Jandy Nelson Quotes

I have always said to young artists that scholastic training and the studying of art history are crucial to fully developing as an artist.

I do have a tendency to want to go back to school at all times in my life. Maybe I'll do the Ph.D. in art history when I'm 50, or maybe divinity school. I like teaching, too.

Art history looks at art works and the people who have created them.

I spend much more time looking at art history and at different references to art than I do at actual objects.

The paintings by Van Gough and Chagall had a big influence on me.

I'd love to go off to college to study photography, art history, humanities.

If I can't find a project that I'm really interested in, I'll just go back to college where I've been studying art history and French. I'm also going to study English and philosophy - the whole curriculum!

I have a strong art-history background.

I've loved art for more than 30 years.

The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public.

Inspiration is an awakening, a quickening of all man's faculties, and it is manifested in all high artistic achievements.

I went to university in Colorado and studied art history. I did some photography classes there, although it felt really pretentious.

Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time.

I like art history and art criticism. Leo Steinberg has always been my favorite. He's very original, very accurate and acute.

Every artist preserves deep within him a single source from which, throughout his lifetime, he draws what he is, and what he says. When the source dries up, the work withers and crumbles.

From childhood my mother had me examining Robert Mapplethorpe's style and Egon Schiele's framing - that's what modelling is about.

Of late years (perhaps as a result of our political changes) art has borrowed from history more than ever.

All works of art are commissioned in the sense that no artist can create one by a simple act of will but must wait until what he believes to be a good idea for a work comes to him.

I set my sights upon becoming the kind of artist who would make a contribution to art history.

I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. It's the most radical thing.

So when I got out of the military, I went back to school in biology, and earned a biology degree at the University of Texas, and then did some graduate work in it.

Art needs to be socialised, and you need a lot of context to understand that, and that doesn't mean having read a few art history books.

I myself saw the great works of Western civilization for the first time in my high school in Lithuania in bad black-and-white reproductions on miserable paper. That was, for many years, what art was for me. But from those miserable black-and-white reproductions, I got something, something unmistakable.

I wanted my art to deal with very formal concerns and to deal with very material concerns, and to deal with antecedents and art history, which for me go very far beyond just the influence of African-American artists.

My ultimate search has been for a muse.