Chris Ofili's suave, stippled, visually tricked-out paintings of the nineties, with their allover fields of shimmering dots and clumps of dung, are like cave paintings of modern life. They crackle with optical cockiness, love, and massive amounts of painterly mojo.
Every time I called Illinois Midland, people weren't quite sure where the paintings were. When I was referred to Genesee and Wyoming, nobody (there) knew what this was.
This is wonderful. All of these paintings are beautiful, and it's terrific that they're available for people to enjoy and appreciate here in Charleroi, in the Mon Valley. These are quality works by three talented artists.
I had talked to her Sunday evening as she was leaving, before the hurricane came in. She took some important papers, family photographs, my paintings and her dog.
The great thing about a painter is that he or she lives on - I mean, Andrew Wyeth is more in his paintings than he was walking around.
One of the best things about paintings is their silence-which prompts reflection and random reverie.
I don't believe people should have such valuable paintings in their homes. These things belong in a museum. It's an awful responsibility.
You were told how much space so it was a matter of whether you could send in two paintings or three paintings, you know, pending where the show was being held. You did submit work to be accepted. Once you were accepted that was it. You did your own selection of what went in.
The risk of investing in Chinese contemporary oil paintings is low, since the cost is comparatively low.
The satellite program applies blue for water, green for vegetation. The paintings are somewhat photo-realistic because of the images I have.