Weeks go by, and I dont paint until finally I cant stand it any longer. I get fed up. I almost dont want to talk about it, because I dont want to become self-conscious about it, but perhaps I create these little crises as a kind of a secret strategy to push myself.
It was not possible for us to produce the same optimism and the same kind of humour or irony. Actually, it was not irony. Lichtenstein is not ironic but he does have a special kind of humour. That's how I could describe it: humour and optimism. For Polke and me, everything was more fragmented. But how it was broken up is hard to describe.
But it is also untrue that I have nothing specific in mind. As with my landscapes: I see countless landscapes, photograph barely 1 in 100,000, and paint barely 1 in 100 of those that I photograph. I am therefore seeking something quite specific; from this I conclude that I know what I want.
As I see it, all of them - Tachists, Action Painters, Informel artists, and the rest - are only part of an Informel movement that covers a lot of other things as well. I think there's an Informel element in Beuys, as well; but it all began with Duchamp and chance, or with Mondrian, or with the Impressionists. The Informel is the opposite of the constructional quality of classicism - the age of kings, or clearly formed hierarchies.
Painting is traditional but for me that doesn't mean the academy. I felt a need to paint; I love painting. It was something natural - as is listening to music or playing an instrument for some people. For this reason I searched for themes of my era and my generation. Photography offered this, so I chose it as a medium for painting.
I see the bomber pictures as an anti-war statement... which they aren't - at all. Pictures like that don't do anything to combat war. They only show one tiny aspect of the subject of war - maybe only my own childish feelings of fear and fascination with war and with weapons of that kind.
Form is all we have to help us cope with fundamentally chaotic facts and assaults. Formulating something is a great start. I trust form, trust my feeling or capacity to find the right form for something. Even if that is only by being well organized. That too is form.
Politicians are nauseating by definition... They can produce nothing, neither a loaf of bread nor a table nor a picture; and this inability to create value, this total inferiority, makes them jealous, vengeful, insolent and a menace to life and limb.
Theory has nothing to do with a work of art. Pictures which are interpretable, and which contain a meaning, are bad pictures. A picture presents itself as the Unmanageable, the Illogical, the Meaningless. It demonstrates the endless multiplicity of aspects; it takes away our certainty, because it deprives a thing of its meaning and its name. It shows us the thing in all the manifold significance and infinite variety that preclude the emergence of any single meaning and view.
Art is not a substitute religion: it is a religion (in the true sense of the word: 'binding back', 'binding' to the unknowable, transcending reason, transcendent being). But the church is no longer adequate as a means of affording experience of the transcendental, and of making religion real - and so art has been transformed from a means into the sole provider of religion: which means religion itself.
Almost every work of art is an analogy. When I make a representation of something, this too is an analogy to what exists; I make an effort to get a grip on the thing by depicting it. I prefer to steer clear of anything aesthetic, so as not to set obstacles in my own way and not to have the problem of people saying: 'Ah, yes, that's how he sees the world, that's his interpretation.'
Weeks go by, and I dont paint until finally I cant stand it any longer. I get fed up. I almost dont want to talk about it, because I dont want to become self-conscious about it, but perhaps I create these little crises as a kind of a secret strategy to push myself.
Советских актёров часто ставят в пример как образец духовной силы, национальной гордости и внутренней красоты. Они стали символами эпохи, носителями культуры и нравственности. Но, как известно, за кул...
Актеры — люди творческие, но кто бы мог подумать, что некоторые из них скрывают прекрасный голос. В эпоху раннего Голливуда актеров с музыкальными способностями было немало — это считалось скорее норм...
Неузнаваемая Ким Кардашьян в объективе фотографа Маркуса Клинко, 2009 год. Памела Андерсон в самой первой съёмке для журнала «Playboy», 1990. На фото голливудская актриса Dorothy Lamour и шимпанзе Джи...
Расскажем, как сложилась судьба актеров, которые начинали сниматься еще в детстве.
Остаться на вершине в Голливуде удаётся не каждому, особенно если путь начался в детстве. Одни актёры теряются из-за...
Два года назад отечественное телевидение столкнулось с беспрецедентной кадровой тектоникой — целая группа ярких и узнаваемых ведущих стремительно исчезла с экранов федеральных каналов. Эти лица долгие...
Кира Найтли на страницах журнала к выходу фильма «Пиджак», 2005. Следы динозавра, раскопанные в русле реки Палакси. Техас. США. 1952г. Самая большая женщина рядом с самым маленьким мужчиной, 1922 год....
