I have always attempted to create images that deliver the maximum amount of information about the subject.
It's like a magic well. You think you know everything about [a] photograph, you think you've gotten everything out of it, and all of a sudden I see things in it I'd never seen before.
You don't have to reinvent the wheel every day. Today you will do what you did yesterday, and tomorrow you will do what you did today. Eventually you will get somewhere.
From my point of view, photography never got any better than it was in 1840.
A photograph doesn't gain weight or lose weight, or change from being happy to being sad. It's frozen. You can use it, then recycle it.
Paintings can make you cry and it's just **colored dirt**.
I don't work with inspiration. Inspiration is for amateurs. I just get to work.
In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.
See, I think our whole society is much too problem-solving oriented. It is far more interesting to participate in 'problem creation'... You know, ask yourself an interesting enough question and your attempt to find a tailor-made solution to that question will push you to a place where, pretty soon, you'll find yourself all by your lonesome - which I think is a more interesting place to be.
It's always a pleasure to talk about someone else's work.
Every child should have a chance to feel special.
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.
I discovered about 150 dots is the minimum number of dots to make a specific recognizable person. You can make something that looks like a head, with fewer dots, but you won't be able to give much information about who it is.
Far more interesting than problem solving is problem creation.
Of all the artists who emerged in the '80s, I think perhaps Cindy Sherman is the most important.
Most people are good at too many things. And when you say someone is focused, more often than not what you actually mean is they're very narrow.
I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.
The reason I don't like realist, photorealist, neorealist, or whatever, is that I am as interested in the artificial as I am in the real.
Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.
Sometimes I really want to paint somebody and I don't get a photograph that I want to work from.
It doesn't upset artists to find out that artists used lenses or mirrors or other aids, but it certainly does upset the art historians.
Every idea occurs while you are working. If you are sitting around waiting for inspiration, you could sit there forever.
I knew from the age of five what I wanted to do. The one thing I could do was draw. I couldn't draw that much better than some of the other kids, but I cared more and I wanted it badly.
I'm plagued with indecision in my life. I can't figure out what to order in a restaurant.
You can give the same recipe to ten cooks, and some make it come alive, and some make a flat souffle. A system doesn't guarantee anything.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: