A meditation on Twitter as a medium for practice. @garrybarker3

Aphorisms for young artists is an attempt to make sense of Twitter as a medium to work within. I have spent the last 40 years working in an art college passing on my thoughts and suggestions as to how young artists might develop their practices, I have therefore decided to use this experience as a resource and am making up short aphorisms relating to the various issues I have come across over the years. The more I write the more they become like poetry.

Below is a list as of the first 500, I will add to it and at the end of each year publish cheesy calendars.



499:
498: Beware; sometimes a sitterís reality fades away as their portrait develops.
497: You can encourage others to express their feeling through drawing, but beware of taking your own advice.

496: Avoid old artists tales of life and death odysseys through the grand galleries of world art.
495: Beware of being seduced by sexually explicit portraits from Vienna.
494: Donít be afraid to make art about your unfettered sense of the absurd.
493: A bad painting is part horror story and part philosophical meditation on art.
492: So, you used to know the artist who created that fabulous masterpiece, beware, success doesn't rub off.
491: Who could not be inspired by Breughelís Netherlandish proverbs?
490: If you keep your mind sharply focused on that quest for artistic expression, you might trip over the curb.


489: You can still catch people trembling in front of great paintings.
488: The passions of painters have seared us all at one time or another.
487: Networks and pathways should be more important to you than facts.
486: If your work is contemporary, remember life is short and fashion shorter.
485: Artists are rarely free from pain, they are far too self-aware.
484: The geometry of innocence was shaped by art.
483: Use your art to shape the future politics of technology; tweet praxis.
482: Art can provide a space for action; paint as if you mean to clear the room.
481: Art can easily get lost within a logocentric space; play less chess.
480: Get some leverage, art sits at the pivot of all possibilities.
479: Regularly strike your images with a hammer to see if they ring.
478: Who will map the ruptures that drive your practice?
477: Operate as if the audiences for your art are those for which artís images have no value.
476: When constructing installations; decide whether things do or do not have a common language.
475: Beware; the art academies have moved from methodology to interpretation.
474: Sometimes you need to close the doors of perception in order to see clearly.
473: Art is a sister of logic; learn how to play her game.
472: Try and work to collapse the distinction between concepts and things.
471: Don't worry, you can destroy art but not its images.
470: Don't forget to make sure your images are engaged with time and or space.
469: The anachronistic nature of art is what makes it so interesting.
468: Behave as if animals were the first artists.
467: The image that stands for the past is as true as the image that stands for the future.
466: Beware, as artists get older definition blurs and vision sours.
465: It's sad, but for some artists science is like primitive magic.
464: If your art followed more dialectic principles things might change.
463: Every artwork poses two questions, one for the artist and one for the audience.
462: There is a limit to what the artist can impose on the visible world.
461: Goya painted to warn us of the dangers of barbarianism, and you?
460: Itís what lies behind the paint that counts.
459: Artists are the everyday makers of unspeakable deeds.
458: When you paint eyes they should look inwards not outwards.
457: Great paintings stain the membrane between life and death.
456: Paint reality as if all appearance is unreal.
455: In art the truth is always elsewhere.
454: Let light into its own shadow by making the darkness visible.
453: The landscape of your birth still shapes your imagination.
452: OUCH! Sometimes you need reminding of the physical nature of text.
451: If you are careful art can reconcile binary opposites.
450: If you insist your work is about play, donít ask not to be treated like a child.
449: The best art is not always made from hard won truths.
448: If your work has internal contradictions make sure they are only aesthetic ones.
447: If your art snarls donít be tempted to muzzle it.
446: Sometimes that uplift you expect from art just isnít there. Get over it!
445: Beware, images of the future exist in a double bind.
444: Don't forget, a smiling critic is often an embittered artist.
443: Paint with the conviction that your work will one day permeate the entire global consciousness.
442: Art negates the world that science knows.
441: Donít forget, paintingís first subject was a now extinct mammal.
440: Painting can either be an alternative truth or a convincing lie.
439: Some sculptures come preformed; others are waiting for shape.
438: Never be happy in your imaginative timidity.
437: Sometimes itís best not to go back into the studio.
436: A dim memory of Masaccio is better than no memory at all.
435:Painting can be read as a second level of translation, sculpture as a third.
434: Trial and error are the masters of chaos.
433: Beware, technology uses art to carry its own messages.
432: Artists are like raptors in the image stream, long gone but not forgotten.
431: Art can be both a blindfold and a light switch.
430: It has been often argued that art galleries are part of an elaborate social masterplan.
429: Beware, your art can be used to maintain a semblance of equality.
428: Be careful, some artists are happy to work behind a veil of ignorance.
427: Sometimes you might argue that technique is part of your workís rationale.
426: Expressionists believe that a good painting is noisy even when you canít hear it.
425: Find the pivot of possibility and then you will have a lever for change.
424: Beware of how technology shapes both your thinking and making processes.
423: Work as if you believe that the allegorical tradition is not dead.
422: Remember; the first drawing you ever saw was your motherís smile.
421: Always ensure that your hand in action is an extension of your mind in motion.
420: Future proof your ideas; build in obsolescence.
419: Make art for an experiential age.
418: Use tools and devices to extend both the art of the body and the mind.
417: Keep your opinions about art private and your pronouncements public; donít get them mixed up.
416: Art can never provide council in moments of crisis; it simply offers distance.
415: Remember, the art historians have moved from being legislators to interpreters.
414: Paint animals as you would people; with the utmost respect.
413: Nurture your ideas until the right time comes for you to take possession of your dreams.
412: Beware of what happens when you can't distinguish between art and the real world.
411: Donít dismiss clichťs, without them artists would be lost.
410: Artistsí dreams are no better than those of dogs asleep in their baskets.
409: Great art is unforeseen; so donít go looking for it.
408: A solid underpainting is worth far more than a clever idea.
407:In sculpture resistance is not an obstruction, it's simply material thinking.
406: Every portrait has to start somewhere, try the ears sometimes for a change.
405: Experience is rooted in perception and bears fruit within culture.
404: Even a dot can be full of meaning, especially to a dash.
403: The older an artist becomes, the more life itself appears poetic.
402: You don't need to cultivate accidents, you have enough control as it is.
401: When you have time, study the conditions under which art comes into being.
400: Remember that a statement of expression is just that.
399: Don't forget, that art is simply the concentration of experience.
398: Meaning lies outside of art; it is a consequence of life.
397: Sometimes you need to act as if your work has no precedence.
396: Don't worry, meaning is always ambiguous in a painting.
395: Art should not be remote from life.
394: You can use art to both constrain an action and contemplate its result.
393: Beware, painting can be an escape from living.
392: Painters canít bring about the same effect by using different methods.
391: Remember primitive emotions have yet to find aesthetic form.
390: Never forget that the stage you are performing on has an edge to it.
389: Art is at its core pure performance; so make sure you rehearse well.
388: Don't try and make art about poverty in times of plenty.
387: Expression is a controlled act, not a discharge of emotion.
386: Please don't confuse style with affection.
385: It's OK, the image is not the real thing.
384: Breathe slowly and deeply when making aesthetic decisions. 383: Before going public, examine your artwork with both a magnifying glass and a telescope.
382: Remember your audience can be both close up and far away.
381: Wobbly stretcher, wobbly mind.
380: The edges and sides of a painting reveal its true character.
379: Space and time are held gently in the flaxen weave of painting.
378: Artists can't walk on water and they never could.
377: If you think you are having visions better to seek help before you make art.
376: Whoever segregated art from ritual should forced into monastic prayer.
375: Some painters treat the world as a view, others as a place to stand on.
374: Transform your fears into art and your hopes into politics.
373: Use the fact that continuity is conditioned by art and paint using glazes.
372: There is no name for the moment when life becomes art.
371: Remember the horizon line moves when you do.
370: If you don't want your work to be dismissed as seasonable, participate in nature's rhythms.
369: For extra authenticity, make art as naturally as the snail makes its shell.
368: The act of artistic production is an experience in itself.
367: Art ideas are rarely distinct from the materials of their realisation.
366: You can't judge an artist's morals by their work.
365: Fuse art's diversity into new wholes, paint your images upside-down.
364: Imagination and beauty are the lost orphans of modernity.
363: Art can both erect barriers and pull them down.
362: Bad measurement has no rhythm; make your own rulers.
361: The voices of painters are often quiet; they speak in other tongues.
360: Remember that art qualifies experience, it's not the other way round.
359: Turning poetry into prose is like turning sculpture back into clay.
358: Artists can have a second life but usually only after they're dead.
357: The line between laughter and pity is a thin one, draw it carefully.
356: Never forget that as an artist you are first and foremost a mammal.
355: A childlike language isolates experience to infancy.
354: Remember sculpture always has another side.
353: Check to see if its simpler done than said.
352: Value the mute presence of art over the chatter of theory.
351: Invent the language of emotion don't copy it.
350: Take assurance from what you know of your own future.
349: It is existence not appearance that is important.
348: Theorists are locked in the past, while thinking of the future.
347: All artists should be anchored in the now.
346: Poor art critics are often orphaned in their own past.
345: Don't be spiteful about other artists; making art is hard enough as it is.
344: Remember sculptureís energy was initiated in human clay.
343: The best solution is usually right in front of you.
342: Itís time to mourn the loss of artís virtue.
341:Remember your nose sits right between your eyes but you can't see it clearly.
340: Beware the fierce light of a dreamís promise.
339: Never worship your own art.
338: Always act gracefully when visiting other artists.
337: Historically artists were usually catechized into meekness.
336: Tonight, you can always choose not to dream.
335: New conceptualists should be practiced in the art of ventriloquism.
334: Holes in sculpture made to make you more aware of mass, make savings on materials too.
333: As it fades, restrict the use of alizarin crimson to memento mori.
332: Choose your oils carefully, donít cook in your lubricant or paint with your salad dressing.
331: Check you havenít still got your sunglasses on before returning to painting.
330: Beware of false virtue, better to cultivate sin than to be seen as an art martyr.
329: Sculptures are sometimes made to be broken.
328: Derby Day wasnít painted in a day. ‪bit.ly/12jtlYE
327: Art is a poor servant but a worse master.
326: Great art nearly always has a funny side, but sometimes it takes ages for the penny to drop.
325: If you eat your paints they will make you sick.
324: Ignorance of art history is no excuse for poor painting.
323: When painting, if you think it works time to try breaking it.
322: Hard won images can be easily forgotten.
321: Donít bite the hand you draw with.
320: Prussian blue kills, white is a remedy for all ills.
319: Artists will be artists.
318: A painter and their palette are seldom parted.
317: You shouldnít judge a painting by its frame, but most of us do.
316: Brevity is the soul of art.
315: Beware the still and silent artist at an opening.
314: Ugliness is in the eye of the critic.
313: Many painters believe appearance is reality.
312: Art is difficult in the day but much easier at night.
310: At exhibition openings beware the stink of artistsí egos.
311: As far as conceptual artists are concerned, ignorance is a Godsend.
309: Donít sign your work; fame is fleeting, but giving is forever.
308: Never neglect the chemistry of fading.
307: Nothing is uninteresting; itís just you being uninterested.
306: What is a true colour by neon can be a mistake by daylight. 305: It might have been difficult to make, but that doesnít mean itís good.
304: The chains that bind you most closely to your failures are the ones you thought you had broken.
303: Donít mistake the limits of your own vision for the limits of the world.
302: Remember, you canít see things as they are, only as you are.
301: If the only tool you have is a chisel, you will see all art as carving.
300: Make sure you consider no task menial when making your artwork.
299: When finishing a painting remember that ends are also beginnings.
298: In a painting, the mountains are as dense as the clouds.
297: Artists sometimes burn out in order to light their own way.
296: Expose your art to the serendipity of natural selection.
295: You should never be envious of the art of children.
294: Try not to use the phrase, ĎMy work exhibits a vibrant mix of diverse subject matterí.
293: Never use your paintings for flirtation.
292: Painters wear gloves in winter and hats in summer.
291: Protect your work from light damage; work at night.
290: Try and establish a cosmological relationship with your culture.
289: Painting transcends thoughts determined by words.
288: Art provides a way to experience what others think they experience.
287: Never sign a painting on the front, we know who you are.
286: Donít even be caught dead wearing an artistís smock.
285: Beware the word Ďnewí in any exhibition title.
284: Highly educated artists are often self-taught hypochondriacs.
283: Make painting when there's nobody watching, sculpt in public.
282: Paint as if it hurts, even when it makes you laugh.
281: Clean colours are a salve to a dirty mind.
280: Lazy painters make dirty mixes.
279: Your freedom to make art should never be taken for granted.
278: A painting that says everything means nothing.
277: Drawing is the immortality of gesture.
276: Set out your pallet with a combination of deliberation and abandon.
275: A good under-painting is sometimes better than a good idea.
274: During an ideaís gestation, precision and chaos are not incompatible.
273: Trying to resurrect a painting is like going back to scratch an old itch.
Commentry: You are often tempted to go back and touch up old paintings but try and resist this, like scrating an itch, it feels OK at the time but it doesnít cure anything and the itch will come back again. When you retouch you tend to kill off a painting, overpainting kills what remains of your touch and you will be tempted therefore to retouch it again. This is an endless cycle that you need to break.
272: You start digging your own grave when you stop drawing.
Commentry: Continuous practice in drawing helps you visualize what you want to do. This is not about developing skills in figative art, (but of course drawing is vital to these types of artists) but developing skills in visual thinking.
271: Some images hang around longer than they should do.
Commentry: We all tend to favour certain images; this can be a great help when developing a theme or focus to your work. However we can also start to use these images as props to cover the fact that we are no longer being inventive.
270: All of your life is full of meaning.
Commentry: Art students will often state that their art is about one particular thing or another and that other aspects of the world donít interest them or they have decided that their Ďartí isnít about these other things. The problem is that in order to constantly surprise yourself and re-generate your imagery you need to be open to stimulus and ideas from anything and everything. If not your work will get stale and narrow.
269: The loss of luster is no bad thing.
Commentry: Sometimes itís better to be a quiet plodder than an art star. The lure of stardom is very powerful, but more important is a grasp on the reality of the everyday.
268: Check that the bad taste in your mouth is not your own style.
Commentry: Over stylisation is something that can creep up on an artist. One day you feel as if your images arrive out of hard work and discovery and another day they seem to come out of an awareness that you do a certain type of thing.
267: Revere junkshop paintings as monuments to unknown artists.
Commentry: An artistís life is often lived to total anonymity. The paintings you see in junkshows are evidence of peopleís attempts to make concrete poetry and in their minds these works would have meant something. The reason these images are now in junkshops is that either the artist or the person that put it up on their wall is now dead or moved on. Try and remember their moment of creativity as something special.
266: The live artist lies hidden under the dead.
Commentry: Whether we like it or not we are heavily influenced by art history. Often when we first see an artwork our first eaction is, ďItís very likeÖĒ or ďThis reminds me ofÖĒ
265: Sacrifice your skill and reverse your own history.
Commentry: Sometimes you need to stop working in the style you have developed. This includes forgetting all the skills you have built up in order to work the way you are working. If not you could start to repeat yourself.
264: Small dreams and grand gestures will see you through till tomorrow.
Commentry: There is always another day and you need to remember that if your artwork has not been developing as you would want it. Have a good nights sleep, dream on and awake refreshed.
263: A good painting should squeak when you tread on it.
Commentry: There are so many paintings around the studio that at certain times you will find yourself having to get rid of them. Hopefully the really good one will shout back at you in that very moment when you were about to put your foot through the canvas.
262: Itís hard to develop a style, and even harder to get rid of it.
Commentry: When young we sometimes yearn to have an individual style, we can tend to think this is what gets us noticed. However as you get older this style can become a trap and instead of your art being a responce to experiencing the world, you can only see the world through the style.
261: Itís not your fault.
Commentry: Artists are often blamed for the evils of society. Hitler organized exhibitions of decadent art and tried to expurge any non-Classical artists from the national consciousness. These times might come again, but donít blame yourself, itís societyís evil. On a more prosaic level, blaming yourself doesnít help matters, just make things right.
260: Always hold a pose longer than you think you need to.
Commentry: In performance art time works much more slowly than in the everyday, an audience needs to Ďcatch upí or Ďcatch-oní. This is a reference to Ďart-timeí a temporality that works in parallel to Ďreal-timeí.
259: Work in the gap between intention and actuality.
Commentry: What you want to do needs to be tempered by what is actually happening. As you start making something the reality of the materials start to assert themselves and you need to respond to this and not force your idea onto what you are making.
258: Without ritual art is nothing.
Commentry: If you examine the history of art you will realise that artworks were never separate from wider rituals, whether this was a cave painting or a church painting. Our current isolation makes us forget this. Think of an art opening as a type of ritual and then try to establish other connections to ritual moments in your life.
257: Use your mobile as a fist and your hand as a claw.
Commentry: All tools are extensions of our body, once we accept this we can also accept that our body metaphors are carried over into the tools we use as well.
256: None stand still in front of a great painting.
Commentry: Great paintings suck you in totally, and as your mind invades that image, your body will unconsciously begin to sway and move in harmony with what the mind is experiencing. Watch carefully someone absorbed on a painting and a moment will arrive when they forget themselves and their body will suddenly become childlike in its behavior.
255: Drawing has never been for the fainthearted.
Commentry: Drawing skills depend on constant practice. Like a musical instrument skills are hard won. Approximatly 10,000 hours of practice are needed to hone any manual skill, students need to remember this when saying they canít draw. Itís a bit like saying you canít play the violin, well who would expect you to if you never practiced.
254: If you want to make drawing easy, learn to trace.


Commentry: Hard work can sometimes be circumvented by a simple process. Not all drawing needs to be labour intensive. Sometimes it is appropriate to simply use a copying device.
253: Look for the art that lies at the centre of your own labyrinth.
Commentry: Our own lives are powerful images in their own right. Every myth starts with human beings and it is in ourselves that we will find resources that everyone who is a human being can associate with.
252: Looking through old notebooks for new ideas, is like searching for lost arrows in long grass.
251: Someone, somewhere at some time, must have had a first intuition of the possibility of art.
250: Painting, sculpture and birds' nests, all use complex support structures.
249: Artists always have one foot in the other camp, just to make sure.
248: Remember perception is your only reality.
247: Why be an artist when you can be successful?
246: Eat first then paint.
245: Art can make you sad and happy at the same time.
244: Talent can only develop its potential in the full glare of attention.
243: Work to your limitations; you can still achieve perfection.
242: Nothing reveals character like an artist at an opening.
241: Art trembles when placed beside the imagination of reality.
240: Pent up violence is essential to any sculptor worth their salt.
239: Correction is a virtue, not to edit is a sin.
238: Most people see only what they know already.
237: Trust the artist in yourself and not the one in others.
236: Art can be the mirror in which people view their own ignorance.
235: Fixings and fitting are artís dark matter.
234: In paintings the future and the past often coexist.
233: If you find something in your art, lose it quickly.
232: Donít forget that Indian ink is also used in medical research.
231: Cover yourself in glory by being the first to practice noitid-art.
230: If someone asks you what your work is about, lie.
229: Presentation isnít all itís cracked up to be.
228: What is important in art is life, and not the result of life.
227: Shoes that pinch can change both your life and your art.
226: Remember to forget what it was you were doing when you started.
225: Promise never to ask anyone ďWhat do you think of my work?Ē
224: Art can never give even a glimpse of what lies beyond.
223: Never favour one brush over another.
222: Art should be a good wake up call.
221: Remember that art criticism has its roots in boredom.
220: Turn a bad review into a badge of honour.
219: Events carry far more weight than autobiography.
218: A hard won image will stay in your mindís eye until you die.
217: The apparition of the image counts far more than the act of making it.
216: When drawing from observation, the moment youíre in is always pretty weird.
215: It is said that painters select the colour of their food more carefully than others.
214: Always favour a matt finish over gloss.
213: Act as if we are all storytellers without a word in common.
212: Donít act as if everything in the world exists in order to end up as your collage material.
211: Artists are often the first people to blame when things go wrong.
210: The world is yours for the painting.
209:There are paintings where by far the best thing is the frame.
208: Art can preserve you like a pickle.
207: Never try and think during the day.
206: Without artists a city is only a town.
205: Only weak-minded artists refuse to be influenced by others.
204: For portable magic, make smaller paintings.
203: A studio without art is like a kitchen without food.
202: Science explains, art doesnít.
201: Finding beautiful meanings in ugly things is perverse.
200: Good paintings donít give up all their secrets at once.
199: Do not become too fond of art, it can turn your brain into stone.
198: Where is your will so weak as in an art gallery?
197: Art can creep in via your skin; beware close encounters.
196: You will tire of art well before football.
195: Look at the art that everyone is looking at and make art that no one is looking at.
194: Make the art that wants to be made and donít struggle to wake what doesnít want waking.
193: Itís the art you look at when you donít have to, that will eventually shape your work.
192: What you find in a good painting is something new in yourself.
191: Never trust anyone who brings a notebook with them.
190: Failed artists often dream that Paradise will be a kind of art gallery.
189: A painting without a ground is like a body without a soul.
188: Beware; colours can be bewitching when mixed at night.
187: Better to be old and submerged than young and emerging.
186: We make art in order not to fall in love.
185: Donít throw paint if you canít afford the cleaning.
184: If you paint with your mouth think on your feet.
183: If you want to be famous, make art like a three minute pop tune.
182:There is nothing you can do to save a bad painting.
181:There are ten basic mistakes an artist can make. Make sure you donít invent any new ones.
180: If you feel the tug of art, resist it; it will lead nowhere.
179: Always hide your research, never remember why you did anything.
178: Rejoice in what others make, belittle your own attempts.
177: Try and make art as though something strange was happening to you.
176: As an artist you will often be condemned for doing something you know is right.
175: No one but you cares that an artistís life is not an easy one.
174: Art is often an unconscious imitation of what pleases us.
173: Music has more emotional power as an art, so why not sing?
172: As art becomes respectable, it also becomes fashionable.
171: Start with the premise that the function of art is to produce more art, not more meaning.
170: Build trust; audiences follow artists they can believe in.
169: True art is found when your head, mouth, heart, hands and feet; think, say, feel, make and dance together.

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168: The evolutionary function of art is to produce more artists.
167: Great art is not that which has the fewest faults, but that which uncovers the most thoughts.
166: Nothing is wrong with art; itís the artists you need to worry about.
165: Donít try to bludgeon your audience into submission.
164: Insist on an unbending quest for truth, irrespective of the stylistic consequences.
163: Develop a nose for the truffles of passion.
162: Make something today, donít use the time to complain about something made by someone else.
161: Mine the gap between nature and culture.
160: Find the space that goes beyond whatever is meant by the concept Ďartí.
159: Beware the knock of the person from Pollock.
158: Most great art ferments with alcohol.
157: There are no easy answers to a bad painting but there is one simple one.
156: When drawing from life, be sure to put your feet in the right place.
155:Your first painting will cling to you for all of your life.
154: Most art is only as good as artists make up their mind for it to be.
153: Always work to blur the line between art and life.
152: The illusion that a painting is finished is the best but shortest of all pleasures.
151: Donít let subjective perceptions of time, space or yourself put you off making art.
150: Make sure your painting is in good taste and visually appealing.
149: Make sculpture that provides nourishment and enables people to thrive.
148: Make sure your art contains no unnecessary additives.
147: You canít follow Duchamp you can only imitate him.
146: The story of Pinocchio is a warning to all sculptors.
145: Pygmalions are found everywhere and anywhere in the art world.
144: Donít try and make art more quickly than the time it takes to look at it.
143: Art is a mosquito net between yourself and the night.
142: Value your obsessions, they are what defines you.
141: Art eventually leaks back into reality.
140: Painting makes you worry about drying times.
139: Sculpture makes you worry about gravity.
138: There's no retirement for an artist only unfulfilled wishes.
137: Value mood above all else.
136: Do more painting when youíre not painting.
135: Sometimes itís best not to have a mind.
134: Work as fast as you like, but prepare slowly and carefully.
133: Itís true, most art is rubbish, so think very carefully before you start.
132: You must think beyond the obsolescence of the term Ďart installationí.
131: Cease work immediately if your painting is a site of exploitation, domination or abstraction.
130: You know youíre in denial when you use pink ironically.
129: Procrastination is only good for lawyers, bureaucrats and secondhand car dealers.
128: Most artists will at one time or another deny the fact.
127: Donít ever be afraid to use the words 'Art' or 'Artist'.
126: When dealing with finance, keep your mind on art and your head on the money.
125: Your art has music only for those who listen.
124: Happiness is a warm brush.
123: When starting anew, keep your eyes clear and your tools sharp.
122: The application of bookish theory to art is a Procrustean exercise.
121: Like stroking the cat, painting is a distraction from the real event.
120: Art is like red cabbage, itís better eaten uncooked.
119: As the policeman said to the art student, ďTaste is the enemy of all artĒ.
118: If everyone agrees that what youíve done is good, itís probably bad.
117: Donít cloud your mind with unnecessary thoughts like: ďWhat is art?Ē
116: Artists are better at forgetting than understanding.
115: Keep repeated mistakes to yourself but celebrate new ones.
114: That work you never made contains all the sins you never had the courage to commit.
113: It's only after you've lost the struggle with life that you're free to make art.
112: Don't let anyone else touch your brushes or clean your pallet.
111: Always avoid the temptation to use Prussian Blue.
110: Let's face it, artists are always a little bit stupid.
109: Beware the perfect ending.
108: Keep away from other artists who try to belittle your ambitions.
107: Well-behaved people make nice art.
106: If you donít know where youíre going, throw a dart in a painting; it will point the way.
105: Never hide your sources.
104: You can't make your art for other people.
103: In art there is no pretending.
102: Better to be hurt by art than comforted by it.
101: Some are born artists, some work hard to become artists and others have the title thrust upon them.
100: Painting is doing the same thing over and over again but coming up with different results.
99: If you canít be yourself be someone else.
98: Always perform like there's nobody watching.
97: When between brush strokes donít hold your breath too long.
96: Paint as your breathe out, sculpt as you breathe in.
95: We make art in order not to fail in life.
94: Poor art is often obscure and difficult.
93: Great art is often perfectly obvious.
92: Trust your heart more than your hand.
91: Trust your hand more than your head.
90: Art imitates art far more than it should.
89: Without tradition art is a corpse.
88: A good work of art is rarely the result of a temper tantrum.
87: The purpose of art is to clean up life.
86: Make art everyday and keep blockages away.
85: Beware the idle owner.
84: All great draftsmen have at some point drawn a line in the sand.
83: Great painters practice the fine art of painting without painting.
82: Art is like water; it gets everywhere, even inside you and down cracks.
81: Imagination creates the future. Art makes the future present.
80: Never forget you live in the land of the dead. Offer them your thanks on a daily basis.
79: Imagine your audience as yet unborn.
78: Make sure to sacrifice your own genius at least once a year.
77: Beware those who offer you art as a gift, they are probably traditionalists.
76: Remember tradition is a free gift, so donít act like a spoilt child.
75: Art is a never empty vessel. The more you pour out the more you have left.
74: Donít lose the child in you, she carries your art in her pocket.
73: If you want a clean slate wallow in the muck of your own mind for a few days.
72: Abandon being an artist if you want to be a good painter.
71: Wear tight shoes and lose the muse.
70: Keep your tools clean and your eyes sharp.
69: Art is not a product of will, it is a gift.
68: Invocation is always better than creation.
67: You will often find that the only thing new is the setting.
66: Do not think of your own art, only the work of others.
65: Make sure your art is dispersed evenly.
64: It is better to be nothing than anything at all.
63: It is better to be drawing nothing at all than anything.
62: Painting in the hands of a master has been compared to prophecy.
61: When drawing change crayons frequently, it confuses the hand and enlivens the brain.
60: Make sculptures as if you are healing wounds.
59: Never surrender to the rewarding impotence of painting.
58: Certain paintings are as they are and will not change.
57: Hold your pencil slowly for maximum effect.
56: Old faded beards are better for your dignity than dark shiny new ones.
55: Art can grow from within you like a tumor.
54: When youíre stuck for an idea throw out an image in front of you and step in.
53: Fear your art like you do that small woollen thread sticking out from the cuff of your pullover.
52: Itís sad but true, the art you reference becomes tired from your visits.
51: One brushstroke doesnít make a painting.
50: An aphorism a day leads an artist astray.
49: Great art is often born out of frustration.
48: Art is an attitude much more than it is a way of thinking.
47: Art is not art unless you know what it is.
46: Sculpture is finite but installation knows no bounds.
45: Good art is what happens when youíre busy doing something else .
44: Beware the beauty of the wrapping.
43: There is nothing more tragic than misplaced public sculpture.
42: Subdue your art and rise above it, do not be a victim.
41: Think with your eyes, not your ears; with your nose not your toes.
40: Sticks and stones may break my bones but art can really hurt me.
39: Books can be deceiving.
38: Looks can be deceiving.
37: Your every perception is already shaped by an aesthetic.
36: There is always a little more paint in the tube.
35: An art installation can be understood as a spatial extension of the brain.
34: A painting is like an hourglass; you can turn it upside down to get it going again.
33: Concepts are like soap bars; they get thinner with use.
32: Small thoughts often ride in big paintings.
31: Good and bad painting have one thing in common, they are both hung at the same height.
30: Always prefer the errors of painting to the indifference of theory.
29: Women make art for free, men make art for fame.
28: Artists should always live on the borders between fact and fiction.
27: An artist never really finishes her work, she just leaves it behind.
26: Art is making something out of nothing and believing itís worth something.
25: What is painted without effort is in general looked at without pleasure.
24: Paintings are like analogue watches: Even if they don't work they always look interesting.
23: A painting is like a mirror; if a donkey looks at it donít expect a thoughtful reflection.
22: When dealing with others, at least pretend to be sane.
21: Take care not to make art your god; it might have powerful muscles, but it has no personality.
20: The difference between art and science is that art makes sense.
19: Artist: A person of no taste, more interested in themselves than you.
18: Hitch your art to a wandering star.
17: Illegal artists have always been a problem. Ask any fascist.
16: Painting is poor theory; brush up your Barthes.
15: Women make art for love, men make art for lust.
14: For an artist to succeed, he must regard himself as insane.
13: The harder you work, the more white paint you will need.
12: Painting is a pleasant way of avoiding the truth.
11: A painting just begun is often done.
10: Bad things come to artists who wait.
9: A little painting is a dangerous thing.
8: A poor artist blames his friends.
7: It is better to be smarter than your art than to be your art.
6: You can catch more flies with encaustic than you can with fresco.
5: You can leave a tint in water, but you can't make it dark.
4: Don't cry over spilled paint.
3: Taste is a waste.
2: Screws are short, art long, remuneration fleeting, success deceptive and hanging difficult.
1: Where thereís Munch thereís Monet.