Around 1980, I went back to painting with a vengeance.

Never underestimate a child's ability to get into more trouble.

To be able to get up and be in my studio and work all day is a great joy.

It really is a day job, and it also seems to have virtually disappeared-with no remorse, really. It gives me more time to paint.

It seems like the opportunity just increases exponentially. There doesn't seem to be much stopping.

You'd be surprised at how undemanding acting is.

I think there are a lot of pictures to make. I sometimes question whether I'm even an artist or just a painter. To me, the making of the pictures is the most important thing.

It was taunted as reality. It was dangled as a carrot. In terms of people's hopes and dreams, to say that that is less of a reality than the daily grind they find themselves in is maybe not correct.

Around 1980, I went back to painting with a vengeance.

I don't think you really can send an exact message, because any two viewers are so disparate, in terms of their backgrounds, their point of view, their histories, that there's no telling what that message might be.

I had a teacher in art school who said something about the only works he really enjoyed seeing or found much in were works where he had a sense that a discovery was made in the course of making this object. I like to hold to that as my marching orders.

I never stopped making pictures. There were times when more of my income was coming from other sources, and I had to devote more time to television and movies and records.

Having children is like having a bowling alley installed in your brain.

It's hard to decide if TV makes morons out of everyone, or if it mirrors Americans who really are morons to begin with.

A cult following is a nice way of saying very few people like you.

Having a family is like having a bowling alley installed in your head.

The trouble with jogging is that the ice falls out of your glass.

If there is some art involved, I'd like it to be that it came through the cracks of daily work.

I've always had a certain fascination. It's basically paint what you know, and this is what I grew up with.

I try to not get to the point where one is making wallpaper, or simply painting money. I want to make sure that I am at least trying to weigh myself down, that there's a challenge each time.

Show business is just like high school, except you get paid.

You'd have to think that you're at least decent, or you couldn't get up every morning and do it. I think if I live long enough, I might be pretty good.

Some of the pictures I must say every now and then I just think are going to be funny. When it gets that much, you might as well just pull out all the stops and make it more of a burlesque.

I've been doing it all along, ever since I got out of art school.

I kind of just lucked into and fell into the other profession. It was really just an outgrowth of the fact that when I was in art school, I had no money whatsoever.

It was taunted as reality. It was dangled as a carrot. In terms of peoples hopes and dreams to say that that is less of a reality than the daily grind they find themselves in is maybe not correct.

The town where I grew up has a zip code of E I E I O.

The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.

I don't know if it was the whole audience getting stoned out of their minds getting ready for the Floyd thing or what it was, but it was like playing to a painting.

Painting is just another way of keeping a diary.

I don't like painting flowers in my music. I like painting guts and pain.

Painting is a faith, and it imposes the duty to disregard public opinion.

If the weather is good I go into the nearby wood - there I am painting a small beech forest (in the sun) with a few conifers mixed in. This takes until 8 'o clock.

The paintings may communicate even better because people are lazy and they can look at a painting with less effort than they can read a poem.

Life is painting a picture, not doing a sum.

The worlds I paint leave a lot to engage the imagination by hinting at what lies beyond the four edges of the painting. I think getting beyond the four edges of an opportunity or challenge is one of the basic skills you need in business.

When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.

My movement from painting to film was a very conscious one.

I believe that painting should come through the avenues of meditation rather than the canals of action.

For example, in painting the form arises from abstract elements of line and color, while in cinema the material concreteness of the image within the frame presents - as an element - the greatest difficulty in manipulation.

Coming to understand a painting or a symphony in an unfamiliar style, to recognize the work of an artist or school, to see or hear in new ways, is as cognitive an achievement as learning to read or write or add.

I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.

Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.

When we don't have information, we go to the simplest outlook, to black and white. But then we have to lie to ourselves. Black is never as black as you're painting it and white is never as white.

I was not out to paint beautiful pictures; even painting good pictures was not important to me. I wanted only to help the truth burst forth.

Painting is a nail to which I fasten my ideas.

Painting is a hobby for me.

I'm a secretive bastard. I would never let anybody watch me painting... it would be like somebody watching you have sex - painting is that personal to me.

Good painting is the kind that looks like sculpture.