The multitude is always in the wrong.
Mel [Bochner] sets a very high standard. He expects only the best and most thoughtful and rigorous examinations, not only of the history of art but your own practice.
I think the world that I grew up in was like being in this sort of magical artistic garden.
There is something to be said about laying bare the vocabulary of the aristocratic measure, right? There's something to be said about allowing the powerless to tell their own story.
Can I - do I have to be obsessed with it and proceed from that? Not always. But when I'm on top of my game, I definitely think about the way that the world sees me and the way that the world thinks about painting. You must.
It was probably one of the things that gave me a sense of possibility and allowed for me to see beyond the small community that I existed within. You know, I was making friends with young Soviet kids. this is during perestroika. You know, there's bread lines and vodka lines. The entire social structure of what was then the Soviet Union was radically different from what we know today.
I grew up in South Central Los Angeles, where people are in cars.
A monk should surely love his books with humility, wishing their good and not the glory of his own curiosity; but what the temptation of adultery is for laymen and the yearning for riches is for secular ecclesiastics, the seduction of knowledge is for monks.
It is in the nature of any effort to leave something serviceable behind it.
I question and soul-search constantly into myself to be as certain as I can that I am fulfilling the true meaning of my work, that I am maintaining my sense of purpose, that I am holding fast to my ideals, that I am guiding my people in the right direction.
. . . had always taken for granted that the whole world was in a state of constantly fluctuating madness, and that a neurosis was not an illness, but a fact of life, like pimples.