Jim Dine Quotes

I follow the work of my contemporaries. I love their work.

Artists such as Lorna Simpson, Zoe Leonard, Byron Kim and Stephen Andrews and I are around the same age, and I know them personally. The discussions I have had with them over the years have influenced the work that I have made throughout my career.

Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm.

When I was 17, I met many artists, and it started to become this conversation with artists out of which all of my exhibitions grew.

I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.

There is a relationship between cartooning and people like Mir= and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.

The art world doesn't exist in a vacuum.

Frank Sinatra changed people's approach to singing. Ella Fitzgerald, Marvin Gaye, van Gogh, they were all part of movements that allowed people to think about their craft differently. They changed the game. These people changed the game.

My mother reveres artists, and my sister and I have inherited her love of art and the stories about its creation.

I'm glad Wu-Tang was able to inspire other producers and artists, but I would never want to be erased or removed.

In art the Greeks were the children of the Egyptians. The day may yet come when we shall do justice to the high powers of that mysterious and imaginative people.

I feel close to people like Jimi Hendrix because I connect with his music. Not the man but what he did.

The most basic excitement was the opportunity to work with Dave Cockrum. He was an artist I'd admired for years and our imaginations were ridiculously simpatico.

I come from a school of artists, the Mission School in San Francisco, and there are a lot of artists I look up to.

The one artist who actually had influence over me was Bo Bartlett.

I was really into Michelangelo in seventh and eighth grade.

The Migos, like anybody I ever been in the studio with, like an influence on my rap. I take this from him and him and him and, you know, put it with myself and make it work like that.

My goal is to communicate how powerful the breaking down of artistic barriers can be when grounded in thought, intention, and a true understanding of all the forms that are being experimented with.

So much of inspiration comes from collaboration with other musicians.

I'm a big fan of Edward Gorey, and I don't think he has been portrayed in film.

I think art, if it's meaningful at all, is a conversation with other artists. You say something, they say something, you move back and forth.

New arts are long in the world before poets describe them; for they borrow everything from their predecessors, and commonly derive very little from nature or from life.

I think that there are quite a few acts which have stayed with the basic feelings and that's good. And I see something of a swing back to that. For example there are quite a few people copying my early stuff now. Like it's become a reference point or something.

I've met others [people] who simply responded to me, "You're Kehinde Wiley. I know your work. I saw it at the Brooklyn Museum [Brooklyn, NY] And I'd be honored to be in your work."

When, about fifteen years ago, I walked into Arshile's studio for the first time, the atmosphere was so beautiful that I got a little dizzy and when I came to, I was bright enough to take the hint immediately. If the bookkeepers think it necessary to make sure of where things and people came from, well then, I came from 36 Union Square. I am glad that it is about impossible to get away from his powerful influence.