Mark Mothersbaugh Quotes

But surrealism is present in most of my pictures.

I love surrealism.

I think it was more personal, but I certainly tried to adapt certain concepts of Surrealism.

Under his (Marc Chagall, ed.) sole impulse metaphor made its triumphal entry into modern painting.

I saw Joseph Cornell's lyrical work for the first time at the Museum of Modern Art in the late seventies and have internalized many of his boxes.

We weren't art students, but we definitely created our own style and were pretty influenced by Andy Warhol and all the stuff we read and saw and made fun of, you know.

All of the art that I love is about peeling back layers and delving into something that's in a subconscious or dream realm. People like Jan Svankmajer, or the artist Yoshimoto Nara, or David Lynch.

For me, Warhol made so much sense.

I wanted to be a painter, somewhere between Abstract Expressionism and Pop.

I love Damien Hirst. I respect his work a great deal, and I am happy that the polka dots I started using have become a symbol of love and peace around the world with everybody joining hands to use them in this way.

I guess the two Manifesto, Communicating Vessels, Mad Love, and some of his poetry made a significant mark on me but as far as bringing a literary element into the music I see it as a much broader assimilation.

I like the transience of Klimt paintings.

The big shock of my life was Abstract Expressionism - Pollock, de Kooning, those guys. It changed my work. I was an academically trained student, and suddenly you could pour paint, smear it on, broom it on!

Some of the French surrealists at the beginning of the war had come over to New York and they brought out this magazine. It was a big, glossy magazine full of surrealist things.

When I was growing up, all the art that touched me was lens-generated, like Gerhard Richter, or Polke, Rauschenberg, Warhol.

When you think about Dada and the great moments in Modern Art, it's always the sense of when you're not sure that art is most likely to be occurring.

Yes, I did, I mean I painted er, in a kind of abstract expressionist way, because of course that was exciting.

My basic influence had probably been Peter Max.

I don't think that my art isn't serious. I think the subjects are not serious, or my treatments of the subjects are not serious. But then, I'm also putting down subject, because like the abstract expressionists, I don't think the subject is important.

I like absurdist aesthetics. There's something about dream logic that's really fascinating, how it interweaves with narrative.

As an artist, you take things from your environment, and there's going to be a style coming out of your environment.

Surrealism will usher you into death, which is a secret society. It will glove your hand, burying therein the profound M with which the word Memory begins.

My inspiration came from the land, ... and, of course, from Paul Klee . . . and the poetics of his paintings.

A man lies upon the floor, spreads his arms, and transforms himself into a ship of a thousand sails.

How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.