I've always liked the fact that galleries are free to visit in New York.
I don't really get excited about good things happening to me.
There's art that I think is pretty silly, but it doesn't get under my skin like it used to.
Money issue looms so large in art now. And it has absolutely nothing to do with art.
I think, with abstraction, it's easy to fall into a sort of pastiche.
I love looking at sculpture, but there's some sort of spell that's broken with it.
I think you do kind of slip into a trance when you look at a painting. At least I do.
I think that time moves slower in painting. And maybe that accounts for a lot of the anxiety around painting in the last 40 or 50 years.
You have the 20th century wrapping up and everything is moving at this breakneck speed? And then, painting is still walking. It's just a very human activity that takes time.
I remember looking at books when I was in high school, but I don't think I really stood in front of a genuine painting or sculpture until I was out of high school.
When there's a painting in the room, my eye goes right to it. It's like if you go into a bar and there's a television on, you can't take your eyes off the television. Paintings have that effect on me. It's where my eye settles.
When I was younger I was very opinionated about art. And then, I realized that I kind of recognized this pattern where the things that I was vehemently of pissed off about, I would end up loving them two years later. So I just tried to mellow out. Like there's art that I think is pretty silly, but it doesn't get under my skin like it used to.
The thing is that the money issue looms so large in art now. And it has absolutely nothing to do with art. If you're painting goes for ten grand or a hundred grand, it doesn't make painting any easier. And it doesn't make the painting any better if it goes for a hundred grand.
Painting can also be too earnest at times and that's a drag. You don't want to go in that direction either. It should be holistic. It should represent the whole of your personality, I guess, so if somebody is a sincere painter or an ironic painter, then they're just bullshitting the audience and presenting only an idealized version of themselves.
Technology's always changing. There was a time where oil painting was a new technology. That changed painting.
The era of television in which I grew up was much simpler than now. Its conventions were quite transparent and fun to think about. Who could ever remember the plot of those shows?
The internet might be a convenience, but it hasn't yet, for me, been a fundamental reordering. These things are supposed to be time-savers, so you have more time standing at your easel if you so choose.
I guess I have no motivation to make an abstract painting, even if they sometimes read as abstract. I think, with abstraction, it's easy to fall into a sort of pastiche.
I think that painting relates very neatly to inner travel and the exploration of inner worlds. With painting, I always get the impression that you're sort of entering into a shared space.
There's something retro about the pop culture references in the paintings, so I'd imagine it's not as much a pop culture reference as a pop art reference.
I think what's happened in art criticism, or art thinking, in last 30 or 40 years is a confusion between the "what" - the subject - and the "how." Most attention goes to the "what," but it's the "how" that's the important part - how something is brought into being.
It's a funny semantic turn - when someone paints a landscape, no one says they "borrowed" it, only that they painted it.
I'm not a planner. I should be more articulate about what the imagery means, but I don't have a good reason for it; it's just there.
I'm not interested in popular culture, particularly. I'm not against it, I'm not avoiding it, but I'm not interested in it as a force in life.
Painting has this ability to send the viewer [backward], but it's also this physical object in the room with you. It's always knocking you back into the present moment, which I find very pleasurable.
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