“And the big daddy that I learned from all this: I actually CAN’T paint like other artists, and nor do I want to. That’s the best thing this exercise has taught me over the years; it’s fun to experiment, to try out what other artists are doing, but if I only ever did that I’d be unfulfilled and dissatisfied. I’d be surrounded by a vegetarian buffet and craving steak.”
“Why escape your intended purpose by copying and trying to be someone else? You will discover who you were meant to be only after you have shown confidence being yourself.”
“In a recent Ditch the Label study, we spoke to 7,347 people about bullying. We asked respondents to define bullying and then later asked if, based on their own definition, they had ever bullied anybody. 14% of our overall sample, so that’s 1,239 people, said yes. What we then did was something that had never been done on this scale before; we asked them intimate questions about their lives, exploring things like stress and trauma, home lives, relationships and how they feel about themselves.”
“I write about my own work because I want to speak for myself. I might not be the only authority, nor the best authority, but I want to participate in the writing of my own history. Why should artists be validated by outside authorities. I don’t like being paternalised and colonised by every Tom, Dick or Harry that comes along (male or female).”
Marlene Dumas Miss January 1997 oil on canvas 110 ¼ x 39 3⁄8 in. Price realised USD 13,635,000
“I blur things to make everything equally important and equally unimportant. I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information.”
Gerhard Richter (b. 1932) Zwei Liebespaare signed, titled and dated ’“Zwei Liebespaare” Richter 66’ (on the reverse) oil on canvas 45¼ x 63in. (115 x 160cm.) Painted in 1966 Price realised GBP 7,300,500
“Humans are prone to the principle of least effort, often known as the ‘path of least resistance,’ which means they’ll go for whatever option requires the least work. Hypocrisy allows you to appear principled without having to be so, which is much easier than adhering to strict principles.”
Art and narrative are closely connected because storytelling is a powerful way to convey meaning, emotion, and context. Here are a few reasons why art often needs a narrative:
1. Contextual Understanding: A narrative provides context that helps viewers understand the deeper meaning or message of the artwork. Without a story, the interpretation of art can be vague or ambiguous.
2. Emotional Engagement: Stories evoke emotions, and when art is tied to a narrative, it can resonate more deeply with the audience, making the experience more impactful.
3. Connection with the Audience: A narrative allows viewers to relate the artwork to their own experiences, thoughts, or feelings, creating a personal connection between the art and the audience.
4. Cultural and Historical Significance: Art often reflects the time, place, and culture in which it was created. A narrative can highlight these aspects, making the artwork more meaningful in a broader context.
5. Guiding Interpretation: While art can be open to interpretation, a narrative can guide viewers toward a particular understanding or theme, helping to convey the artist’s intended message more clearly.
6. Creating a Legacy: Narratives can preserve the stories behind art, ensuring that future generations understand and appreciate the significance of the work.
“Abstract means literally to draw from or separate. In this sense every artist is abstract for he must create his own work from his visual impressions. A realistic or non-objective approach makes no difference. The result is what counts.” — Richard Diebenkorn
Richard Diebenkorn (1922-1993) Ocean Park No.121 1980 oil on canvas 78¼ x 78 3/8 in. Price realised USD 7,698,500
