Etel Adnan

 Untitled 2015 White Cube Gallery

Untitled 2015 White Cube Gallery

We often wonder what art can do for people. I would say that art humanizes society. It brings the reminder that we are more than physical bodies. We have a spirit that needs to be fed and stimulated, with fears that need appeasement. Poetry, visual art, music, sculpture, and so on keep elevating us and opening doors to more than ourselves. They can also serve as a sort of historical monument and give us a sense of past. A society with no art is a dead society—a prison. We can extend our present notion of art by examining how anything done with care can be viewed as the beginning of an artistic instinct at work.

Etel Adnan website

Artspace Interview

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Elizabeth Murray

 Falling 1976 Oil -  Pace Gallery

Falling 1976 Oil - Pace Gallery

It’s something about the immediacy of moving your hand with this paintbrush full of a color across this surface and watching what you’re doing change right in front of your eyes. You can see the world changing and you’re in control, or not in control, which is where the frustrating elements come in, especially for an adult.

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Elizabeth Murray Pace Gallery

Interview BOMB

Sally Mann

  Untitled, Chancellorsville #29 , 2002, Gelatin silver enlargement print  Page Bond Gallery, Richmond 

Untitled, Chancellorsville #29, 2002, Gelatin silver enlargement print  Page Bond Gallery, Richmond 

One of the things my career as an artist might say to young artists is: The things that are close to you are the things you can photograph the best. And unless you photograph what you love, you are not going to make good art.

About Sally Mann

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Ruth Asawa

Asawa-2-06-LC-W-S-1.158-031.jpg
 
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

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.

Alice Neel

 1982 Georgie and Annemarie Oil on Canvas 35 x 50 inches / 88.9 x 127 cm Lieve Van Gorp Foundation for Women Artists, Antwerp

1982 Georgie and Annemarie
Oil on Canvas
35 x 50 inches / 88.9 x 127 cm
Lieve Van Gorp Foundation for Women Artists, Antwerp

It’s a privilege, you know, to paint and it takes up a lot of time and it means there’s a lot of things you don’t do. But still, with me, painting was more than a profession, it was also an obsession. I had to paint. -Alice Neel 
 

More about Alice on her website and in this film  https://www.aliceneelfilm.com