What difference does it make whether you're looking at a photograph or looking at a still life in front of you? You still have to look.
From Chuck Close
You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.
Painting is the frozen evidence of a performance.
There's something Zen-like about the way I work - it's like raking gravel in a Zen Buddhist garden.
In the 7th grade, I made a 20-foot long mural of the Lewis and Clark Trail while we were studying that in history because I knew I wasn't going to be able to spit back the names and the dates and all that stuff on a test.
I think I was driven to paint portraits to commit images of friends and family to memory. I have face blindness, and once a face is flattened out, I can remember it better.
Ease is the enemy of the artist. When things get too easy, you're in trouble.
I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
I don't care about the Guggenheim. The Guggenheim isn't involved in anything that I am interested in. I don't care about motorcycles and Armani suits.
4 perspectives
3 perspectives
1 perspectives