45 ordspråk av Chuck Close

Chuck Close

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 Once I started working with the Polaroid, I would take a shot and if that shot was good, then I'd move the model and change the lighting or whatever... slowly sneaking up on what I wanted rather than having to predetermine what it was.

 Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.

 Part of the joy of looking at art is getting in sync in some ways with the decision-making process that the artist used and the record that's embedded in the work.

 Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.

 Sometimes I really want to paint somebody and I don't get a photograph that I want to work from.

 The city continues to be a magnet for the best and the brightest that come here from all over the country and all over the world. It's a very vital exciting community. The art world gobbles up people and spits them out the other end and keeps chugging along.

 The only thing stupider than making a painting was making a representational painting, and of all the genres the most dead and seemingly bankrupt was portraiture.

 There's a kind of prevailing sensibility in any given moment in time, so sometimes the art world gravitates away from your issues, and then sometimes it will come back towards them.

 Very few people have written about what a work really looks like, especially once there were photographic reproductions of works and so they felt that the photograph would carry the information, and, of course, it does a piss poor job of letting someone know of the scale of the work and of the physicality and how thick the paint was and what the touch was.

 We were all figuring out ways to build an image rather than paint it. Sculptors didn't want to work in bronze or marble or wax. They wanted to find a material that didn't have any art use. We were similarly trying to find ways of working that were not about paint-it-in, paint-it-out, scrape-it-off -- some way of working all over at once.

 What difference does it make whether you're looking at a photograph or looking at a still life in front of you? You still have to look.

 When critics begin to identify something that they see as a tendency, they tend to write about what people have in common. And what they share may not be the most important aspects of the work. In fact, it's what makes each artist's work different from the others which is interesting.

 When I was walking around I was 6 foot 3, and people didn't tend to approach me very much, and one of the interesting things about being in a wheelchair is it sort of cuts you down to size and perhaps out of sympathy or whatever people feel much more like coming up to you. I'm more accessible I guess down here.

 When you come up in the art world, whatever's in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.

 You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.


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This website focuses on proverbs in the Swedish, Danish and Norwegian languages, and some parts including the links below have not been translated to English. They are mainly FAQs, various information and webpages for improving the collection.



Barnslighet är både skattebefriat och gratis!

Vad är proverb?
Hur funkar det?
Vanliga frågor
Om samlingen
Ordspråkshjältar
Hjälp till!




Ord värmer mer än all världens elfiltar.

www.livet.se/proverb