Bell Hooks Quotes

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

For me, Warhol made so much sense.

Andy Warhol defined Pop Art.

I hate artists who are not of their time.

My advice to new artists is to embrace a broader concept of timelessness than vintage or retro.

I wanted to paint in a folk-artist-y way. My heroes were Van Gogh, Gauguin, Matisse, and Rembrandt. I think Picasso is about as a modern as I got. But I incorporated things that they rejected as well as movements that happened later.

I like elegance. I like art nouveau; a stretched line or curve. These things are very much in the foreground of my work.

What interests me, and has always interested me, has been modernism.

Twombly, frankly, was an acquired taste. I was not in love with Twombly the first time I saw one of his paintings.

I like a lot of modern art. I like Chuck Close a lot. It doesn't necessarily directly influence the work I draw on the page.

The older painting - well, it does have an effect all at once, I suppose, but it's of a lesser intensity than a lot of the American work in the last ten or fifteen years.

All of Koons's best art - the encased vacuum cleaners, the stainless-steel Rabbit (the late-twentieth century's signature work of Simulationist sculpture), the amazing gleaming Balloon Dog, and the cast-iron re-creation of a Civil War mortar exhibited last month at the Armory - has simultaneously flaunted extreme realism, idealism, and fantasy.

I'm a huge David Hockney fan.

Some of us, I think, us small, pompous arty ones probably read too much George Steiner and kind of got the idea that we were entering to this kind of post-culture age and that we'd better do something postmodernist - quickly, before somebody else did.

This grandiose tragedy that we call modern art.

To be in Brazil and see the work of Os Gêmeos or to be in England and see what Banksy is doing is pretty fascinating to me.

I think when people talk about art imitating life, you're in real time.

I think that these are different times, and different things are available to artists, and certain things have become passé. You've already seen the outcome of a lot of things that seemed to have a lot of potential. We've already heard that, and I can't tell you if it made a difference or not. But we already know that artists can do that, and they shouldn't feel threatened by doing it. They're probably not going to change the world. They're going to change a few people's perspectives and maybe make somebody's day at times, if they can.

I have 12 paintings of Kaufman art. He is an amazing artist.

Picasso never thought of himself as avant-garde. I just find it a bad way to think of yourself.

This so-called contemporary art is not a form, but a philosophy of society.

Picasso could use everyone's paintings and transform them into his own. He was using ideas from all of his contemporaries.

Modernism in a way, early modernism, for instance, in pictures, was turning against perspective and Europe. And all early modernism is actually from out of Europe, when you think of cubism is African, is looking at Africa, Matisse is looking at the arabesque, Oceania. Europe was the optical projection that had become photography, that had become film, that became television and it conquered the world.

In their pursuit of the same supreme end, Matisse and Picasso stand side by side, Matisse representing color and Picasso form.

I love sculpture, and minimal sculpture is really my favorite stuff, but I wasn't very good at it, and I don't think in a three-dimensional way.