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Home , Claes Oldenburg, Kara Walker, Nicholas Serota, Phaidon Press

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 000 000

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 . 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 Every time I do basically painting a show somewhere, is total idiocy. I try to make a painting 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 . 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 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 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

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

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... money means you can buy GIVEN ME a better pencil sharpener... There is a sensuality 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, don’t you think? 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 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

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 , 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, Hito 012 Wall, Jeff 012

Oldenburg, Claes 012 Ruby, Sterling 012 Stieglitz, Alfred 012 Warhol, Andy 012

Ono, Yoko 012 Ruscha, Ed 012 Strand, Paul 012 Warren, Rebecca 012

Opie, Catherine 012 Ryman, Robert 012 Strom, Annika 012 Weber, Bruce 012

Overton, Virginia 012 Sachs, Tom 012 Sze, Sarah 012 Weegee 012

Paglen, Trevor 012 Sala, Anri 012 Taeuber-Arp, Sophie 012 Weems, Carrie Mae 012

Palermo, Blinky 012 Samaras, Lucas 012 Tan, Fiona 012 Wegman, William 012

Parker, Cornelia 012 Sandback, Fred 012 Tanning, Dorothea 012 Weiner, Lawrence 012

Penn, Irving 012 Saville, Jenny 012 Thiebaud, Wayne 012 Weiwei, Ai 012

Peyton, Elizabeth 012 Schiele, Egon 012 Tillmans, Wolfgang 012 Weston, Edward 012

Picasso, Pablo 012 Schnabel, Julian 012 Thomas, Mickalene 012 White, Minor 012

Pisarro, Camille 012 Schutz, Dana 012 Toulouse-Lautrec, Henri de 012 Whiteread, Rachel 012

Pollock, Jackson 012 Serra, Richard 012 Trockel, Rosemary 012 Winogrand, Garry 012

Prince, Richard 012 Seurat, Georges-Pierre 012 Turrell, James 012 Wyeth, Andrew 012

Rama, Carol 012 Sherman, Cindy 012 Twombly, Cy 012 Xin, Zhang 012

Rauschenberg, Robert 012 Shore, Stephen 012 Valadon, Suzanne 012 Xiuzhen, Yin 012

Rego, Paula 012 Sillman, Amy 012 Van Gogh, Vincent 012 Yuskavage, Lisa 012

Reinhardt, Ad 012 Simmons, Laurie 012

Rembrandt 012 Simpson, Lorna 012

Renoir, Pierre Auguste 012 Smith, David 012

Richter, Gerhard 012 Smith, Kiki 012

Riley, Bridget 012 Smith, W. Eugene 012

Rist, Piilotti 012 Smithson, Robert 012

Rockburne, Dorothea 012 Soth, Alec 012

24 ARTIST INDEX ARTIST INDEX 25 NOTES

ADVICE ART “I love red”: Alexander Calder interview, in The Artist’s “One cannot”: “One cannot”: Voice: Talks with Seventeen Artists, by Katharine Pierre Bonnard: The Late Still Lifes and Pierre Bonnard: The Late Still Lifes and Kuh (New York: Harper & Row, 1962), 41. Interiors, ed. Dita Amory (New Haven, CT: Interiors, ed. Dita Amory (New Haven, CT: Press, 2009), 23. Yale University Press, 2009), 23. “Full, saturated colors”: “I love red”: Lucian Freud: Naked Portraits: Works from the “I love red”: Alexander Calder interview, in The Artist’s 1940s to the 1990s, 79. Alexander Calder interview, in The Artist’s Voice: Talks with Seventeen Artists, by Katharine Voice: Talks with Seventeen Artists, by Kuh (New York: Harper & Row, 1962), 41. “I know I’m not a colorist”: Katharine Kuh (New York: Harper & Row, Edward Hopper interview, in The Artist’s Voice: 1962), 41. “Full, saturated colors”: Talks with Seventeen Artists, by Katharine Kuh Lucian Freud: Naked Portraits: Works from (New York: Harper & Row, 1962), 140. “Full, saturated colors”: the 1940s to the 1990s (Ostfildern, Germany: Lucian Freud: Naked Portraits: Works from Hatje Cantz, 2001), 79. “In the hierarchy of colors”: the 1940s to the 1990s (Ostfildern, Germany: Concerning the Spiritual in Art, and Painting in Hatje Cantz, 2001), 79. “I know I’m not a colorist”: Particular, 1912, by Wassily Kandinsky Edward Hopper interview, in The Artist’s Voice: (New York: Wittenborn, Schultz, 1947), 59. “I know I’m not a colorist”: Talks with Seventeen Artists, by Katharine Kuh Edward Hopper interview, in The Artist’s (New York: Harper & Row, 1962), 140. “Don’t ask me why”: Voice: Talks with Seventeen Artists, by interview with Lee Krasner, in Art Talk: Katharine Kuh (New York: Harper & Row, “In the hierarchy of colors”: Conversations with 12 , by 1962), 140. Concerning the Spiritual in Art, and Painting in Cindy Nemser (New York: Charles Scribner’s Particular, 1912, by Wassily Kandinsky Sons, 1975), 101. “In the hierarchy of colors”: (New York: Wittenborn, Schultz, 1947), 59. Concerning the Spiritual in Art, and Painting in “My blue comes out of a tube”: Particular, 1912, by Wassily Kandinsky “Don’t ask me why”: Chatting with Henri Matisse: The Lost 1941 (New York: Wittenborn, Schultz, 1947), 59. interview with Lee Krasner, in Interview, ed. Serge Guilbaut and trans. Art Talk: Conversations with 12 Women Chris Miller (, CA: Getty “Don’t ask me why”: Artists, by Cindy Nemser (New York: Publications, 2013), 38. interview with Lee Krasner, in Art Talk: Charles Scribner’s Sons, 1975), 101. Conversations with 12 Women Artists, by “My mother warned me”: Cindy Nemser (New York: Charles Scribner’s “My blue comes out of a tube”: Claes Oldenburg: Object into Monument, by Sons, 1975), 101. Chatting with Henri Matisse: The Lost 1941 Barbara Haskell (Los Angeles: Ward Ritchie Interview, ed. Serge Guilbaut and trans. Press, 1971), 89. “My blue comes out of a tube”: Chris Miller (Los Angeles, CA: Getty Chatting with Henri Matisse: The Lost 1941 Publications, 2013), 38. “There’s room for saying things”: Interview, ed. Serge Guilbaut and trans. “Ed Ruscha: There’s Room for Saying Things Chris Miller (Los Angeles, CA: Getty “My mother warned me”: in Bright Shiny Colours,” by Rachel Cooke, Publications, 2013), 38. Claes Oldenburg: Object into Monument, by , September 11, 2010. Barbara Haskell (Los Angeles: Ward Ritchie “My mother warned me”: Press, 1971), 89. “I don’t think my work”: Claes Oldenburg: Object into Monument, by “On Paintings and Pictures: In Conversation Barbara Haskell (Los Angeles: Ward Ritchie “There’s room for saying things”: with Robert Ryman,” interview by David Press, 1971), 89. “Ed Ruscha: There’s Room for Saying Things Batchelor, Frieze, Issue 10, May 1993. in Bright Shiny Colours,” by Rachel Cooke, “There’s room for saying things”: The Guardian, September 11, 2010. “I have a hard time”: “Ed Ruscha: There’s Room for Saying Things Interview with Kiki Smith, in Portraits: Talking in Bright Shiny Colours,” by Rachel Cooke, “I don’t think my work”: with Artists at the Met, the Modern, the Louvre, The Guardian, September 11, 2010. “On Paintings and Pictures: In Conversation and Elsewhere, by Michael Kimmelman with Robert Ryman,” interview by David (New York: Random , 1998), 73. “I don’t think my work”: Batchelor, Frieze, Issue 10, May 1993. “On Paintings and Pictures: In Conversation “I’ve always wanted”: with Robert Ryman,” interview by David “I have a hard time”: “History behind the Thought,” interview by Batchelor, Frieze, Issue 10, May 1993. Interview with Kiki Smith, in Portraits: Nicholas Serota, Rome 2007, http://www. Talking with Artists at the Met, the Modern, cytwombly.info/twombly_writings5.htm. “I have a hard time”: the Louvre, and Elsewhere, by Michael Interview with Kiki Smith, in Portraits: Talking Kimmelman (New York: Random “The best pictures”: with Artists at the Met, the Modern, the Louvre, House, 1998), 73. The Letters of Vincent Van Gogh to His Brother and Elsewhere, by Michael Kimmelman (: Constable & Co., Ltd., 1927), 555. (New York: Random House, 1998), 73. ART MARKET “One cannot”: “I’ve always wanted”: Pierre Bonnard: The Late Still Lifes and “History behind the Thought,” interview by “I’ve always wanted”: Interiors, ed. Dita Amory. Nicholas Serota, Rome 2007, http://www. “History behind the Thought,” interview by cytwombly.info/twombly_writings5.htm. Nicholas Serota, Rome 2007, http://www. cytwombly.info/twombly_writings5.htm. ART SCHOOL “The best pictures”: The Letters of Vincent Van Gogh to His Brother “The best pictures”: “Full, saturated colors”: (London: Constable & Co., Ltd., 1927), 555. The Letters of Vincent Van Gogh to His Brother Lucian Freud: Naked Portraits: Works from (London: Constable & Co., Ltd., 1927), 555. the 1940s to the 1990s (Ostfildern, Germany: “I have a hard time”: Hatje Cantz, 2001), 79. Interview with Kiki Smith, in Portraits: Talking “One cannot”: with Artists at the Met, the Modern, the Louvre, Pierre Bonnard: The Late Still Lifes and “I know I’m not a colorist”: and Elsewhere, by Michael Kimmelman (New Interiors, ed. Dita Amory (New Haven, CT: Edward Hopper interview, in The Artist’s Voice: York: Random House, 1998), 73. Yale University Press, 2009), 23. Talks with Seventeen Artists, by Katharine Kuh

27 key sales points

This engaging collection includes quotations by the world’s most celebrated artists—from Michelangelo to , Brancusi to Frida Kahlo, Matisse to Robert Frank, Leonardo da Vinci to Ai Weiwei

The organization by subject and smart highlight artists’ strong opinions, personal observations, and hard-earned advice

This newly-researched compilation presents fresh quotes discovered in diaries, letters, notebooks, interviews, and more, and includes original source information so readers can explore the quotations in context

The book doubles as an ideal gift and valuable resource for the art student, book specifications professor, artist, curator, museum visitor, gallery owner, writer, and all Binding: Hardback lovers of creative minds Format: 203 x 137 mm (8 x 5 ³/8 in.) Extent: 336 pp Number of images: text only Number of quotations: ca. 600 Word count: 30,000 ISBN: 978 0 7148 7243 8

Phaidon Press Limited Regent’s Wharf All Saints Street London N1 9PA

Phaidon Press 65 Bleecker Street 8th Floor New York, NY 10012

© 2016 Phaidon Press Limited phaidon.com

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INCLUDES:

Josef Albers MICHELANGELO Diane Arbus Alexander Calder YOKO ONO Sophie Calle Mary Cassatt JACKSON POLLOCK Paul Cézanne RICHARD PRINCE ART Willem de Kooning AD REINHARDT IS Eugene Delacroix REMBRANDT THE Robert Frank AUGUSTE RODIN HIGHEST Theaster Gates CINDY SHERMAN RICHARD SERRA FORM Jenny Holzer KIKI SMITH OF HOPE Frida Kahlo CY TWOMBLY Sol LeWitt VINCENT VAN GOGH Henri Matisse KARA WALKER Agnes Martin AI WEIWEI

ADVICE ”30