JIM DINE

My life is really a history of observing forms and taking in imagery. I don't mean in a photographic way, I mean in a way of feeling them structurally.

Autobiography is the most fascinating thing you can do because you get to touch the human condition. And in the end, what else is there? To me, it's the ultimate affirmation of life, and a miracle of this transient, extremely fragile organism. To celebrate that, I think, is a noble thing to do.

For me, drawing is everything, because it informs everything. It even informs my poetry. It's the way I begin everything.

More important than having a romance with the object that I'm drawing, is to have a romance with the mark that I am making.

I have come to terms with a lot of things, because, when all's said and done, there's really very little one can do about a lot of things. You just accept them. The point is you just have to keep on working and you just have to keep on living.

The figure is still the only thing I have faith in in terms of how much emotion it's charged with and how much subject matter is there.

I've never had an easy relationship with critics. I hold a lot of homicide in my heart. If this was another time, I'd be packing a piece.

I'm not a pop artist. For me pop never was.... Pop is concerned with exteriors. I'm concerned with interiors. When I use objects, I see them as a vocabulary of feelings. I can spend a lot of time with objects, and they leave me as satisfied as a good meal. I don't think pop artists feel that way.

I work every day. I work all day. I've never had a holiday. It's all I really want to do. It's what I'm here for. . . . More and more, I'm just so grateful I was born an artist.

I do not think that obsession is funny or that not being able to stop one's intensity is funny.

I do not think that obsession is funny or that not being able to stop one's intensity is funny.

Western art is built on the biographical passion of one artist for another.

I have come to terms with a lot of things, because, when all's said and done, there's really very little one can do about a lot of things. You just accept them. The point is you just have to keep on working and you just have to keep on living.

My attitude towards drawing is not necessarily about drawing. It's about making the best kind of image I can make, it's about talking as clearly as I can.

The figure is still the only thing I have faith in in terms of how much emotion it's charged with and how much subject matter is there.

I've never had an easy relationship with critics. I hold a lot of homicide in my heart. If this was another time, I'd be packing a piece.

Autobiography is the most fascinating thing you can do because you get to touch the human condition. And in the end, what else is there? To me, it's the ultimate affirmation of life, and a miracle of this transient, extremely fragile organism. To celebrate that, I think, is a noble thing to do.

I'm not a pop artist. For me pop never was.... Pop is concerned with exteriors. I'm concerned with interiors. When I use objects, I see them as a vocabulary of feelings. I can spend a lot of time with objects, and they leave me as satisfied as a good meal. I don't think pop artists feel that way.

For me, drawing is everything, because it informs everything. It even informs my poetry. It's the way I begin everything.

More important than having a romance with the object that I'm drawing, is to have a romance with the mark that I am making.

My life is really a history of observing forms and taking in imagery. I don't mean in a photographic way, I mean in a way of feeling them structurally.

I work every day. I work all day. I've never had a holiday. It's all I really want to do. It's what I'm here for. . . . More and more, I'm just so grateful I was born an artist.