“I don’t have a burning desire to go out and document anything. It just happens when it happens. It’s not a conscious effort, nor is it a struggle. Wouldn’t do it if it was. The idea of the suffering artist has never appealed to me. Being here is suffering enough.”
William Eggleston Untitled c. 1971-1974 pigment print, flush-mounted on board, printed 2012 overall framed: 60 x 44 in. (152 x 112 cm.) Price realised USD 1,441,500
“The male ego can in some cases be tied to how and where a man sees his place in the world and whether he’s living up to expectations — his and those of society.
Cultural stereotypes for men can be intricately tied to both the inflation and deflation of the male ego. Some men measure themselves by the answers to the following questions:
Am I strong enough? Am I wealthy enough? Do I meet the traditional definition of masculinity? Do I attract women? Do I control things or people? Do people recognize me for these things and am I respected and revered for them?”
“What’s so interesting is that we seem to intuitively understand that if we can get ourselves to believe something first, we’ll be more effective at getting others to believe it,” says William von Hippel, a psychologist at The University of Queensland, who co-authored the study. “So we process information in a biased fashion, we convince ourselves, and we convince others. The beauty is, those are the steps Trivers outlined—and they all lined up in one study.”
“I am primarily painting from photographs these days (from illustrated magazines but also from family photos), in a sense this is a stylistic problem, the form is naturalistic, even though the photograph is not nature at all but a prefabricated product (the “second-hand world” in which we live), I do not have to intervene artistically with style, since the stylization (deformation in form and color) contributes only under very particular circumstances toward clarifying and intensifying an object or a subject (generally stylization becomes the central problem which obscures everything else (object, subject), it leads to an unmotivated artificiality, an untouchable formalist taboo.”
Gerhard Richter Abstraktes Bild signed, inscribed and dated ‘809-4 Richter 1994’ (on the reverse) oil on canvas 88 5⁄8 x 78 3⁄4 in. (225 x 200 cm.) Painted in 1994. Price realised USD 38,175,000
