Brice Marden Quotes

A work of art is a renewable source of energy.

Remember that an artist's life is an intense search for truth. This search takes many forms. Everyone of these forms demands its own disciplines. I learned and adapted to my search. I expect nothing from you. Question the truth of anything you confront. How does it apply to yourself and the trail you are pursuing?

I think abstraction is a very rich area. And it is upsetting that people seem to have some fear of it. I'm constantly making these statements about how you should just look at it and react to it on your own; just relax and let go.

A painting, you know, it's all dirty material. But it's about transformation. Taking that earth, that heavy earthen kind of thing, turning it into air and light.

Holding together a kind of tension. When you see a painting that's really good that's what it's doing.

Western artists stand as humans looking at nature; Asian artists try to be in nature. You become one with nature rather than painting a portrait of it. That's a big shift.

I'm an abstract painter not just for myself, but because I really believe in abstraction.

The possibilities of thought training are infinite, its consequences eternal, and yet few take the pains to direct their thinking into channels that will do them good, but instead leave all to chance.

Abstraction has always been around, since the drawings in the caves. It exists in all cultures all over the world. I thought for a while that it was going to be the major movement. But people always drift back to realism. I guess there is a certain security in that.

Being an artist is very independent thinking, although there's always going to be a lot of doubt.

I don't remember any dream. All I remember is waking up and feeling that there had been a change while I was sleeping.

Painters are amongst the priests - worker priests of the cult of man - searching to understand but never know.

When you're using a long brush, you have your arm at full length. Basically, it exaggerates the movement of your body. But I always start far away and end up really close.

In this kind of super-capitalistic society, everything is turned into money. And one of the great things about art is it isn't worth anything. It's absolutely free. It's going to get made no matter what.

I've always worn a hat when I work. I think it also comes from a picture of Rothko I saw with a painter's hat on.

I consider myself lucky to have had wonderful teachers. They expose you to a lot and basically teach you how to paint. I think of my career as a series of lucky incidents.

When you're not smoking anymore, you don't have to carry around a pack of cigarettes, a lighter - all this paraphernalia. So you're liberated in a certain sense. It's the same with drinking.

I'm a professional artist, that's how I make my living. So I watch the market. There is, it seems to me, a lot of pure financial speculation, and I don't think that's terribly healthy. Though as long as the money is getting back to the artist, I think that's good. I'm very happy younger artists can make money faster than we could. And we were making it faster than a generation before us.

I'm much more concerned about what artists think. But as you get older you tend to get much more isolated; you're not out in the bar, having long drunken arguments on the benefits of your work vs. someone else's. It's hard to know how people are looking at it, and you don't get much feedback. The written critical stuff seems to be the feedback, but that's hard to interpret.

These days people believe they can go into art and make a living. We didn't have that. The abstract expressionists were older, by the time they even got a show. Now people come right out of school and sell.

You can't say I'm going to become a painter in the same way you say I'm going to become a dentist. Or maybe you can nowadays. But it's an endeavor.

I love the healthy exchange of information.

I'm very much involved with Asian art and its theory and practice, mainly Chinese because that was quite sophisticated. I tend to look at that more than I look the Western.

I respect all artists, just some more than the others. Because it's something that really needs to be done.

Every time I open the paper, there's some symphony orchestra collapsing somewhere in the United States. What the hell is going on? And then you find out that the board members try to run these things as businesses.