Quotes about studio

A collection of quotes on the topic of studio, work, working, doing.

Quotes about studio

“Somebody that's not real. They go in the studio and all of the sudden become hard, when they used to do dance music.”

Eazy-E (1963–1995) American rapper and producer

On Studio Gangsters
1990s

“Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at fifty miles per hour. Static between the stations. Rain. We want to capture and control these sounds, to use them not as sound effects but as musical instruments. Every film studio has a library of "sound effects" recorded on film. With a film phonograph it is now possible to control the amplitude and frequency of any one of these sounds and to give to it rhythms within or beyond the reach of the imagination. Given four film phonographs, we can compose and perform a quartet for explosive motor, wind, heartbeat, and landslide.”

John Cage (1912–1992) American avant-garde composer

Quote of John Cage, in: 'The Future of Music: Credo' (1937); in: 'Silence: lectures and writings by Cage, John', Publisher Middletown, Conn. Wesleyan University Press, June 1961, V.
1930s

Music, Imagination

“The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn.”

Oscar Wilde book The Picture of Dorian Gray

Source: The Picture of Dorian Gray

Flowers, Tree, Light, Summer

“Simply: the practice makes the master. Practice every day, or at least try to sing, as much as you can. And I don´t stop, if I´m not on tour, I´m on a studio, and if I don´t, I do it for pleasure, I do it every day, is something that is part of my life.”

Luis Miguel (1970) Puerto Rican singer; music producer

http://www.youtube.com/watch?v=jI_sg_mBSLk
About his singing.
Interview with Buenos Dias a Todos, 2008

Life, Pleasure, Singing, Parting

“It was not until 1869 that I met him Manet again, but this time, we became friends immediately. From the first meeting, he invited me to join him every evening in a café of the 'Batignolles' where he and his friends would gather to talk at the end of a day spent at their studios. I would meet there, Fantin-Latour and Cézanne, Degas - who arrived shortly afterwards from Italy, the art critic Duranty, Emile Zola who was just starting-off in the literary world and a number of others. I would take Sisley, Bazille and Renoir. There was nothing more interesting than these discussions with their perpetual differences of opinion. Our mind and souls were stimulated... One would always leave, all the better immersed, the will stronger, our thinking more defined and clear.”

Claude Monet (1840–1926) French impressionist painter

in Claude Monet par lui-meme – interview by Thiébault-Sisson / translated by Louise McGlone Jacot-Descombes; published in Le Temps newspaper, 26 November 1900
about Édouard Manet, leading artist in Impressionism then, in Paris.
1900 - 1920

World, Art, Soul, Thinking

“I like to work alone, because it irritates me if people say something stupid — I just can’t stand it… I have a Polish guy who comes in and cleans the studio, but pretty much no one else. [talking over a cappuccino, at the Museum of Modern Art New York, during her show there in 2013]”

Isa Genzken (1948) German sculptor

after 2010, No, It Isn't Supposed to Be Easy' (2013)

People, Stupidity, Art, Guy

“I started in, got it [former Monet's house, where he lived 1878 - 1881 in Vetheuil; [Mitchell bought the house and used it mainly first in the weekends] in summer of 67, Yeah, well, and then I started... I was still painting at Fremicourt and I remember starting the 'Sunflowers' [series, c. 1969-72], which I saw in Vetheuil and painted them in Fremicourt, you see... The thing about [the studio in] Fremicourt, also about St. Marks: I had to roll [large] paintings to get them out, which was a real drag, because of thickness [of the paint which cracked]. And when I started painting in Vetheuil, you can just take the [stretched] paintings out [in open air]. Well, that really changed unconsciously an awful lot of... Walk them out stretched, it's great.”

Joan Mitchell (1925–1992) American painter

second side of the first tape
1975 - 1992, Oral history interview with Joan Mitchell, 1986

Change, Summer, Painting, Housing

“I was thinking of preparing my palette and my brushes to resume work, but relapses and further bouts of pain prevented it. I'm not giving up that hope and am occupying myself with some major alterations in my studios and plans to perfect the garden [in Giverny ]. All this to show you that, with courage, I'm getting the upper hand.”

Claude Monet (1840–1926) French impressionist painter

three months before Monet died
Quote from Monet's letter to Georges Clemenceau, Sept. 1926; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 79
1920 - 1926

Pain, Hope, Courage, Thinking

“Did not Troyon tell me to enter the studio of Couture [in Paris]? It is needless to tell you how decided was my refusal to do so. I admit even that it cooled me, temporarily at least, in my esteem and admiration of Troyon.... and [I] after all, connected myself only with artists who were seeking.”

Claude Monet (1840–1926) French impressionist painter

Quote from an interview with Thiebault-Sisson, 1900; as cited in Monet and His Muse: Camille Monet in the Artist's Life, Mary Mathews Gedo; University of Chicago Press, Sept. 2010, p. 10
1900 - 1920

“We don't really feel our games have created a standard. I have no concern over others making similar games, it just shows that players wanted games that were like this, that are difficult, and wanted other studios to make challenging games that achieve the same level of satisfaction. We enjoy those games and their approach to creating them are never the same, anyway. We enjoy seeing the differences. We're totally fine with seeing more games come out that borrow aspects. Our main focus is keeping game creation fresh for ourselves.”

Hidetaka Miyazaki (1974) Japanese video game director

Dark Souls 3 Interview: "It Wouldn’t Be Right to Continue Creating Souls" https://www.gamespot.com/articles/dark-souls-3-interview-it-wouldnt-be-right-to-cont/1100-6432425/ (November 20, 2015)

Feeling, Game

“Almost every evening [in their common early-Cubist years, in Paris], either I went to Braque's studio or Braque came to mine. Each of us had to see what the other had done during the day. We criticized each other's paintings. A canvas wasn't finished unless both of us felt it was.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

a remark of Picasso to Françoise Gilot, December 1948
Quote of Picasso, in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 311
Quotes, 1940's

Painting

“What they teach in these acting schools is incredible, hair-raising crap. The Actors Studio in America is supposed to be the worst. There the students learn how to be natural - that is, they flop around, pick their noses, scratch their balls. This bullshit is known as "method acting." How can you "teach" someone to be an actor? How can you teach someone how and what to feel and how to express it? How can someone teach me how to laugh or cry? How to be glad and how to be sad? What pain is, or despair or happiness? What poverty and hunger are? What hate and love are? What desire is, and fulfillment? No, I don't want to waste my time with these arrogant morons.”

Klaus Kinski (1926–1991) German actor

Source: Kinski Uncut : The Autobiography of Klaus Kinski (1996), p. 59

Love, Hunger, Pain, Hate

“As you see, the reactions were really reserved from the studios…”

Uwe Boll (1965) German restaurateur and former filmmaker

After screening the first trailer for Postal Uwe Boll - Transforming Games into Movies http://breakpoint.untergrund.net/torrents/BP07_Seminar_UweBoll_GamesToMovies_XVID.avi.torrent 2000s

“Monk enters the studio and starts playing, the rest of the musicians join him. After few minutes of play the technician from his room shouts and stops the band. ]
Monk: "Why did we stop?"
Technician: "I thought you were rehearsing."
Monk: "Aren't we always?"”

Thelonious Monk (1917–1982) American jazz pianist and composer

Thelonious Monk Documentary DVD.

“A studio is like a meditation room where music is created. And a live performance is the place where the creation of the studio is taken ahead. I love both.”

Shreya Ghoshal (1984) Indian playback singer

About Ghoshal preference http://www.thehindu.com/todays-paper/tp-features/tp-metroplus/the-livewire/article3845968.ece

Love, Music

“It was then that Diana Moon Glampers, the Handicapper General, came into the studio with a double-barreled ten-gauge shotgun. She fired twice, and the Emperor and the Empress were dead before they hit the floor.”

Kurt Vonnegut (1922–2007) American writer

Paragraph 78 (p. 13 of Welcome to the Monkey House)
Welcome to the Monkey House (1968), "Harrison Bergeron" (1961)

Gauge, Dead

“I handed in a script last year and the studio didn't change one word. The word they didn't change was on page 87.”

Steve Martin (1945) American actor, comedian, musician, author, playwright, and producer

Introducing the best adapted screenplay at the 2003 Academy Awards

Change

“I should have sent you news of myself long ago, for I know how much pleasure one derives from a letter during one's first days in the regiment. One needs it to be reminded that one is something more than a registered number and that in the past one's existence was different from that of beast. Anyway that is how I felt about the army. I was unable to connect my present existence with my former life as a civilian.... Here [in Paris in his studio in La Rue Pigalle] I am leading a studious and quite exemplary life... I am working on an important picture which is progressing well and which will be exhibited, I hope, at the [Salon des] 'Indépendants. In addition I am planning to do a screen which will also be shown at the exhibition. Otherwise nothing is happening. I may go with Vuillard to see a music publisher, but I do not expect any success as yet in that direction. I have abandoned chromolithography (ouf!) for the moment, but I shall take it up again whenever I feel impelled to interrupt my oil painting, in order to vary my pleasure's.”

Pierre Bonnard (1867–1947) French painter and printmaker

in his letter to Lugné-Poë, End of 1890; as quoted in Pierre Bonnard, by John Rewald; MoMA - distribution, Simon & Schuster, New York, 1918, p. 17 - note 11
Lugné-Poe was just called then in the French army; Bonnard had left the army already, c. one year ago

Life, Pleasure, Hope, Music

“Everything that is painted directly and on the spot always has strength, a power, and a vivacity of touch one cannot recover in the studio... Three strokes of the brush in front of nature are worth more than two days of work at the easel”

Eugène Boudin (1824–1898) French painter

in the studio
Quote from Boudin's sketchbook; as quoted in Boudin at Trouville, by Vivien Hamilton, exh. Catalogue, London John Murray Ltd., 1992, p. 16
undated quotes

Nature, Painting

“I should not ask anything better, but when it is a question of several painters living in community life, I stipulate before everything that there must be an abbot to keep order, and that would naturally be Gauguin. That is why I would like Gauguin to be here [in Arles ] first... If I can get back the money already spent which you [Theo] have lent me for several years, we will launch out, and try to found a studio for a renaissance and not for a decadence.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote in his letter to brother Theo, from Arles, Autumn 1888; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 544), p. 37 1880s, 1888

Life, Money, Communication, Question

“I have given up my studio & torn up my father's portrait, & have not touched a brush for six weeks nor ever will again until I see some prospect of getting back to Europe. I am very anxious to go out west next fall & get some employment, but I have not yet decided where.”

Mary Cassatt (1844–1926) American painter and printmaker

Quote from her letter of July, 1871; as quoted in her biography online at https://www.marycassatt.org/biography.html

“There is no set sort of rules, or no set sort of formula to the way we work in the studio … so it's difficult to know … what we'll move on to next.”

Enya (1961) Irish singer, songwriter, and musician

KSCA interview (1996)
Context: There is no set sort of rules, or no set sort of formula to the way we work in the studio... so it's difficult to know... what we'll move on to next. We don't like to say, "Never, no we'd never do this"... But, we... like the setup as far as there's only three people in the studio... because the work is very personal, very intimate, very emotional... and that is very important to the album.

Way

“She liked the life she had. She loved habits. She craved a day with nothing in it, a long, quiet stretch of hours in the studio.”

Ann Brashares book Sisterhood Everlasting

Source: Sisterhood Everlasting

Love, Life

“Finally, the intercom crackles and Hatmitch's acerbic laugh fills the studio. He contains himself just long enough to say, 'And that, my friends, is how a revolution dies.”

Suzanne Collins book Mockingjay

Source: Mockingjay

“The studio people want me to do "Good-bye Charlie" for the movies, but I'm not going to do it. I don't like the idea of playing a man in a woman's body — you know? It just doesn't seem feminine.”

Marilyn Monroe (1926–1962) American actress, model, and singer

On turning down a role, eventually played by Debbie Reynolds, as quoted in Ms. magazine (August 1972) p. 41

People, Idea

“I talked to Paul McCartney over the years ranging from 1967 to 2004. … At the landmine show he did "God Only Knows" with me and I did "Let It Be" with him. And then I called him about four months ago asking him if he could come out and do — sing a song called "A Friend Like You," which I wrote for him, me and my collaborator wrote for him. And he said he'd love to come out. And he came to the studio and that was one of the bigger thrills of my life to tell you the truth, to produce Paul McCartney. And that was a thrill for me. That was a thrill.”

Brian Wilson (1942) American musician, singer, songwriter and record producer

CNN interview (2004)

Love, Life, God, Truth

“I admired and felt the anonymous structure of the work of Brancusi, Vantongerloo, Arp, and Taeuber-Arp [the wife of Hans Arp] whose studios I visited. [Kelly frequently visited Hans Arp and his wife in Paris and discussed his fresh-made art with them intensively]. Their work reinforced my own ideas for the creation of a Pré-Renaissance, European type art: its anonymous stone work, the object quality of the artifacts, the fact that the work was more important than the artist’s personality. Of the Europeans, I mostly admired the way Picasso, Klee and Brancusi 'made' their art. Contrary to what has been said about me, Mondrian and Matisse did not interest me when I was in Paris. Mondrian’s [paintings] could not be seen in Paris and when I did see them in Holland in 1953, I thought their structure too rigid and intellectual.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

Art, Way, Idea, Painting

“One of the topics [on the show last week] was the murder of women in the Arab sector, what is referred to, unfortunately, […] as 'honor killing' and has nothing to do with [anything worthy of] honor. The guest in the studio was a woman who had 20 years of experience working for the sake of those same women who die for no good reason, a woman whose everyday job was a holy work for the sake of thousands of Arab women who need a voice that will shout out and cry out their cries. After she had accused the government and the police and everyone of incompetence, I asked her, in a somewhat aggressive manner, as it were, '[…] Where are we in all of this? Where are we Arab women to teach and discipline our sons that a man has no right over a woman? […]' During the commercial break, she got up and told me that I had to learn how to talk to Arabs because the tone that I adopted and the things that I said were said to gain approval from Jews. So I've come to tell you today that I haven't come for approval from you; that I haven't come for approval from anyone; and this is the message that I want you to digest very, very well. In my life I have been accused of many things: that I am the fifth column; that an Arab will always stay an Arab, no matter how liberal he may look; that I bring shame on my family for being in a relationship with a person outside my religion. I've received threats after asking Palestinian residents live on the show why they don't go out against Hamas men, who use them and bring them to their slaughter; I've been attacked on Yom ha-Shoah and Yom ha-Zikaron that the managers at Arutz 2 dared to put an Arab on a show such as that as the host on a day such as that; I've been told that I make Arab women stray off the path of proper behavior; and that I've forgotten where I come from being an 'Ashkenazified', 'Judaized' Arab. So they blamed and they talked—as if that, in itself, made them right.”

Lucy Aharish (1981) Arab-Israeli journalist

Source: Lucy Aharish's campus speech http://www.onlife.co.il/%D7%A2%D7%91%D7%95%D7%93%D7%94/%D7%9E%D7%A0%D7%94%D7%99%D7%92%D7%95%D7%AA-%D7%94%D7%99%D7%95%D7%9D-%D7%90%D7%AA-%D7%94%D7%9E%D7%97%D7%A8/85312/%D7%9C%D7%95%D7%A1%D7%99-%D7%90%D7%94%D7%A8%D7%99%D7%A9-%D7%9C%D7%90-%D7%91%D7%90%D7%AA%D7%99-%D7%9C%D7%9E%D7%A6%D7%95%D7%90-%D7%97%D7%9F-%D7%91%D7%A2%D7%99%D7%A0%D7%99-%D7%90%D7%A3-%D7%90%D7%97%D7%93 at "מנהיגות היום את המחר". Onlife. 9 November 2014. Retrieved 27 January 2015. Video available.

Life, Women, Men, Family

“On sound volume and arrangement: "No, high volume levels cause less harm than the awkward arrangement of sounds. Assuming that the sound is a wave: if this wave is not balanced by itself, it causes great damage when it enters the ear. I have tested this on a few people in my studio. I made them listen to two tracks. The first track was considered too loud, whereas the second track was actually louder but more balanced".”

Vangelis (1943) Greek composer of electronic, progressive, ambient, jazz, pop rock, and orchestral music

1979

People

“Often, very often, I am alone. My studio in Amsterdam, [Beckmann lived and worked in the heart of Amsterdam during World War 2. ] an enormous old tobacco storeroom is again filled in my imagination with figures from the old days and from the new, like an ocean moved by storm and sun and always present in my thoughts. Then shapes become beings and seem comprehensible to me in the great void and uncertainty of the space which I call god.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

1930s, On my Painting (1938)

God, War, World, Imagination

“Together, us gamers are strong. For too long we have been oppressed by all these groups; everyone is against us, but we are the toughest, most hard-working, most vigilant, most powerful group on the Internet! If we all together will rise up, we can defeat anything! We can take over the world! We can create the gaming utopia that we all wanted to live in! Cars are not cars - they are carmers; houses are not houses - they are gaming studios; roads are not roads - they are Candy Crush displays. Imagine it, just think of how good things would really be! Think about how bad we are now because we haven't risen up yet! The more we wait, the harder it will get, but now it is time for gamers to rise together!”

PewDiePie (1989) Swedish YouTuber and video game commentator

25 July 2018
2018, ONLY REAL GAMERS CAN WATCH THIS

World, Cars, Imagination, Game

“I wake up early, does some meditation, take my children to school, and then go to the studio to begin my day's work. The food for his soul is typically India, but with lots of salad on the side.”

Anish Kapoor (1954) British contemporary artist of Indian birth

Anish Kapoor: An unknown Indian

Children, School, Food, Soul

“.. he [is Kirchner, writing about himself] was especially interested in the naturally naked human being. He knowingly broke the traditional manner of the nude study and created for himself in his studio [in his Brücke-years in Berlin] a circle of young women, whom he studied in their free movement. Thousands of drawings and hundreds of paintings and studies resulted from this. A beautiful, healthy, blossoming sensuality that never turns base emanates from these works.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Kirchner; as quoted in Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann (Claire Louise Albiez, translation); Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 28
undated

Women, Beauty, Nature, Study

“One’s ears are weary of the voice of the art teacher who sits like the parrot on his perch, learning the jargon of the studios, making but poor copy and calling it criticism. We have had enough of their omniscience, their parade of technical knowledge, and their predilection for the wrong end of the stick.”

Aubrey Beardsley (1872–1898) English illustrator and author

The Art of the Hoarding (1894)

Art, Knowledge, Learning, Teachers

“A lot of sources said I was born in 1917. That is incorrect. I was born in 1920. 1917 was the year the studios listed as my birth year to make me appear younger.”

Laraine Day (1920–2007) American actress

The New York Times, "A Conversaton with Laraine Day, Hollywood's Girl Next Door", June 9, 1984.

Birth, Appearance

“The offer to direct an animated version of Blue Dragon came in February of last year [2006]. Studio Pierrot approached me regarding it. I knew that Sakaguchi had been working on assembling staff to produce a game, although at the time Blue Dragon hadn't yet been formally announced. According to the materials, it was to be a fantasy world like Lord of the Rings, with a detailed world view and story. This may be my final anime, I'm a little worried (about it). There's incredible pressure, but at the same time, there's a sense of accomplishment — that it's worth doing. Blue Dragon will be a masterpiece, not simply because I'm working hard on it, but because the staff is expecting nothing less.”

Akira Toriyama (1955) manga artist and video game character designer

Last anime?

World, Game, Sense, Time

“I had a truly horrible dream last night … [Arnold Schwarzenegger, Mike Tyson and I] were on our way to a TV studio for a debate about his long-time working friendship with the powerful Bush family from Texas and how it might affect the next Bush presidency when The Terminator seizes power in Sacramento and tries to hand over the state's 54 electoral votes by election day in 2004. That is the basic plan behind Schwarzenegger running. He doesn't want to be Governor, he just wants the electoral votes to go to Bush this time.”

Hunter S. Thompson (1937–2005) American journalist and author

"Nightmare in La-La-Land" (17 August 2003)
2000s

Friendship, Family, Dreams, Way

“Since the loss of the Merzbau [his former studio in Hannover, which was a big sculpture (5 x 4 x 4,5 meters) I did a lot of small sculptures..”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 48 : in a letter to Edgar Kaufmann, 16 July 1946

Loss

“Listen, monsieur Vollard, I worked a lot out of doors at L'Estaque. Except for that there was no other event of importance in my life during the years 1870-71. I divided my time between the field and the studio... Zola closed his letter by urging me to come back to Paris too [in 1872 Cézanne went back to Paris].... but all the same, something told me to go back to Paris. It was too long since I had seen the Louvre. But understand, Monsieur Vollard, I was working at that time on a landscape which was not going well. So I stayed at Aix a little while longer to study on my canvas.”

Paul Cézanne (1839–1906) French painter

Quote in: Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 32-33
Quotes of Paul Cezanne, 1860s - 1870s

Life, Understanding, Study, Time

“She put up with all our noise in the bedroom, because we started off with a little studio in our bedroom. And our room was right next to her and pops’ bedroom, so they couldn’t stand the noise because we made a lot of racket and we had other rappers coming in all the time, and they put up with that. And plus, she listened to a lot of soul music when we was growing up so that influenced us. And in church. She tried to make us go to church but we just didn’t tend to stick with it.”

Lord Infamous (1975–2013) American rapper

Interview whit Lord Infamous - RIP - March 2009 https://medium.com/@daveyboysmith/interview-with-lord-infamous-rip-march-30th-2009-94dbfc2f0d9b

Music, Soul, Time

“.. and the first thing for he artists [of Die Brücke ] was free drawing from the free human figure in the freedom of nature... We drew and we painted. Hundreds of paintings a day, with talk and fooling in between, the artists joining the models before the easel and vice versa. All the encounters of everyday life were incorporated in our memories in this way. The studio became the home of the people who were being drawn; they learned from the artists and the painters from them. The picture [ made] took on immediate and abundant life.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Quote from Kirchner's Diary, 1923; as cited in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 28-29
1920's

Life, People, Fools, Way

“I love filmmaking when fate is a part of the process and you are dependent on the laws of physics and the elements to get a single moment that transports or in some way creates an illusion even for a moment. I think that is tremendous fun and what I think filmmaking is, catching lightning in a bottle. I feel like we are so used to CGI now and thank god because it is a wonderful tool, but there is an element of everything you are looking at has been created in the comfort of a studio. I want to return to a world where I can celebrate when you are really interacting with the world.”

Larry Fessenden (1963) American actor, producer, writer, director, film editor, and cinematographer

Interview with 'Beneath' director Larry Fessenden https://www.axs.com/interview-with-beneath-director-larry-fessenden-92769 (March 25, 2014)

Love, God, Fate, World

“Now, if you [his sister, Suzanne Duchamp ] have been up to my place, you will have seen, in the studio, [his former studio in France, probably in Paris] a 'Bicycle Wheel' and a 'Bottle Rack'. [both art-works became later famous ready-mades of Duchamp] – I bought this as a ready-made sculpture [sculpture tout faite]. And I h have a plan concerning this so-called bottle rack. Listen to this. Here in N. Y., I have bought various objects in the same taste and I treat them as 'ready-mades'. You know enough English to understand the meaning of 'ready-made' [tour fait] that I give these objects. – I sign them and think of an inscription for them in English. I'll give you a few examples. I have, for example, a large snow shovel on which I have inscribed at the bottom: In advance of the broken arm, French translation: 'En avance dus bras cassé' – (Don't tear your hair out) trying to understand this in the Romantic or impressionist or Cubist sense – it has nothing to do with all that. Another 'readymade' is called: Emergency in favour of twice possible French translation: Danger \Crise \en favour de 2 fois. This long preamble just to say: Take this bottle rack for yourself. I'm making it a 'readymade' remotely. You are to inscribe it at the bottom and on the inside of the bottom circle, in small letters painted with a brush in oil, silver white colour, with an inscription which I will give you herewith, and then sign it, in the same handwriting, as follows: [after] Marcel Duchamp.”

Marcel Duchamp (1887–1968) French painter and sculptor

long quote from Duchamp's letter to his sister Suzanne Duchamp, New York, c. 15 Jan. 1916; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 pp. 157-158
1915 - 1925

Art, Understanding, Thinking, Sense

“The audience is equally responsible for making Scary Movie 3 as the studio system is because as long as they continue to go see Fast and Furious 4, they're going to make it. You have to remember that studio heads went to NYU and stuff and film school and they wanted to make great films and were seduced by The Godfather and instead, this is the world that were in.”

Natasha Lyonne (1979) actress

Suicidegirls interview (2004)

World, School

“Those who dumb down the news, trivialize the news with in-studio shouting matches passing for debate, those who tart up the news with celebrity gossip, scandal and sensationalism are playing right into the hands of those that stand to gain the most from the news being seen as irrelevant and trivial and no more or less worth your attention than the next episode of 'American Idol.' […] I worry that if it becomes no more than a reality show, something that could be scripted and rigged behind the scenes without anyone really getting upset about it, that our freedom of the press will become another one of those constitutionally granted rights that can be watered down and eventually taken away from us.”

Dan Rather (1931) Journalist, Anchor

Speech 3 February 2011 at San Antonio College, as quoted in Jeanne Jakle, "Rather warns media is in 'state of crisis'" http://www.mysanantonio.com/news/article/Rather-warns-media-is-in-state-of-crisis-995904.php, San Antonio Express-News, 4 February 2011.

Reality, Freedom, Water

“The film studios learned to our dismay but to their pleasure that if they spent $200 million making a film they could make half a billion on it. So they were not interested anymore in quality films… They can’t afford to be that risky at those prices. Consequently you’re getting a lot of remakes, sequels, dopey comedies full of toilet jokes…”

Woody Allen (1935) American screenwriter, director, actor, comedian, author, playwright, and musician

BBC radio interview (2011) http://www.youtube.com/watch?v=Ef-JHO9BoJM.

Pleasure, Learning

“Another difficult thing that I experience is when after such a year of activity I have to empty my studio – completely. And I have found that this part only gets harder. You might think it gets easier, but I really just find it gets harder.”

Isa Genzken (1948) German sculptor

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

Thinking, Parting

“The artist's studio will be like a glass-bell or a hollow crystal. The painter himself must be white, which is to say, without tragedy or sorrow. The pallet must be of glass; the brush must be square and hard, dust-free and as immaculate as a surgical instrument. Doubtless there is much to learn from a medical laboratory... The studio of the modern painter must reflect the ambiance of mountains which are nine thousand feet high and topped with a eternal cap of snow. There the cold kills the microbes.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote in Van Doesburg's article 'Elementarism', as cited in De Stijl – Van Doesburg Issue, January 1932, pp. 17–19
1926 – 1931

Mountain, Learning

“The New York Times is busy sucking the teat of the major studios. They twist themselves into a pretzel when Kumar and Schmumar Go to White Castle Part III. They say, "Oh, the farts are such a statement about American culture! It's such great satire!" It's bullshit. Troma paved the road for farts! But we don't exist.”

Lloyd Kaufman (1945) American film director

Village Voice http://www.villagevoice.com/2014-01-15/film/troma-lloyd-kaufman-interview/ January 15, 2014 2014

Business, Time, Parting

“The kindergarten essay got into that underground press we all belong to where something just sort of has a life of its own and moves around and it gets on refrigerators and in the work place and people copy it… I was a minister in the Unitarian church at the time and teaching and I was ready to stop that and do the next phase of my life. So I had quit both those jobs and I was all set up with my studio in Seattle when this other horse came riding by … I'm not a great writer and I'll never get the Nobel Prize or a Pulitzer Prize but I've won the refrigerator door award. And you don't see Faulkner on people's refrigerator.”

Robert Fulghum (1937) American writer

Robert Fulghum : Philosopher King

Life, People, Time, Horse

“.. at least fifty [gouaches painted in complete dark], one after another. Then I made a light, a candle, and I picked them up and turned them around, as I couldn't see a top or a bottom. I finished them off as I felt fit, a bit more white or a red spot [in his studio in Amsterdam, in 1947”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Quote from a talk in 1990 with Rudi Fuchs; in 'Appel, about growing older'; as quoted by Frank van der Ploeg, in 'The Low Countries'. Jaargang 12(2004) http://www.dbnl.org/tekst/_low001200401_01/_low001200401_01_0027.php

Light, Painting

“Circle' was published at last [constructivist manifesto, in 1937 - with Naum Gabo, Ben Nicholson a. o. ]. Mondrian has made his studio opposite so very beautiful, and his company was always inspiring, as it had been in Paris when we used to visit him. After a while he really seemed to our domestic scene. His studio and Ben’s [the sculptor Ben Nicholson; Barbara was his wife then] were most austere, but my studio was a jumble of children, rocks, sculptures, trees, importunate flowers and washing.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 283

Children, Beauty, Flowers, Tree

“"Tighter and Tighter" was actually written around the same time as "Black Hole Sun." In fact, I did a demo with four songs on it to play for the band. "Black Hole Sun," "Sounds Like Days," "Tighter and Tighter" and a song called "Anxious." We blew off "Anxious" entirely and recorded "Tighter and Tighter" for the last record. It was the last song we did. It was number 16 and we ran out of studio time. We had the rhythm tracks done and it was just needing vocals and my guitar solos. We just ran out of time. It was falling flat anyway. I changed the arrangement a little bit.”

Chris Cornell (1964–2017) American singer-songwriter, musician

Soundgarden Era

Change, Time, Sun

“I ordered Major [transport company] tomorrow afternoon 2 o'clock to pack the paintings, I am still completely in all the paintings - as nightmares they are flying around me, now you know as of old how that is, but tomorrow afternoon at 2 o'clock I am free. I believe there are nice things among them, the drawing has become a little too fat, but there is much good in it, and it is very well-finished. I send to Peacock. The forest with wood hackers, which was hanging above the door of my studio, then the sheep [small composition-sketch of a sheep herd with shepherd] and... I believe you know them all, 7 pieces together, afterwards I have to start working for Arnold & Tripp [art-sellers in Paris], I let those guys wait and that's not right to do..”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

translation from original Dutch, Fons Heijnsbroek, 2018 (version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) Morgen middag 2 uur heb ik Majoor [transportbedrijf] besteld om de schilderijen in te pakken ik ben nu nog geheel in alle die schilderijen als nacht merries zijn ze om me heen nu je weet wel van ouds, hoe of dat is maar morgen om 2 uur ben ik vrij. Ik geloof dat er aardige dingen bij zijn, de teekening is wel wat dik geworden, doch veel goeds er in, en erg af ik verzend aan Peacock Het bosch met hout hakkers, dat boven de deur van mijn atelier hing dan de schapen [klein compositieschetsje schaapskudde met herder] en [klein compositieschetsje schapen op bospad] en [klein compositieschetsje met schaapskudde] en [klein compositieschetsje koe?] en [klein compositieschetsje schaapskudde met vliegdennen] en de teekening (schapen uit het bosch komende) ik geloof dat je ze allen kent, 7 stuks te zamen, ik moet daarna ook voor Arnold & Tripp [kunsthandelaars in Parijs] aan de gang, die luitjes laat ik maar wachten en dat mag niet.. In a letter of Mauve from Laren, 27 June 1887 original text of the letter in RKD Archive https://rkd.nl/explore/excerpts/10, The Hague 1880's

Art, Guy, Waiting, Drawing

“Landscapes are useful to a figure painter, too; out-of-doors one uses colours one would never think of in the weaker studio light. But landscape painting is a thankless job; you waste half a day for the sake of one hour's painting. You only finish one painting out of ten, because the weather keeps changing. You start work on a sunlight effect and it comes on to rain – or you had a few clouds in the sky, and the wind blows them away. It's always the same story!”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: undated quotes, Renoir – his life and work, 1975, p. 196 : on painting landscape in open air, to art-buyer George Riviere.

Thinking, Light, Change, Painting

“And for me Michelangelo's greatest work is one that was in his studio partly finished, partly unfinished when he died 'The Rondanini Pietà'. I don't know of any other single work of art by anyone that is more poignant, more moving. It isn't the most powerful of Michelangelo's works – it's a mixture, in fact, of two styles…. the changing became so drastic that I think he knocked the head off the sculpture… So the figure must originally have been a good deal taller. And if we see also the proportion of the length of the body of Christ compared with the length of the legs, there's no doubt that the whole top of the original sculpture has been cut away. Now this to me is a great question. Why should I and other sculptors I know, my contemporaries – I think that Giacometti feels this, I know Marino Marini feels it – find this work one of the most moving and greatest works we know of when it's a work which has such disunity in it?… But that's so moving, so touching: the position of the heads, the whole tenderness of the top part of the sculpture, is in my opinion more what it is by being in contrast with the rather finished, tough, leathery, typical Michelangelo legs. The top part is Gothic and the lower part is sort of Renaissance.”

Henry Moore (1898–1986) English artist

Quote of Henri Moore in his interview with David Silvester, in 'The Sunday Times Magazine', 16 Febr. 1964, pp. 18, 20-22
1955 - 1970

Art, Feeling, Question, Thinking

“If I had done things differently, I'd probably have the paparazzi waiting around for me. At the studio where I've been recording, Jessica Simpson is working there, too. The paparazzi are outside waiting for her to come out. That's the result of her decisions. My decisions have led me to the point that when I walk out in front of the paparazzi, I'm considered a waste of film.”

John Mayer (1977) guitarist and singer/songwriter

How he shows self-restraint with his fame Small, Mark (2005). "John Mayer '98: Running with the Big Dogs" http://www.berklee.edu/bt/172/coverstory.html Berlee.edu (accessed February 11, 2010)

Decision, Waiting

“It is not often that one encounters so complete an expression of poverty and so, right then and there I got the idea for a painting. I told them to come to my studio the next morning.”

Gustave Courbet (1819–1877) French painter

Quote, 1850's explaining to Champfleury and the writer Francis Wey; as cited on Wikipedia; Masanès, Fabrice 2006, p. 31
Courbet explains in his quote the start of his painting 'Stone-Breakers' [painted in 1849-50 / destroyed in the Allied Bombing of Dresden in 1945]; this painting was inspired by a scene Courbet witnessed on the roadside.
1840s - 1850s

Idea, Painting

“Hi, this is Roseanne Barr and I'd like to welcome you to my own studio, where I'm able to speak for myself to my fellow and sister Americans without the filter of the biased media," she said. "This was my statement from the very beginning and it will continue to be forever because it is the truth. When ABC called and asked me to explain my 'egregious and unforgivable tweet,' I told them I thought Valerie Jarrett was white. And I also said, 'I'm willing to go on The View, Jimmy Kimmel, or whatever other show you want me to go on and explain that to my audience.'”

Roseanne Barr (1952) American actress, comedienne, writer, producer and director

YouTube dialogue, July 2018 per Entertainment Tonight https://www.etonline.com/roseanne-barr-attempts-to-explain-racist-tweet-in-expletive-filled-rant-106417. 2018

Truth, Sister

“He who allows himself to be devoured will be devoured, and he will die before he has done his work. The man who has an ardent passion for work asks of others only what will help him. He shirks no work that ca be of use and that he ca do well, but he flies from conversations, meetings, talkfests, studios full of phrase-makers. Goethe even advises such a man to ignore daily events if he cannot do anything about them. If we spend an hour every morning informing ourselves about distant wars and another hour lamenting their possible consequences, when we are neither ministers, generals, nor journalists, nor anything, we render no service to our country and we waste the most irrecoverable of our possessions: our own short life.”

André Maurois (1885–1967) French writer

Un Art de Vivre (The Art of Living) (1939), The Art of Working

Life, War, Distant, Passion

“It was suddenly obvious to everybody in the studio that something quite special must be going on inside the man, because something quite special was coming out. He was singing now, cold or no cold, with power and warmth, he was letting himself go, the public arrogance was gone, the private side was in this song about the girl who, it is said, understands him better than anybody else, and is the only person in front of whom he can be unashamedly himself.”

Gay Talese (1932) American writer

"Frank Sinatra Has a Cold" (Esquire, April 1966)

Girl, Understanding, Singing, Personality

“We are using electronic instruments both in the studio and on stage but we are not living in an ivory tower, banned from any kind of popularity doing just intellectual research on electronics. So we really like to entertain people in the best way possible to show how modern, sophisticated equipment can be used today in order to create a futuristic sound.”

Edgar Froese (1944–2015) German musician and founder of Tangerine Dream

People, Way

“It is true that the materialistic society, the so-called culture that has evolved under the tender mercies of capitalism, has produced what seems to be the ultimate limit of this worldliness. And nowhere, except perhaps in the analogous society of pagan Rome, has there ever been such a flowering of cheap and petty and disgusting lusts and vanities as in the world of capitalism, where there is no evil that is not fostered and encouraged for the sake of making money. We live in a society whose whole policy is to excite every nerve in the human body and keep it at the highest pitch of artificial tension, to strain every human desire to the limit and to create as many new desires and synthetic passions as possible, in order to cater to them with the products of our factories and printing presses and movie studios and all the rest.”

Thomas Merton book The Seven Storey Mountain

The Seven Storey Mountain (1948)

Money, World, Flowers, Passion

“Prince is intelligent. He never visits the studio when I am working for him; and I have never met him in person. He sends me memos and we talk over the phone. Once I sent him my Grammy-winning CD. I heard from people that were present at the time that while he took out the disc he looked away from the cover, saying, 'I don't want to know what he looks like. It is working just fine as it is.' Prince does not want to meet me because he knows that the minute he walks into a studio he will start interfering. It is uncommon that a person with such a strong ego realizes that I have an ego too.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

As quoted in "Clare Fischer: The Best Kept Secret in Jazz" http://www.artistinterviews.eu/?page_id=5&parent_id=22/

People, Intelligence, Strong, Time

“I wanted to play Rick. I was missing it. I’ve been waiting for the call from the studio since then. I love it. You get to do so much fun stuff, as an actor. You get to go to great places. They strap you into harnesses and throw you around. You have to look like you really know how to take care of business and beat people up, when you’re actually really a wimp. They’re great fun movies. There’s real appeal. Every kid or pinstripe executive in an elevator asks me, “When’s the next Mummy movie?””

Brendan Fraser (1968) Canadian American actor

I’m like, “I wanna know the same thing! Brendan Fraser Interview – The Mummy: Tomb of the Dragon Emperor http://collider.com/brendan-fraser-interview-the-mummy-tomb-of-the-dragon-emperor/ (July 31, 2008)

Love, People, Business, Waiting

“It's mostly everyone from the show, so this feels just like being in the studio - except that we can drink here.”

Goran Višnjić (1972) Croatian actor

Goran Visnjic at Shane West's recent house warming party featured in Feb 07 Instyle magazine

Feeling, Drink

“I woke at 9:57 having got to bed at 6:30 subsequent to spraying burning guitar over David Bowie's new album and not leaving the studio until 5:00.”

Robert Fripp (1946) English guitarist, composer and record producer

In the road diary which accompanies the CD release of the 1980 League Of Gentlemen album "Thrang, Thrang, Gozimbulx", about Bowie's album Scary Monsters (and Super Creeps)
Elsewhere

“At the moment I quite often go to draw with Breitner [in the streets of The Hague], a young painter who's acquainted with Rochussen as I am with Mauve. He draws very skilfully and very differently from me, and we often draw types together in the soup kitchen or the waiting room &c. He sometimes comes to my studio to look at woodcuts, and I go to see the ones he has as well.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

In his letter to his brother Theo, from The Hague, Monday, 13 February 1882, http://vangoghletters.org/vg/letters/let204/letter.html, from the original letter; location and translation: Van Gogh museum, Amsterdam]] 1880s, 1882

Waiting, Drawing

“It is a false idea that drawing in itself can be beautiful. It is only beautiful through the truths and the feelings that it translates. The crowd admires artists, who, strong in subject, elegantly pen contours destitute of significance, and who plant their figures in pretentious poses. It goes into ecstasies over poses which are never seen in nature, and which are considered artistic because they recall the posturings of the Italian models who offer themselves at the studio door. That is what is generally called beautiful drawing. It is really only sleight-of-hand, fit to astonish boobies.”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Ch. V. Drawing and Color, p. 95-96

Truth, Beauty, Feeling, Idea

“He [the painter J. A. Kruseman in Amsterdam] is very amicable with his students without exposing his mastery to disdain. I sometimes see him painting from time to time. And I almost visit daily his studio. You must know that his students don't work in the same room where the big man is staying... Sometimes one or two days pass that he doesn't see our work, he let follow the students their own way most of the time... Thanks God he tells me I have feeling and talent.”

Jozef Israëls (1824–1911) Dutch painter

translation from original Dutch text: Fons Heijnsbroek
version in original Dutch (citaat uit de brief van Jozef Israëls, in het Nederlands): Hij [de schilder J.A. Kruseman te Amsterdam] gaat zeer amical met zijn discipelen om zonder zijn meesterschap aan minachting bloot te stellen. Ik zie hem nu en dan wel eens schilderen. En kom in zijn atelier bijna dagelijksch. Gij moet namenlijk weten dat zijn leerlingen niet in dezelfde kamer zitten te werken waar de groote man zit.. .Soms gaan er wel een of 2 dage voorbij dat hij het werk niet komt zien, hij laat de leerlingen meest hun eigen manier volgen.. .Hij zegt mij Gode zij dank gevoel en dispositie toe..
In a letter of Jozef Israels from Amsterdam, 16 July 1843, to his friend, pharmacist Essingh in Groningen; from R.K.D. Archive, A.S. Kok, The Hague
Quotes of Jozef Israels, 1840 - 1870

God, Way, Feeling, Time

“I still think that Boccioni was a great artist and a passionate man. I like El Lissitsky's painting very much. But Mondrian that great merciless artist, is the only one who had nothing left over. The point they all had in common was to be both inside and outside at the same time. A new of likeness!... for me to be inside and outside is to be in an unheated studio with broken windows in the winter.”

Willem de Kooning (1904–1997) Dutch painter

De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

Thinking, Passion, Winter, Time

“But please come into my studio; It is now full of works everywhere, you see... Oh, you don't need to be careful; those paintings do fall together frequently; - it doesn't really harm them.”

Suze Robertson (1855–1922) Dutch painter

(version in original Dutch / origineel citaat van Suze Robertson:) Maar komt u binnen op mijn atelier; 't staat er nu overal vol, naar u ziet.. .O, u hoeft niet zoo voorzichtig te weezen [M. J. Brusse komt naar haar atelier voor het interview]; die schilderijen vallen wel meer door elkaar; - 't hindert ze heusch niet..
M. J. Brusse visited Suze's studio in The Hague, for the interview
Source: 1900 - 1922, Onder de Menschen: Suze Robertson' (1912), p. 29

Painting

“My work is in a complete transformation. Lately, in my studio in Amsterdam, 'beings' re-emerge more and more, but I have repainted all the canvases that I have brought with me [from Amsterdam to Paris]. It is matter itself. On the canvas, no discovery, no personal drama, no submission to a rhythm.... freed from 'Victory Boogiewoogie' [title of the last work of Piet Mondrian, 1944], bepop, bepop, we free ourselves from rhythm, we are not there yet, but it is coming... Now I paint stains, bigger stains, colours endlessly reapplied one upon the other, I scrape and I put down new stains of colour unto nothing remains but one great plane, concentrated and linked at the same time, suddenly a vivid red or yellow and the canvas and being merge.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Quote in a letter of Karel Appel from Paris to Aldo van Eyck, October 1950; as quoted in (MR1-85); Karel Appel, a gesture of colour, Jean-François Lyotard, (original French text of 1992 based upon intensive correspondence with Karel Appel), Christine Buci-Glucksmann, Herman Parret; University Press, Leuven, Belgium, 2009, p. 99

Time, Victory, Painting, Personality

“.. I think the thing that hit me most of all [at the Pollock-show, 1951] was that while I knew it was a fact, it became a physical necessity to get pictures off the easel, and therefore for me not even on a wall but the reach or fluidity of working from above down into a field [so: on the floor].... But it really registered [later] when I saw his [Pollock's] studio and he unrolled his paintings on the floor that he had painted them on. Now I was never drawn to the idea of a stick dipped in a huge can. One thing I have never liked is a drip, I mean.. it's a kind of boring accident to me, a drip. There are many accidents that are very rich that you use, but if you exploit a drip it's very boring and familiar to begin with. Drips are drips. Whereas blocks have never been drips, and haven't been, but, people don't know blocks the way they know drips. And blocks can become lines, and drips become lines in a very facile, easy way.”

Helen Frankenthaler (1928–2011) American artist

quote about Pollock's drip-painting, 1951
1960s, Interview with Barbara Rose', Archives - American Art, 1968

People, Way, Idea, Thinking

“At a very young age I found I could irritate people with this born ability to mimic just about anything I hear. I listened to sparrows outside my bedroom window and then could talk to them and other birds, and squirrels, horses, cows and an occasional human. Some folks refer to this as a special talent to me it was a fortunate aberration that has been a great tool in this biz. I try to be authentic in reproduction of animals. When it comes to the creatures it was usually an open page and I really enjoyed creating sound for them usually to picture on screen in a sound studio…what fun!!! Also, this is sometimes punishing to the vocal cords thus the three days.”

Frank Welker (1946) American actor

Frank Welker Talks TRANSFORMERS PRIME, Voicing Megatron Throughout His Career, How the Voice-Acting Industry Has Changed and Working with Peter Cullen http://collider.com/frank-welker-transformers-prime-interview/ (November 1, 2012)

People, Age, Bird, Animals

“We were only together for a part of my career, and for every film we did, I did another three on my own. The studio was working me too hard. Fred would rush off for a holiday and call me and say: "Hey, ready to do another?" And I didn't have the sense to say that I was too tired. Those times were murder for me. Oh, I adored Mr. A but all the hard work… the 5 a. m. calls, the months of non-stop dancing, singing and acting. We just worked it out and had a lot of fun and got very exhausted. And Mr A was quite divine.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Ginger Rogers quoted in Satchell, Tim. Astaire, The Biography. Hutchinson, London. 1987. . p. 132.

Sense, Singing, Time, Holiday

“I'm able to paint so nice and thick with those big splodges that stay upright because I mix my own paint. I use the formula that the seventeenth-century painters used and I've added one or two things myself. A very important element is stand oil. I once got hold of a whole barrel full and I'm still using it. There are pots of it in all my studios, in New York, in Connecticut, in Monaco, and in Tuscany. [the oil had been found when an old paint shop closed down, in a] stock that had been there since the seventeenth century... I mix my oil paint with it, and I throw in a lot of eggs and some concentrated turpentine. It's as thick as homemade mayonnaise. When it dries it is as tough and hard as rubber.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Quote from an interview in 'Elsevier', 22 December, 1990; translated and quoted by Frank van der Ploeg, in 'The Low Countries'. Jaargang 12 (2004) http://www.dbnl.org/tekst/_low001200401_01/_low001200401_01_0027.php

Painting

“I recall playing practical jokes with John Wayne. I once got a whole bunch of keys and had little tags made that said, "If lost, please return to John Wayne, RKO Studios. Reward." And I just dropped them all over town. [He got a lot of] phone calls, people showing up at the studio. He never learned who did it.”

Laraine Day (1920–2007) American actress

Classic Images Magazine, "Talking with Laraine Day", May 31, 1996.

People, Learning

“.. you see they hung my painting here [on her show 'Wind', 2009] I did that in the early 1990s. People never really liked them so much back then, they thought they looked more like photographs. Actually, I was doing them when I was still married to Gerhard Richter [till 1993], and it was somehow in relation to what he was doing, you know, these kind of side-to-side gestural abstracts – done like this [gestures as if pulling a squeegee over a surface from one side to the other] like paintings of the 1950s. Mine were called 'Basic Research', they were rubbings of oil paint on canvas – frottages of the floor of my studio. I did quite a few of these. [Gerhard] Richter put one up in his studio for some time... But he found it too hard and then took it out after a while.”

Isa Genzken (1948) German sculptor

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

People, Time, Painting

“My entrance into the field of abstract art came about as the result of a visit to the studio of Piet Mondrian in Paris in 1930.
I was particularly impressed by some rectangles of color he had tacked on his wall in a pattern after his nature.
I told him I would like to make them [Mondrian's flat painting] oscillate, he objected. I went home and tried to paint abstractly - but in two weeks I was back again among plastic materials.
I think that at that time and practically ever since, the underlying sense of form in my work has been the system of the Universe, or part thereof. For that is a rather large model to work from.”

Alexander Calder (1898–1976) American artist

Quote (1951), in 'What Abstract Art Means to Me' http://www.jstor.org/stable/4058250, George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis; as cited in the The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15 1950s - 1960s

Art, Color, Home, Nature

“The potential evidenced by [director James] Cameron in The Terminator — the ability to sustain suspense, meld action with story, and provide compelling characters despite the limitations of the actors portraying them — would be fully realized in two future features, Aliens and Terminator 2. This movie, however, is in some ways more impressive than either of those because of what the filmmaker was capable of achieving with a limited budget and without significant studio backing. The themes and ideas presented in The Terminator hold up well today, even though we have moved into the post-Cold War era and only the most nihilistic individuals could see 2029 in such bleak terms. It's a rousing science fiction story that proves an on-screen adrenaline rush need not short-circuit the brain.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=1618 of The Terminator (1984). Three-and-a-half star reviews

War, Way, Idea, Science

“I programmed all the drums and synths, while he played all the guitars. The initial plan was just to demo his songs because he was out of his UA deal, so we pumped it to people like Island and Virgin and they loved it. It was signed to Island, but Simon Draper of Virgin heard it and called me to talk about their band, the Human League. They'd done demos of The Sound of the Crowd and Love Action in a Sheffield studio, but Simon didn't think they were getting the punch they needed. He loved the drums on Homosapien and asked me to do a track. So the band turned up at Genetic with their multi-track for The Sound of the Crowd. Simon had conned them and told them that I'd mix it! I said, 'We're going to start again and do it better'. There were a few grumbles, but by the time we'd finished, they were really pleased.”

Martin Rushent (1948–2011) English record producer

Perrone, Pierre, Martin Rushent: Synth-pop pioneer and innovative producer of the Human League, the Stranglers and Buzzcocks, 2011, http://www.independent.co.uk/news/obituaries/martin-rushent-synthpop-pioneer-and-innovative-producer-of-the-human-league-the-stranglers-and-buzzcocks-2294842.html, The Independent, 11 June 2011

Love, People, Thinking, Time

“I was supremely confident my flair for atmosphere and characterization would sparkle alongside the numbing mulch ground out by studio hacks. Certainly the space atop my mantel might be better festooned by a gold statuette than by the plastic dipping bird that now bobbed there ad infinitum.”

Woody Allen book Mere Anarchy

Mere Anarchy (2007)

Confidence, Bird

“Mark: I know that was a concern for you that, wasn't it? You were really nervous about this particular performance. Why? I really, really admire you for that Hayley. I admire the fact that you are actually quite green. I mean in the studio you were green and this is a whole new experience for you but the way that you approach it, the openness of mind is really, really admirable and I think the simplicity, how you handled that was really terrific. Good on you Hayley.”

Hayley Jensen (1983) Australian singer

Australian Idol, Final Performances, Final 10

Way, Thinking

“I and Nicky have got a lot of disagreements, but they are nearly always associated to music. Because we both are very strong-willing persons, we might sit in the opposite corners in the studio argueing about things. One does never know beforehand, whose idea works the best way.”

Enya (1961) Irish singer, songwriter, and musician

Anna interview (2005)

Music, Way, Idea, Strong

“David Letterman: Earlier today, the man who owns this network, Leslie Moonves—he and I have had a relationship for years and years and years—and we have had this conversation in the past, and we agreed that we would work together on this circumstance and the timing of this circumstance. And I phoned him just before the program, and I said, "Leslie, it's been great, you've been great, the network has been great, but I'm retiring."
Paul Shaffer: This is—really?
David Letterman: Yep.
Paul Shaffer: This is—this is—you actually did this?
David Letterman: Yes, I did.
[dead silence in the studio followed by nervous laughter from the audience]
Paul Shaffer: Well—do I have a minute to call my accountant, because…I, uh…
[Dave cracks up]
David Letterman: I just want to reiterate my thanks for the support from the network, all of the people who have worked here, all of the people in the theatre, all the people on the staff, everybody at home. Thank you very much. And what this means now, is that Paul and I can be married.
[uproarious laughter and applause as wedding chimes play]
David Letterman: So we don't have the timing of this precisely down, I think it will be at least a year or so. But sometime in the not too distant future—2015 for the love of God, in fact, Paul and I will be wrapping things up and taking a hike.
[studio audience goes wild, gives him a standing ovation]
David Letterman: Thank you, thanks everybody. All right, thanks very much.”

David Letterman (1947) American comedian and actor

On announcing his retirement, quoted in Here’s what happened the moment David Letterman announced his retirement (transcript + video) http://www.washingtonpost.com/blogs/style-blog/wp/2014/04/03/heres-what-happened-the-moment-david-letterman-announced-his-retirement-transcript-video/ by Emily Yahr, in "The Washington Post" (3 April 2014).

Love, God, People, Home

“(About Prince) I recently met him, he's a Jehovah's witness, right? The first thing i said to him was "omigaaawdifuckinloveyourmusic". He looked at me with that look of his and said very softly 'uh, you have to pray that you can ban swearing out of your live, otherwise you can never please the lord" Me : I'll fuckin' try!, followed with 'did i fuckin' curse?' in which he responded "yeah, you fuckin' did".(laughs) Okay that last part I made up, but he was very serious about it. So i thought, my god, this is the guy from "Head" and from "Darling Nikki" who is mastrubating in the lobby from a hotel. In his studio he even has a curseing jar, everybody that swear has to put a $50 into it. I was speechless, and let me tell you, that does not happen to me alot. But, he is and stays a genius.”

Anastacia (1968) American singer-songwriter

Het stomende dubbelinterview: Natalia en Anastacia http://www.humo.be/humo-archief/29756/het-stomende-dubbelinterview-natalia-en-anastacia, Humo, September 27, 2010. General Quotes

God, Guy, Parting

“We allow no geniuses around our Studio.”

Walt Disney (1901–1966) American film producer and businessman

As quoted in Animated Architecture (1982) by Derek Walker, p. 10

“The first encounter with Otto Mueller's paintings was in Berlin, at the showing of the 'Rejects of the Berlin Secession'. which took place at the Galerie Macht in the spring of 1910. And we met him personally the very same day in his studio on Mommsenstrasse. This meeting was significant for all of us and occurred at a fruitful moment; and, as a matter of course, he belonged to Die Brücke community from then on.”

Erich Heckel (1883–1970) German artist

a later recall of Heckel; as quoted in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 93

Spring, Communication, Painting, Personality

“We [Emilio and I] have diversified: We run four restaurants, a hotel, a recording studio, a publishing company, and we have our corporate offices and a lot of other real estate.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

Billboard Magazine (11 October 2003)
2007, 2008

“Women have been discouraged from genres such as sculpture that require studio training or expensive materials. But in philosophy, mathematics, and poetry, the only materials are pen and paper. Male conspiracy cannot explain all female failures. I am convinced that, even without restrictions, there still would have been no female Pascal, Milton, or Kant. Genius is not checked by social obstacles: it will overcome. Men's egotism, so disgusting in the talentless, is the source of their greatness as a sex. […] Even now, with all vocations open, I marvel at the rarity of the woman driven by artistic or intellectual obsession, that self-mutilating derangement of social relationship which, in its alternate forms of crime and ideation, is the disgrace and glory of the human species.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 653

Women, Men, Sex, Mathematics

“I am here the doctor [in his studio], bringing his morning visit. I feel them all [his watercolors] the pulse. One I say: Wait, I'll make you an ointment, so you will refresh completely. The other I say: Friend, you need air, and even more the light.”

Jan Hendrik Weissenbruch (1824–1903) Dutch painter of the Hague School (1824-1903)

version in original Dutch / citaat van J. H. Weissenbruch, in het Nederlands: ..ik ben hier [in zijn atelier] de dokter die zijn morgen-visite brengt. Ik voel ze allen [zijn aquarellen] de pols. Tegen den een zeg ik, wacht ik zal voor jou een zalfje maken, daar je helemaal van opknapt. Tegen den ander: Vrind, jij hebt lucht nodig, en nog meer licht.
Source: J. H. Weissenbruch', (n.d.), p. 50

Feeling, Light, Waiting

“Perhaps the place to start looking for a credibility gap is not in the offices of the Government in Washington but in the studios of the networks in New York!”

Spiro Agnew (1918–1996) 39th Vice President of the United States

From speech delivered Nov 13, 1969 in Des Moines, Iowa

“I was fascinated by Papa's studio [he was photographer]. I would help him wash, crop and press photos and afterwards sell them, when we were poor. When I was in Prepa, [following college] they would send me to help my father when he had epileptic attacks. After school I would go to his office, which was downtown, and accompany him everywhere. I would also do my homework there, and he would help me. I remember the fear that Papa's epileptic attacks make me feel. Christina and I would hide under the bed.”

Frida Kahlo (1907–1954) Mexican painter

9 September 1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My life', p. 63

Fear, School, Feeling, Photo

“Driving to the studio today, I passed a big football field. I had to look twice before I realized that the stands were jammed with people…thousands of them. I looked out on the playing field, and there wasn’t a soul. And then I realized that this crowd were war prisoners. I went into the field, and there was a quiet, docile atmosphere about the place…the sort of atmosphere you get in an American football crowd between halves. Germans of every description sat quietly, chatting to their neighbors and doing nothing in particular. Bored British sentries stood around looking like ushers equipped with Tommy guns. It was that quiet.”

Bill Downs (1914–1978) American journalist

Broadcast from liberated Hamburg (1945)

War, People, Soul, Football

“I think what Kazan is saying is that the Method isn't a thing. It's an action, a process, a skillful or effective way of achieving a specific artistic task. It's not a pair of shoes. It's discovering how to walk. I did an affective memory at the Actors Studio years ago, after which Lee Strasberg said, "Now that's an affective memory. Darling, tell them how you did it." When I explained my process, Strasberg replied, "That's not how you do an affective memory! But that's what the Method is all about. It's a way of work!" You find your own way of carrying out your own and your character's internal truth—within your body, mind, and soul.”

Sandra Seacat (1936) American acting teacher and actress

As quoted in "The Method and the Myth" http://www.backstage.com/advice-for-actors/acting-teachers/the-method-and-the-myth/ by Robert Walden, in Backstage (April 21, 2009)

Truth, Shoe, Way, Soul

“From the start, the prose in my Hank books copied the storytelling techniques of ranchers and cowboys, which means it was heavily influenced by an oral tradition. It was a natural and easy step to move from reading my stories aloud to audiences in Perryton, to recording them in a studio in Amarillo. The Hank audios have the feel of the radio programs I listened to in the fifties: character voices, background music, and sound effects.”

John R. Erickson (1942) American author

John R. Erickson on the discipline of writing, the world of publishing, and (of course) dogs http://www.lonestarliterary.com/john-r.-erickson-061415.html (June 14, 2015)

Books, Music, Feeling, Nature