I'm interested in painting the most beautifully compelling pictures and images and metaphors and stories and explanations possible that will put Jesus in language for a world that desperately needs to hear it.
Dada was an extreme protest against the physical side of painting. It was a metaphysical attitude.
I'd rather create a miniature painting than a Taj Mahal of a book.
I started billboard painting in Minneapolis, and I went to General Outdoor Advertising, and I said, 'I could do that.' They said, 'Oh yeah... we can always use a good man around here.'
It is not hard to understand modern art. If it hangs on a wall it's a painting, and if you can walk around it it's a sculpture.
Is the Mona Lisa an 'accurate' representation of the actual human model for the painting? Who knows? Who cares? It's a great piece of art. It moves us. It makes us wonder, makes us gape - finally makes us look inward at ourselves.
I feel like vocals are to music what portraits are to painting. They're the humanity. Landscapes are good and fine, but at the end of the day everyone loves the Mona Lisa.
Even if you can't afford to buy a painting, you can experience it. You can go see the Mona Lisa and be transported. You can see the discipline and suffering in a van Gogh.
We look at the Mona Lisa and say we're going to do our version of the Mona Lisa. We mirror it. But exaptation would say that painting the Mona Lisa would lead to a whole new place... Bugs Bunny.
Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.
Mount Tamalpais became my house. For Cezanne, Sainte-Victoire was no longer a mountain. It was an absolute. It was painting.
Movie making is not like other art forms, like painting, or writing a novel, because that can be digested or interpreted... It takes two years to make each one of these, and it's always judged on money.
We feel closer to the drawings on the walls of Chauvet than the painting of, say, an Egyptian mural. These artists are not remote ancestors; they are brothers. They saw like us; they drew like us. We wear essentially the same clothes against the cold.
We’ve all been there - you find something moving, you commission a painting. I know one wall of my living room is taken up by a mural of the end of Toy Story 3.
I graduated from college with a 3.92 GPA with a degree in computer programming and a BFA in fine arts and animation. My first job was painting a mural in the Grimaldi's in Queens.
I was making big paintings with mythological themes. When I started painting black figures, the white professors were relieved, and the black students were like, 'She's on our side.' These are the kinds of issues that a white male artist just doesn't have to deal with.
Where painting is weakest, namely, in the expression of the highest moral and spiritual ideas, there music is sublimely strong.
While in college, I used to get my ideas from photographs in 'National Geographic.' I started painting palm trees and motorboats.
My work since the late '80s specifically questioned what was presented as the 'natural' order of things in the history of post-war-N.Y. painting.
Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
