Quotes of All Topics . Occasions . Authors
There's a bit of hope that a song can be about anything. If you want to write a song about anything, you can, and you don't have to put it through the process of having it be trendy or cool or generic pop or these types.
It's hardly even noticeable that so many artists, designers and architects live here. It isn't reflected in the cityscape or in the museums. Many of the artists, for example, exhibit around the world, just not in Berlin.
All that's left now is purely poetic work, putting more life into individual places, as I've made so sure of the fundamental mood and dimension of expression that it won't leave me groping around in uncertainty any more.
I wouldn't want to be defined so much by comics or cartoons. My work is more narrative than that. If you take your basic cartoon, there's always a punchline or a joke at the end. My drawings don't depend on that so much.
I usually, if I give a talk, I don't usually prepare anything. I just say - you know, I may stop talking by showing some video or slides of what I do but mainly I try to respond to what problems people have with my work.
I had always spoken about the space between the art object and the person looking at it as this dynamic space, which I referred to over and over. So the idea of the space between two things was sort of interesting to me.
Your shadow stealthily leaves nothing of where you go, like a poisoned needle that sews together my footsteps. Your light pliantly strikes the water tower, like a lightning bolt that severs the source of my life. -Soifon
I had become conscious of my physicality, aware of my presence and open to the ugly truths of the world. At the age of thirteen, I realised that there was a danger in innocence and beauty, and I could not live with both.
In the late 19th century, Russian Cosmists such as Nikolai Fyodorov believed we need to go to space to collect all the particles of all the people who had ever lived. Cosmism says going into space is going into the past.
My interest in desperation lies only in that sometimes I find myself having become desperate. Very seldom do I start out that way. I can see of course that, in the abstract, thinking and all activity is rather desperate.
I started to notice that simpleness is divine. I think we all start trying to use very complex harmonies and rhythms and all that because of a certain kind of ambition. But I was always trying to create something simple.
Since I was shot, everything is such a dream to me. Like I don't know whether I'm alive or whether I died. I wasn't afraid before. And having been dead once, I shouldn't feel fear. But I am afraid. I don't understand why.
Although Bill Finger literally typed the scripts in the early days, he wrote the scripts from ideas that we mutually collaborated on. Many of the unique concepts and story twists also came from my own fertile imagination.
When I have a creative block, I take walks. I like to see what shapes stick out - so many legs rushing by at once, it can seem abstract. I don't need to see great art to get stirred up. Music does that for me more easily.
Every time you work, you have to do it all over again, to rid yourself of this dross. I suppose for a person who is not an artist or not attempting art, it is not dross, because it is the common exchange of everyday life.
Once one has been to these challenging terrible places they’re always strangely drawn back… because there’s nothing that can compare to seeing the raw reality of the basic human need for survival. It disgusts and inspires
Taking Batman globally, not everything is going to have the same flavor as Gotham City; some places are going to be a lot more bright and airy. I would say that his stories are more broad, I guess I would put it that way.
Just carrying a ruler with you in your pocket should be forbidden, at least on a moral basis. The ruler is the symbol of the new illiteracy. The ruler is the symptom of the new disease, disintegration of our civilisation.
There was one reviewer from the 'New York Times,' I forget his name, who said I was 'death warmed over.' I wrote him back that I knew more about death than he did. The 'Times' fired him, put him in the cooking department!
The artist does not see both eyes alike. There is always 'the eye' and the other eye... It adds life and plasticity to the drawing if the eye in the light is darker than the one in the shadow. It gives the head vividness.
Talking about performance is such a strange thing because it's so immaterial. We are talking about soft matter. We are talking about something that is invisible. You can't see it. You can't touch it. You just can feel it.
I have to listen to music while I'm working. Music is essential. It's at the top of the pyramid for me. I've always felt disappointed in what I've made when I held it up to the music I love. I try not to compare them now.
My mother recognized my artistic talent and looked for someone to teach me to grow my abilities. She found an artist on the street who sent his daughter, Umba, over to begin teaching me when I was only three years of age.
I'm not really sure what social message my art carries, if any. And I don't really want it to carry one. I'm not interested in the subject matter to try to teach society anything, or to try to better our world in any way.
Perhaps 'photography' has become so all-pervasive that it no longer makes sense to think about it as a discreet practice or field of inquiry. In other words, perhaps 'photography,' as a meaningful cultural trope, is over.
You have to believe in what you're doing. In the long run, you have to feel that what you're doing, regardless of the trends, will have a lasting quality. Someday someone may pick it up and recognize that it was superior.
I got my first camera when I was 21 - my boyfriend gave it to me for my birthday - but at that point politics was my life, and I viewed the camera as a tool for expressing my political beliefs rather than as an art medium.
It is so hard and long before a student comes to a realization that these [first] few large simple spots in right relations are the most important things in the study of painting. They are the fundamentals of all painting.
There seems to be such a laziness in - and I hate to use this phrase - the modern world. Everything is pumped out so quickly so that you can read it while passing by, like billboards or those flashcards before movie shows.
Coming into the business, you'd pass through these little agencies until you got to understand what was happening in the business, unless you were really able to have a style strong enough to go directly to the publishers.
Perhaps I might be satisfied, momentarily, with a work finished at one sitting, but I would soon get bored looking at it; therefore, I prefer to continue working on it so that later I may recognize it as a work of my mind.
Some of my friends became gangsters. You became a gangster depending upon how fast you wanted a suit. Gangsters weren't the stereotypes you see in the movies. I knew the real ones, and the real ones were out for big money.
Some people must go to extremes to get the world in balance for themselves. Some can't bear bright lights, so wherever they go they search for the dark; they turn the lights down, anything to sustain some level of comfort.
My own image of my work is that I no sooner settle into something than a break occurs. These breaks are always painful and depressing but despite them I see that there's a consistency that holds out, but is hard to define.
Boxing is my real passion. I can go to ballet, theatre, movies, or other sporting events... and nothing is like the fights to me. I'm excited by the visual beauty of it. A boxer can look so spectacular by doing a good job.
They don't want art that might actually change the community. They just want consumers. They don't want people to manufacture things. They'll do the manufacturing, and they just need people to buy it, need youth to buy it.
I don't go to a psychiatrist. I don't go to a gym. I run away from my accountant, I run away from my dentist. They are all supposed to help you, but I like to stay in bed, where I have a chance to reflect, like Rossellini.
The size thing is not some gimmick or attention-getting trick but a genuine undercurrent of the work. Frank Gehry for instance likes to imagine his buildings as sculptures. I like to imagine my sculptures as architectural.
In solitude... one can think and feel deeply without interruption. I have definitely grown far closer to myself rather than to others because I see my quiltmaking as my experience which has nothing to do with other people.
For me, now, feminist art must show a consciousness of women's social and economic position in the world. I also believe it demonstrates forms and perceptions that are drawn from a sense of spiritual kinship between women.
Perhaps the first photograph ever taken, Niépce's view of the rooftops over Saint-Loup-de-Varennes, was a truly pure photograph. The second one he took, he was already comparing nature to the first photograph he had taken.
It is right and necessary that all should have work to do which shall be worth doing and be of itself pleasant to do, and which should be done under such conditions as would make it neither over-wearisome nor over-anxious.
I think that all women are witches, in the sense that a witch is a magical being. And a wizard, which is a male version of a witch, is kind of revered, and people respect wizards. But a witch, my god, we have to burn them.
I want to incite people to loosen their oppression by giving them something to work with, to build on. They shouldn't be frightened of creating themselves - that's why I make things very open, with things for people to do.
Any material may be used but the theme is the same and the response is the same for all artwork... we all have the same concern, but the artist must know exactly what the experience is. He must pursue the truth relentlessly
I happen to love engineering. I love figuring things out in a spatial sense, that whole realm of working with mechanical parts, and the relationship of the parts, and things like ratios and the speeds of particular objects.
What is the explanation of the seemingly insane drive of man to be painter and poet if it is not an act of defiance against mans fall and an assertion that he return to the Garden of Eden? For the artists are the first men.
Hardships and handicaps can...stimulate our energy to survive them. You'll find if you study the lives of people who've accomplished things, it's often been done with the help of great willpower in overcoming this and that.
My works have always been unjoined. People were always making variations of my works, and I just said, "I don't want to know." You can't put limits on those pieces. You can't be there all of the time when they're installed.
You can tell the state of civilization by the way people dress. If the people who fought two World Wars came back to 2010 and saw all of us running around in tracksuits, what would they think? It is just about being sloppy.