“Mass production is nothing new. Weren't cathedrals built through mass production? The pyramids?... Paintings can be painted with the left hand, the right hand, someone else's hand, or many people's hands. The scale of production is irrelevant to its content.” PeopleHandsLeftPaintingMassBuiltProductionsScalesIrrelevantPyramidsCathedralsNothing NewLeft HandMass Production Author:Ai Weiwei
“There is an instinct for realism, a powerful drive to reproduce oneself. The fascination of photorealistic paintings lies partly in their apparent replication of life, but these are not merely replications. These paintings are often out of life scale, varying from over life-size to under life-size, from brilliant, heightened color to pale, undertone hues.” LyingPowerfulColorPaintingInstinctSizeOneselfBrilliantScalesPaleRealismFascinationHueReplicationLife Size Book:Art & soul: notes on creating Source: Art & soul: notes on creating
“I think every once in a while I feel the need to break my medium... if I have been doing a very large painting I like to drop into something in small scale. It is a challenge to go into this size. It is just to hold my own interest, and then each media has its own conditions.” IfsThinkingNeedsFeelsHas BeensInterestChallengesMy OwnBreakConditionsMediaPaintingSizeScalesMediums Author:Lee Krasner
“I almost never do drawings, because I have found over the years that doing something in one medium and translating into another doesn't work. I like to conceive a painting in real scale and in color.” YearsRealFoundColorPaintingDrawingScalesMediumsTranslate Author:Nelson Shanks
“From building a fire one can learn something about artistic composition. If you use only small kindling and large logs, the fire will quickly eat up the small pieces but will not become strong enough to attack the large ones. You must supply a scale of sizes from the smallest to the largest. The human eye also will not make its way into a painting or building unless a continuum of shapes leads from the small to the large, from the large to the small.” IfsWayHumansEnoughUseEyeStrongFirePiecesBuildingPaintingShapesSizeScalesArtisticSmallestCompositionStrong EnoughContinuumHuman EyesSmall PiecesKindling Author:Rudolf Arnheim
“I have been using the computer as a work aid since the mid-90's. It is extraordinarily well suited to how I think and work and has transformed my practice. Nearly everything I have done in the past 15 years would have been impossible without it. I use the computer for drawing, composing and colour planning everything, from postage stamps to paintings to architectural-scale installations.” ThinkingYearsWellsHas BeensDoneUsePastPracticeImpossiblePaintingComputerAidsDrawingScalesPlanningColourTransformedStampsComposingInstallationPostagePostage Stamps Author:Michael Craig-Martin
“The paintings are more about physicality and gesture than meditation. I'd compare it to playing scales on the Cello - each sound (pitch and intensity) depends on the manner in which you hold and apply the bow. The same goes for the gesture of applying paint to a surface.” SoundMeditationPaintingDependsPaintSurfaceScalesCompareIntensityGesturesBowsPhysicality Author:Stephen Beal
“I think, at the L.A. County Museum of Art, I saw my first example of Kerry James Marshall, who had a very sort of heroic, oversized painting of black men in a barbershop. But it was painted on the same level and with the same urgency that you would see in a grand-scale [Anthony] van Dyck or [Diego] Velazquez. The composition was classically informed; the painting technique was masterful. And it was something that really inspired me because, you know, these were images of young, black men in painting on the museum walls of one of the more sanctified and sacred institutions in Los Angeles.” ThinkingKnowsMenFirstsArtYoungBlackLevelsSawsExamplePaintingWallInstitutionsSacredInspiredTechniqueScalesLos AngelesMuseumsHeroicCompositionVansUrgencyCountyBarbershop Author:Kehinde Wiley
“My studio practice is a - I suppose a bit more like [Thomas] Gainsborough or [Peter Paul] Rubens in the sense that any artist who wants to create a grand narrative on a grand scale has to sort of parse out some of the smaller aspects of painting or the more mundane aspects of painting to others.” WantArtistBitsPracticePaintingAspectStudiosScalesNarrativePeterMundaneRubens Author:Kehinde Wiley