A Quote by Rembrandt
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Whenever I got a new studio I made the largest possible painting, and since the ceiling was low, the painting became horizontal. As I changed studios and got larger spaces, I made bigger paintings.
I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not translate into decoration on pottery. I thought it was going to, and in fact I made, while still in school, a plate with one of my paintings on it, and that's exactly what it was, it was a plate with a painting on it. It was not a decorated plate; it was just a painting superimposed over a three-dimensional ceramic form.
Literature exists inside the language. It's made of words. It's not made of ideas and it's not made of concepts, of psychological analysis. It's made of words. In the same way in which music is made of notes and a painting is made of lines of colors, the matter of literature are words.
...if photos can reproduce the world more perfectly than any painter, can capture an instant, a look, a gesture, then what makes a painting good anymore? Painting subverts this subversion of its traditional nature by redefining itself - art is idea, not simply skillful execution. So, a work can be crudely made, or even machine made - but it has to be practically and functionally useless.
Picasso didn't stop painting when he was 41 years old because he felt he wasn't relevant, but he kept going and the painting he made before he died are now worth 40 million dollars.
In my experience a painting is not made with colors and paint at all. I don't know what a painting is; who knows what sets off even the desire to paint?
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
I made work specifically for them not to like. If you made paintings of flowers and someone says they hate it, it's like, "What do you mean? It's a flower!" But if you make a painting of your name and somebody says they hate it, it's like, "Well, why would you like a painting of my name anyway?"
A painting is finished when the subject comes back, when what has caused the painting to be made comes back as an object.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
What do you think of this" he asked, indicating the painting nearby. She gave him an odd look. "I think it's an enormous painting of a dog." He made a show of considering the picture and nodded seriously. "An astute observation.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
Pablo Picasso would paint a painting and hang it on the wall, and you would go and see the painting exactly how he wanted it to be made. But if you have an idea for a TV show, for example, you're beholden to studios to produce it and distributors to distribute it.
The effort of painting from life has cost my models a great deal of physical discomfort, and cost me a great deal of money in model fees... I have wanted to make the camera obsolete... because, in my reading about early 20th century art, I found that the most frequently used argument made in favor of abstraction was that the camera made realist painting obsolete.
Sculpture is made by taking away, while painting is made by adding.
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