Quotes of All Topics . Occasions . Authors
Artists cannot be micro-managed. We can take heart that everything we do is different from the last thing we did - or indeed everything that's ever been done. That knowledge is the key to sound mentoring.
When the motives of artists are profound, when they are at their work as a result of deep consideration, when they believe in the importance of what they are doing, their work creates a stir in the world.
Because we are saturated with life, because we are human, our strongest motive is life, humanity; and the stronger the motive back of the line the stronger, and therefore more beautiful, the line will be.
Im interested in what would normally be considered the worst aspects of commercial art. I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.
My theory is that the way you cope with the depths will ascertain the heights that you reach - they are intimately connected - and if you have a lust for life, you are also going to have a lust for death.
Nothing is written in stone. So don't prepare yourself for a long and lucrative career. You might die tomorrow. Your gold holdings might become dust. Just make the music you want to make now and enjoy it.
To progress in life you must give up the things you do not like. Give up doing the things that you do not like to do. You must find the things that you do like. The things that are acceptable to your mind.
I suppose I have a really loose interpretation of 'work,' because I think that just being alive is so much work at something you don't always want to do. The machinery is always going. Even when you sleep.
I suppose I have a really loose interpretation of 'work', because I think that just being alive is so much work at something you don't always want to do. The machinery is always going. Even when you sleep.
Politics are beautiful. They enable a community to live collectively with one another. It's not about stabbing each other in the back; it's about enabling people to reach their dreams and pursue happiness.
The New Religion will manifest, for instance, through organizations like Masonry. In Freemasonry is embedded the core or the secret heart of the occult mysteries, wrapped up on number, metaphor and symbol.
Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident
I think it was Henry Moore who was asked where he got his ideas for his sculptures, and he said something like, "I continue to do as an adult the things I did as a child." I think that's what art is about.
Perfect beauty implies perfect simplicity, a quality that at first sight does not arouse the emotions which we feel before gigantic works, objects whose very disproportion constitutes an element of beauty.
The circus is a global theme. It exists in all parts of the world - maybe not in Africa, but it exists in Asia in all parts. In Latin America, it's difficult to find a person who hasn't gone to the circus.
In 1916 I was discharged from military service, or rather, given a sort of leave of absence on the understanding that I might be recalled within a few months. And so I was a free man, at least for a while.
I don't even like to talk about it. I hated being a number and not merely because I was a very small one. I let them bellow at me for just as long as it took me to find enough pluck to bellow back at them.
In the evening I go up in the desert and spend hours watching the sun go down, just enjoying it, and every day I go out and watch it again. I draw some and there is a little painting and so the days go by.
I cannot help thinking that the death of the young is not in the plan of our being, and that we are ourselves greatly responsible for it. Indeed I believe we are at the beginning only of the art of living.
My effort has been not only to put the Biblical incident in the original setting... but at the same time give the human touch to convey to my public the reverence and elevation these subjects impart to me.
Each piece that I put in the street is unique. I never make the same piece twice. For Hong Kong, like for every city where I have worked, I try to adapt my work to the culture and the 'colors' of the city.
Every good picture leaves the painter eager to start again, unsatisfied, inspired by the rich mine in which he is working, hoping for more energy, more vitality, more time - condemned to painting for life.
Somehow, one never really runs away, or I never have, and I find that the faster I go the more catches up with me... all the while time stands, to me, still - straight up and down like a great white sheet.
I tend to think having that extreme of color, that kind of black, is amazingly beautiful...and powerful. What I was thinking to do with my image was to reclaim the image of blackness as an emblem of power.
I know that happy things and fun things eventually come to an end. But things that are scary and sad come to an end too...they always do. Even if you can't always believe that , please don't give up. Live.
I want to believe that I'm not wrong. I want to believe that life isn't full of darkness. Even if storms come to pass, the sun will shine again. No matter how painful and hard the rain may beat down on me.
To express himself well, the artist should be hidden. The trouble is that if an artist knows he has genius, he's done for. The only salvation is to work like a labourer, and not have delusions of grandeur.
We called [the] process photomontage, because it embodied our refusal to play the part of the artist. We regarded ourselves as engineers, and our work as construction: we assembled our work, like a fitter.
I was at one point thinking about being an art historian, when I was in school. And not being an artist, but I decided I was going to be an artist but I'm really mad for art history and the masters mostly.
Your painting is the marking of your progression into nature, a sensation of something you see way beyond the two pretty colors over there. Don't stop to paint the material, but push on to give the spirit.
I keep the shutters closed because I like to work in a hermetic environment. I like mirrors. When you look out of the window, all you see is ugliness, but when you look in the mirror all you see is beauty.
[My advice to a beginning photographer is] sit down with a pencil and paper and think about what your life is about. What you are about. Don't even take a camera into your hands before you figure that out.
Do you know why the big brother is born first? It’s to protect the little brothers and sisters that come after him. A brother telling his sister, "I’ll kill you"... You never, ever say something like that.
My fifth grade teacher Mr. Straussberger noticed I was having trouble with some of my book reports, but he knew I loved to draw. He gave me extra credit if I did a drawing from the book that I was reading.
I had a very outdoorsy childhood. I was athletic and used to ride and do dressage. I could ride almost before I could walk. There is a picture of me at 18 months old sitting happily on the back of a donkey.
The most beautiful thing in Tokyo is McDonald's. The most beautiful thing in Stockholm is McDonald's. The most beautiful thing in Florence is McDonald's. Peking and Moscow don't have anything beautiful yet.
Each artist comes to the painting or sculpture because there he can be told that he, the individual, transcends all classes and flouts all predictions. In the work of art, he finds his uniqueness confirmed.
Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident.
These days people believe they can go into art and make a living. We didn't have that. The abstract expressionists were older, by the time they even got a show. Now people come right out of school and sell.
Students need to decide, 'All right, well, does the height matter? Does the side of it matter? Does the color of the valve matter? What matters here?' - such an underrepresented question in math curriculum.
You see what you understand, You have to be prepared to see the world. The moment of clicking the camera is almost irrelevant. What is really important is what happens before and after you take the picture.
I'm tired of this. It's like, just when I think our goal is within reach, it slips right through our fingers. It's happened time and again. Now, when we finally in our grasp, the truth slaps us in the face.
A fountain is the memory of nature, this marvelous sound of a little river in the mountains translated to the city. For me, a fountain doesn't mean a big jet of water. It means humidity, the origin of life.
Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.
Where the perhapses are found something has to be done about it and since art deals in the perhapses & maybe sos why not call it the consummate science — which gets its perfection from seeming imperfection.
Is an 'idea' an advance visualization of a piece? Part of a piece? If anything - if it hasn't already evaporated - it's one of the very first things sacrificed during the actual process of making something.
The big shock of my life was Abstract Expressionism - Pollock, de Kooning, those guys. It changed my work. I was an academically trained student, and suddenly you could pour paint, smear it on, broom it on!
Tamils all over the world have a sense of belonging to the world itself, but our ancient roots come from India. I would like to explore India. I will keep coming back. This is the closest I can get to home.
Human beings around the world have to be taught to go, 'Tamil equals Tamil civilians first, and the Tamil Tiger is a separate thing.' And both of those groups are different. It's like a square and a circle.
A photographer's main instrument is his eyes. Strange as it may seem, many photographers choose to use the eyes of another photographer, past or present, instead of their own. Those photographers are blind.