort of influence. I've been influenced by nature and science, and I've been influenced by people like Ernst and Rauschenberg, Cornell and Bosch and Bruegel, by writers like Haruki Murakami to Pablo Neruda to Artaud.
When I was a kid and started to be obsessed by art in the 1980s, the art world was in this polarity Warhol/Beuys, Beuys/Warhol. Both expended the notion of art extremely, but in very different ways.
I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.
My studio practice is a - I suppose a bit more like [Thomas] Gainsborough or [Peter Paul] Rubens in the sense that any artist who wants to create a grand narrative on a grand scale has to sort of parse out some of the smaller aspects of painting or the more mundane aspects of painting to others.
It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.
Man finds his pathways: at first they were foot-tracks, as those of the beast in the wilderness; now they are swift and invisible: his thought dives through the ocean, and his wishes thread the air: has he found all the pathways yet? What reaches him, stays with him, rules him: he must accept it, not knowing its pathway.
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