[On Ronald Reagan:] Poor dear, there's nothing between his ears.
The brush is a more powerful and rapid tool than the point or the stump. . . the main thing that the brush secures is the instant grasp of the grand construction of a figure.
A teacher can do very little for a pupil and should only be thankful if he don't hinder him, and the greater the master, mostly the less he can say.
Strain your brain more than your eye. . . You can copy a thing to a certain limit. Then you must use intellect.
How beautiful an old woman's skin is! All those wrinkles!
The big artist. . . keeps an eye on nature and steals her tools.
When you first commence painting everything is a muddle. Even the commonest colors seem to have the devil in them.
My aunt used to say, "It's between me and my god; it's got nothing to do with you. " It was a good enough answer for me as a snot-nosed college kid angling for a religious debate, and I still think it's a good way of putting it.
When I first moved to LA, no one could understand a thing I said, you would think I was speaking another language. Every time I would order something at Starbucks, they would go, 'Huh? What did you say?' My accent was an issue and my low voice was as well. They thought I should be more girlie. But that's who I am.
But when I fell in love with black, it contained all color. It wasn’t a negation of color. It was an acceptance. Because black encompasses all colors. Black is the most aristocratic color of all. . . . You can be quiet and it contains the whole thing.
The problem I want to talk to you about tonight is the problem of belief. What does it mean to believe? We use this word all the time, and I think behind it lurk some really extraordinary taboos and confusions. What I want to argue tonight is that how we talk about belief- how we fail to criticize or criticize the beliefs of others, has more importance to us personally, more consequence to us personally and to civilization than perhaps anything else that is in our power to influence.