“The digital revolution changed my process early on in terms of technique, but my early analog drawings and paintings had the same thematic intention as my latest digital work: the attempt to conjure, or render, a glimpse into an enigmatically layered and lively world that I sense and know to be reality, an energetic vibratory world of almost dreadful depth. In this respect, my process of making computer-robotic assisted paintings and animations have, until recently, been made up of an excessive concoction of ambiguous sexual body parts (morphed from both sexes) tied to the viral form. Philosophy has been, and is, a way of freeing myself enough to connect with this depth so as to process the phantasmagorical aspects of reality into art. This process of art making, for me, must hinge on a dynamic engagement and then wedding of image production and image resistance. The idea is to encourage subversive readings of computational media by presenting an artistic consciousness that articulates contemporary concerns regarding safety, truth, identity and objectivity.”

— Joseph Nechvatal

" An Interview with Joseph Nechvatal http://versejunkies.com/?p=6110#," at versejunkies.com. Posted On 10 August 2013.

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Joseph Nechvatal 4

American artist 1951

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“So one crazy analogy to how my morality might turn out to work, and the big point here is I don't know how my morality works, is we have a painting and the painting is very beautiful. There is some crap on the painting. Would I like the crap cleaned up? Yes, very much. That's like the suffering that's in the world today. Then there is making more of the painting, that's just a strange function. My utility with the size of the painting, it's just like a strange and complicated function. It may go up in any kind of reasonable term that I can actually foresee, but flatten out, at some point.”

Holden Karnofsky (1981) American nonprofit executive

In a conversation https://intelligence.org/wp-content/uploads/2014/01/01-16-2014-conversation-on-existential-risk.pdf with Luke Muehlhauser and Eliezer Yudkowsky, January 2014; part of this is quoted by Carl Shulman in "Population ethics and inaccessible populations" https://reflectivedisequilibrium.blogspot.com/2014/08/population-ethics-and-inaccessible.html
Context: So one crazy analogy to how my morality might turn out to work, and the big point here is I don't know how my morality works, is we have a painting and the painting is very beautiful. There is some crap on the painting. Would I like the crap cleaned up? Yes, very much. That's like the suffering that's in the world today. Then there is making more of the painting, that's just a strange function. My utility with the size of the painting, it's just like a strange and complicated function. It may go up in any kind of reasonable term that I can actually foresee, but flatten out, at some point. So to see the world as like a painting and my utility of it is that, I think that is somewhat of an analogy to how my morality may work, that it's not like there is this linear multiplier and the multiplier is one thing or another thing. It's: starting to talk about billions of future generations is just like going so far outside of where my morality has ever been stress-tested. I don't how it would respond. I actually suspect that it would flatten out the same way as with the painting.

“It′s always seemed odd to me that people don′t paint with both hands. I mean, if I′m technically so shackled that I can′t paint with my hair, stomach or bottom, what about my other hand? You′ve got to live in painting. All-round painting… Indefinable space-at least indefinable in traditional terms-that′s what I require of my paintings. There must be absolutely no central focus… There can be no progress until that damned centre has been eliminated… My paintings are sublimated stamping, screaming and hissing-I try to translate a process experienced physically into a physically visible one.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 106 (1960)

“My old landscapes of Pennsylvania are worth so much now that I have to hide them, so I don't get put in an even higher tax bracket. For years nobody would pay a dime for them. They're still the same paintings. They didn't get any better. I treasure them as much as my recent black and white abstracts... My dealer was furious when I showed him my latest works. I'm returning to color. He tells me to ride it out and change when the fashion change. I told him no! I told him I paint each painting from the heart. I have followed my heart all my life.”

Franz Kline (1910–1962) American painter

1959
Quote from a speech of Kline in the jazz club The Five Spot, as quoted in Introduction by David Anram, The Stamp of Impulse, Abstract expressionist prints, David Anram, David Acton, p. 21
1960's

“To get back my youth I would do anything in the world, except take exercise, get up early, or be respectable.”

Oscar Wilde book The Picture of Dorian Gray

Variant: I wish you would tell me your secret. To get back my youth I would do anything in the world, except take exercise, get up early, or be respectable.
Source: The Picture of Dorian Gray

“In that privileged place, reality and the sublime dimension almost come together. My mystical paradise begins in the plains of the Empordà, is surrounded by the Alberes hills, and reaches plenitude in the bay of Cadaqués. This land is my permanent inspiration. The only place in the world, too, where I feel loved. When I painted that rock that I entitled 'The Great Masturbator', I did nothing more than render homage to one of the promontories of my kingdom, and my painting was a hymn to one of the jewels of my crown.”

Salvador Dalí (1904–1989) Spanish artist

Quote from Wikipedia: The Great Masturbator
Quotes of Salvador Dali, 1941 - 1950

“Color is one of the great things in the world that makes life worth living to me and as I have come to think of painting it is my effort to create an equivalent with paint color for the world – life as I see it.”

Georgia O'Keeffe (1887–1986) American artist

1930s

“I have another painting finished, a view near Rotterdam, and then another in process, and very far along. I made them from nature, that is to say I made watercolors [in open air] after which I made my [oil]-paintings.”

Johan Jongkind (1819–1891) Dutch painter and printmaker regarded as a forerunner of Impressionism

In a letter to his Dutch friend Eugène Smits, 22 Nov. 1856; as quoted in Master Drawings from the Yale University Art Gallery, by Suzanne Boorsch, John Marciari; Yale University. Art Gallery, p. 246 - note 7

“Hugo [Claus], Now you should see my recent works. A drawing in ink, three pencil drawings and two sketches in oil-paint: a still-life and a landscape in the strongest colors you can imagine. I still have to work on the landscape, but I really think it will be the best of my paintings till now.... but the happiest thing is, I have acquired much more freedom.”

Roger Raveel (1921–2013) painter

version in original Flemish (citaat van Roger Raveel, in het Vlaams): Hugo [Claus], nu zoudt U eens moeten mijn laatste werk zien, een pentekening, drie potloodtekeningen en twee studies met olieverf: een stilleven en een landschap in de hevigste kleuren die Ge U kunt indenken. Aan dat landschap moet ik nog werken maar ik denk dat het mijn beste werk zal zijn, van mijn schilderwerk, en drie tekeningen vind ik mijn beste maar het gelukkigste is dat ik een veel grotere vrijheid heb verworven.
Quote of Raveel, in a letter to his friend Hugo Claus, from Machelen aan de Leie, 20-24 March 1948; as cited in Hugo Claus, Roger Raveel; Brieven 1947 – 1962, ed. Katrien Jacobs, Ludion; Gent Belgium, 2007 - ISBN 978-90-5544-665-0, p. 50 (translation: Fons Heijnsbroek)
1945 - 1960

“Yes, the aluminum paint... What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

“Painting certainly means more to me than everything else in the world. I think my mind becomes clearer when I am in the presence of nature. Unfortunately, the realization of my sensations is always a very painful process with me. I can't seem to express the intensity which beats in upon my senses. I haven't at my command the magnificent richness of color which enlivens Nature... Look at that cloud; I should like to be able to paint that! Monet could. He had muscle.”

Paul Cézanne (1839–1906) French painter

Quote in a conversation with Vollard, along the river near Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 74
Quotes of Paul Cezanne, 1880s - 1890s

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