Ruth Asawa

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My curiosity was aroused by the idea of giving structural form to the images in my drawings. These forms come from observing plants, the spiral shell of a snail, seeing light through insect wings, watching spiders repair their webs in the early morning, and seeing the sun through the droplets of water suspended from the tips of pine needles while watering my garden.

Learn more about Ruth Asawa

Joan Eardley

Fields Under Snow, 1958. Photograph: Estate of Joan Eardley. All Rights Reserved, DACS 2016

Fields Under Snow, 1958. Photograph: Estate of Joan Eardley. All Rights Reserved, DACS 2016

This morning there was a gentle wind from the south-east bringing little showers of snow every now and again. You could watch them several miles away coming up across the sea. And in between the snow showers was something of quietness and gentle greyness - so I was able to paint fairly peacefully.

From the National Galleries Scotland: A Sense of Place

Rose Wylie

 Fling it on … Queen with Pansies (Dots), 2016 Photograph: Soon-Hak Kwon/Courtesy the artist and David Zwirner, London

 Fling it on … Queen with Pansies (Dots), 2016 Photograph: Soon-Hak Kwon/Courtesy the artist and David Zwirner, London

The painting isn’t about something. I think lots of people don’t understand that. They think it’s the message, which it isn’t. The message is the painting. The painting is the painting.

Interview The Guardian

More here from Germaine Greer

Current Exhibition at The Serpentine Gallery London

Ann Hamilton

Ann Hamilton, Untitled (body object series, 1984-1993)

Ann Hamilton, Untitled (body object series, 1984-1993)

One doesn’t arrive — in words or in art — by necessarily knowing where one is going. In every work of art something appears that does not previously exist, and so, by default, you work from what you know to what you don’t know. You may set out for New York but you may find yourself as I did in Ohio. You may set out to make a sculpture and find that time is your material. You may pick up a paint brush and find that your making is not on canvas or wood but in relations between people. You may set out to walk across the room but getting to what is on the other side might take ten years. You have to be open to all possibilities and to all routes — circuitous or otherwise.
— "Making Not Knowing," adapted from a 2005 speech

Sonia Delaunay

For me there is no gap between my painting and my so-called ‘decorative’ work. I never considered the ‘minor arts’ to be artistically frustrating; on the contrary, it was an extension of my art.- Sonia Delaunay

Agnes Martin

“Summer 1964”; watercolor, ink and gouache on paper.CreditAgnes Martin/Artists Rights Society (ARS), New York, Courtesy Pace Gallery via NYT 2015

“Summer 1964”; watercolor, ink and gouache on paper.CreditAgnes Martin/Artists Rights Society (ARS), New York, Courtesy Pace Gallery via NYT 2015

People get what they need from a painting
The painter need not die because of responsibility
When you have inspiration and represent inspiration
The observer makes the painting
The painter has no responsibility to stimulate his needs
It is all an enormous process
No suffering necessary
All of it is only enlightening, this is life.