Being in love is dangerous because you talk yourself into thinking you've never had it so good.

There are so many different ways to talk and think about art. We just spoke about when attitude becomes form. But when I was a kid, I had these two art teachers, a couple, who were continuing a line of very classical, atelier art training, and they instilled in me a sensitivity to all the classical verities of line, shape, color, texture, and composition, which is only engaging if you're making two-dimensional objects.

People tend to remember and mentally classify work according to how it looks, sometimes oblivious to the underlying intent.

Why should it be difficult for someone to claim their personal reaction, especially in this time where we are only too happy to share our personal reactions about everything, no matter how trivial. Maybe the answer is conditioning. This is pure conjecture, but I think people go to museums to participate.

What most paintings do is give you a path for your eye to move around. The painting actually tells your eye, go here, now go here, now go here, go here. So all you have to do is look at it, give it a few seconds, and your eye will start to move through the painting.

Artists talk about art in sort of straightforward terms, more like the way you talk about plumbing fixtures. Does it function well? Does it bring the hot water up from the cellar efficiently, or does it lose too much thermodynamic energy in the process? Artists are also very ruthless with each other and can be very brutal in evaluating each other's work because their criteria is almost more mechanistic. Does it do what it's supposed to be doing in an efficient way? That doesn't mean that intention is not part of the conversation, but it's not the foreground.

Spend a day talking only in rhyme.