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Art-Is-The-Highest-Form-Of-Hope-And-Other-Quotes-By-Artists-En-7243-Blad-Digital.Pdf Advice 000 Drawing 000 Originality 000 Art 000 Drugs + Alcohol 000 Philosophy 000 Art Market 000 Exhibition 000 Photography 000 Art School 000 Failure 000 Routine 000 Artist 000 Frame 000 Scale 000 Audience 000 Identity 000 Sculpture 000 Beauty 000 Influence 000 Sex 000 Chance 000 Inspiration 000 Studio 000 Childhood 000 Intention 000 Subject 000 Collaboration 000 Light 000 Success 000 Color 000 Limitation 000 Technology 000 Creative Process 000 Material 000 Title 000 Day Job 000 Money 000 Tool 000 Discipline 000 Nature 000 Weather 000 2 ADVICE 3 ADVICE STARE. IT IS THE WAY TO EDUCATE YOUR YOU ARE EYE, AND MORE. STARE, PRY, LISTEN, EAVESDROP. AS GOOD DIE KNOWING SOMETHING. AS YOU YOU ARE NOT HERE LONG. EVER Walker Evans WILL BE FIND AT THE MOMENT. YOUR EYES. Constantin Brancusi alec soth 5 FOR THE Once obsessed, NEXT WEEK TRY one ultimately carries I FEEL LIKE I CAN THE BEST YOU it to the point of CAN TO PAY believing that one GIVE A LOT TO ATTENTION might change human TO SOUNDS. beings through YOUNGER PAINTERS YOU WILL START painting. But if one HEARING ALL lacks passionate BY JUST TELLING THESE SOUNDS commitment, there COMING IN. is nothing left to do. THEM TO RELAX. Robert Irwin Then it is best to leave it alone. For Elizabeth Peyton Every time I do basically painting a show somewhere, is total idiocy. I try to make a painting Gerhard Richter that’s just for me— HABITUAL ORDERLINESS it was suggested by MAKE SURE a friend who used to TO ALLOW OF IDEAS IS YOUR SOLE ROAD work at Sotheby’s. She PEOPLE TO TAKE said, “you better keep CARE OF YOU. TO HAPPINESS, AND TO one painting for yourself Mickalene Thomas because if things do REACH IT, ORDERLINESS IN go really well for you SOMETIMES IN down the road, it’ll A HOSTILE SITUATION ALL ELSE, EVEN THE MOST be to your advantage to YOU STICK AROUND, have a good supply BECAUSE HOSTILITY CASUAL THINGS, IS NEEDED. of your early work.” ITSELF IS IMPORTANT. Will Cotton Dorothea Lange Eugene Delacroix 6 ADVICE ADVICE 7 COLOR MY BLUE The paint COMES OUT OF manufacturers A TUBE. ANYONE are so incredible CAN COPY MY nowadays that ONE PAINTINGS. you go to a store, ALL YOU HAVE it is too vast, TO KNOW IS WHICH there is too much BLUE: COBALT, of everything. CANNOT ULTRAMARINE, You can probably MORE OR LESS buy I don’t THICK. THE QUALITY know how many HAVE COMES FROM different shades QUANTITY AND and pigments THICKNESS. and qualities, and Henri Matisse it is a burden. TOO Willem de Kooning The whites, of course, turned yellow, I knew as a child that MUCH and many people certain colors were call your attention to supposed to produce that, you know; certain feelings. they want white to Donald Judd YELLOW. stay white for ever. It doesn’t bother me SATURATED COLORS whether it does or HAVE AN EMOTIONAL not. It’s still white SIGNIFICANCE THAT compared to the black. I WANT TO AVOID. Pierre Bonnard Franz Kline Lucian Freud 9 GRAY ALONE REIGNS IN NATURE, GR AY BUT IT’S FRIGHTFULLY DIFFICULT TO CATCH. GOES Paul Cézanne WITH REMEMBER THAT THE ALL ENEMY OF ALL PAINTING IS COLORS. THE GRAY Eugene Delacroix Ellsworth Kelly 10 COLOR ADVICE 11 CREATIVE PROCESS I DO WHAT A PAINTING I’M FEELING OF MINE WORKS AND WHAT WHEN IT LOOKS I’M FEELING AS THOUGH I HAD IS MONSTROUS. NOTHING TO DO AND I DO IT IN WITH IT, WHEN THE NICEST SOMETHING ELSE POSSIBLE WAY. TOOK OVER. Kara Walker Dorothea Rockburne ADVICE 13 I’M A SCISSORS The smudging I DO ALL THE DEVELOPING. MANIAC. I CUT makes the paintings EVERYTHING. a bit more complete. IF SOMEBODY’S GOING TO Wangechi Mutu When they’re not blurred, so many GOOF MY FILM, I’D BETTER DO IT. You could say making details seem wrong, a print is like preparing and the whole thing I DON’T WANT TO GET THAT a pizza. You start with is wrong too. Then a white sheet of paper— smudging can help MAD AT ANYBODY ELSE. that is, the “dough”— make the painting to which you add layers invincible, surreal, of images: cheese, more enigmatic— Garry Winogrand mushrooms, sausage bits, that’s how easy it is. tomato paste, immersed in Gerhard Richter overprinted inks. In the end, I DIDN’T CARE the “pizza” is “editioned”— Sometimes you don’t that is, sliced and distributed like a particular MUCH ABOUT THE for consumption. edge and you file PRINT QUALITY; Claes Oldenburg it. And yes, you cut some. But I happen THE PHOTOGRAPHS I am more than ever to really have a in favor of taking one’s good eye, and I’ve WERE SUPPOSED impression from memory; never measured a TO LOOK LIKE THEY it is less the actual thing— thing in my life vulgarity disappears, and either it fits COST FIFTY CENTS. leaving only an aura of or it doesn’t, but truth glimpsed, sensed. usually it does. Cindy Sherman Camille Pisarro Louise Nevelson 14 CREATIVE PROCESS CREATIVE PROCESS 15 MATERIAL THERE’S My father’s family NOTHING were bricklayers SACROSANCT and carpenters and ABOUT shipbuilders, and so MATERIALS. my earliest experiences Donald Judd are not of art but of TIRES materials that I continue I think it’s still possible to use. I never did any to make revolutionary work that required art with a number six pencil the art-supply store, HAVE and a piece of paper... as I’ve always used it’s not that money has industrial materials. nothing to do with it... Carl Andre money means you can buy GIVEN ME a better pencil sharpener... There is a sensuality Richard Prince in all materials. There is certainly a sensuality Pastel is a nutty, between any relationship of MUCH superfussy material, one material to another. very interesting, Lawrence Weiner don’t you think? Kiki Smith ONE THING JOY. GETS BORN OUT OF I WANTED TO ANOTHER. I WORK DEAL WITH LIGHT WITH THINGS DIRECTLY RATHER LEFT OVER FROM THAN WITH PAINT. OTHER THINGS. Carol Rama James Turrell Julian Schnabel 17 I’VE SOME SPACE MATERIALS IS A ALWAYS HAD HAVE A MEMORY, MATERIAL. A THING OTHERS IT IS ABOUT GLASS. DON’T. PHYSICAL. Damien Hirst Sheila Hicks Anish Kapoor THE MATERIAL THAT I AM REALLY I FEEL THE CLAY; STILL EAGER I AM THE CLAY, TO WORK WITH IS RUBBER. SO TO SPEAK. Eva Hesse Lynda Benglis 18 MATERIAL MATERIAL 19 ARTIST INDEX Abbott, Berenice 012 Blake, William 012 Abramovic, Marina 012 Bonnard, Pierre 012 Adams, Ansel 012 Bonvicini, Monica 012 Adnan, Etel 012 Bove, Carol 012 Aitken, Doug 012 Bourgeois, Louise 012 Akerman, Chantal 012 Boyce, Sonia 012 Albers, Annie 012 Bradford, Mark 012 Albers, Josef 012 Brancusi, Constantin 012 Alechinsky, Pierre 012 Braque, Georges 012 Anderson, Laurie 012 Brown, Cecily 012 Andre, Carl 012 Bruguera, Tania 012 Antin, Eleanor 012 Calder, Alexander 012 Antoni, Janine 012 Calle, Sophie 012 Arbus, Diane 012 Cameron, Julia Margaret 012 Arp, Jean 012 Camil, Pia 012 Asawa, Ruth 012 Caravaggio 012 Bacon, Francis 012 Caro, Anthony 012 Baldessari, John 012 Cartier-Bresson, Henri 012 Banksy 012 Cassatt, Mary 012 Barlow, Phyllida 012 Cattelan, Maurizio 012 Barnet, Will 012 Cézanne, Paul 012 Barney, Tina 012 Chagall, Marc 012 Barth, Uta 012 Chamberlain, John 012 Basquiat, Jean-Michel 012 Chan, Paul 012 Benglis, Lynda 012 Chicago, Judy 012 Beuys, Joseph 012 Close, Chuck 012 20 ADVICE 21 Constable, John 012 Gates, Theaster 012 Kippenberger, Martin 012 Mann, Sally 012 Corot, Camille 012 Gauguin, Paul 012 Klee, Paul 012 Mapplethorpe, Robert 012 Cornell, Joseph 012 Giacometti, Alberto 012 Klein, Yves 012 Marclay, Christian 012 Cotton, Will 012 Gilbert and George 012 Kline, Franz 012 Mark, Mary Ellen 012 Courbet, Gustave 012 Goldin, Nan 012 Knight, Laura 012 Martin, Agnes 012 Crewdson, Gregory 012 Goldsworthy, Andy 012 Kollwitz, Kathe 012 Matisse, Henri 012 de Kooning, Willem 012 Guo-Qiang, Cai 012 Koons, Jeff 012 McCaslin, Matthew 012 Deacon, Richard 012 Heinecken, Robert 012 Krasner, Lee 012 McGinness, Ryan 012 Dean, Tacita 012 Hepworth, Barbara 012 Kruger, Barbara 012 Matta-Clark, Gordon 012 Degas, Edgar 012 Hesse, Eva 012 Kusama, Yayoi 012 McCarthy, Paul 012 Delacroix, Eugene 012 Hicks, Sheila 012 Kushner, Robert 012 McCracken, John 012 Delaunay, Sonia 012 Hine, Lewis 012 Lange, Dorothea 012 McKenzie, Lucy 012 Demand, Thomas 012 Hirst, Damien 012 Lassnig, Maria 012 Michals, Duane 012 Despont, Louise 012 Hockney, David 012 Lawrence, Jacob 012 Michelangelo 012 Dijkstra, Rineke 012 Holzer, Jenny 012 Le Parc, Julio 012 Miller, Lee 012 Dion, Mark 012 Hopper, Edward 012 LeWitt, Sol 012 Miró, Joan 012 Duchamp, Marcel 012 Irwin, Robert 012 Levine, Sherrie 012 Model, Lisette 012 Ekblad, Ida 012 Jacir, Emily 012 Leyster, Judith 012 Modigliani, Amedeo 012 Eliasson, Olafur 012 Johns, Jasper 012 Lichtenstein, Roy 012 Mondrian, Piet 012 Ernst, Max 012 Jonas, Joan 012 Ligon, Glenn 012 Monet, Claude 012 Evans, Walker 012 Jones, Jennie C. 012 Lijn, Liliane 012 Moore, Henry 012 Fanzhi, Zeng 012 Judd, Donald 012 Lin, Maya 012 Morisot, Berthe 012 Fischl, Eric 012 Kahlo, Frida 012 Lipchitz, Jacques 012 Morris, Robert 012 Flavin, Dan 012 Kandinsky, Wassily 012 Long, Richard 012 Motherwell, Robert 012 Fontana, Lucio 012 Kapoor, Anish 012 Lucas, Sarah 012 Murakami, Takashi 012 Frank, Robert 012 Katz, Alex 012 Macuga, Goshka 012 Murray, Elizabeth 012 Frankenthaler, Helen 012 Kelly, Ellsworth 012 Magritte, René 012 Mutu, Wangechi 012 Freud, Lucian 012 Kelly, Mary 012 Manet, Édouard 012 Nauman, Bruce 012 22 ARTIST INDEX ARTIST INDEX 23 Neel, Alice 012 Rodin, Auguste 012 Spence, Jo 012 Velázquez, Diego 012 Neshat, Shirin 012 Rosler, Martha 012 Steichen, Edward 012 Vermeer, Johannes 012 Nevelson, Louise 012 Rothenberg, Susan 012 Stella, Frank 012 von Heyl, Charline 012 Noguchi, Isamu 012 Rothko, Mark 012 Stettheimer, Florine 012 Walker, Kara 012 O’Keeffe, Georgia 012 Rubins, Nancy 012 Steyerl,
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