My mother said to me, 'If you are a soldier, you will become a general. If you are a monk, you will become the Pope.' Instead, I was a painter, and became Picasso.
It took the Metropolitan Museum of Art nearly 50 years to wake up to Pablo Picasso. It didn't own one of his paintings until 1946, when Gertrude Stein bequeathed that indomitable quasi-Cubistic picture of herself - a portrait of the writer as a sumo Buddha - to the Met, principally because she disliked the Museum of Modern Art.
Picasso is what is going to happen and what is happening; he is posterity and archaic time, the distant ancestor and our next-door neighbor. Speed permits him to be two places at once, to belong to all the centuries without letting go of the here and now.
I give a speech to the black freshmen at Harvard each year, and I say, 'You can like Mozart and ice hockey...' - and then I used to say 'golf,' but Tiger took over golf! - 'and Picasso and still be as black as the ace of spades.'
I was going to have cosmetic surgery until I noticed that the doctor's office was full of portraits by Picasso.
Computers let people avoid people, going out to explore. It's so different to just open a website instead of looking at a Picasso in a museum in Paris.
You can take things that Jimi Hendrix took, from Curtis Mayfield or from Buddy Guy for example, because we are all children of everything, even Picasso. But if you want to stand out, you have to learn to crystallize your existence and create your own fingerprints.
Born in Kansas City, Missouri, and knowing nothing about Picasso, I had the audacity to knock on his door, became his friend, and took thousands of photographs, of him, his studios, his life and his friends.
Since childhood, it was my dream to go where all the poets and artists had been. Rimbaud, Artaud, Brancusi, Camus, Picasso, Bresson, Goddard, Jeanne Moreau, Juliette Greco, everybody - Paris for me was a Mecca.
A high-brow is someone who looks at a sausage and thinks of Picasso.