Quotes of All Topics . Occasions . Authors
The moment you introduce difference into a museum, then the privileged space is contested, and under the most ideal circumstances what all artists want is the chance to be competitive. That's what I think the museum is supposed to be.
Madonna did amazing songs. She had an amazing sense of style, without a stylist. And she was flawed, and sometimes she admitted it. I'll fight the fight for Madonna. I think she should send me some chocolates or something to thank me.
In my head, I actually think my songs are pop songs. I think, 'Damn, that's a pop song!' I can practice in front of the mirror with my hairbrush for as long as I want to. But when it finally comes out, it sounds avant-garde to people.
I use dull colors in my drawings because I started out using a root beer base because it seemed like an interesting idea and when it turned out that it worked quite well as an ink I started using other colors that would compliment it.
If you are really true to yourself and really follow your intuition in the most rigorous way, there is a moment that becomes universal, that reaches everybody. That’s the real magic of Björk-she teaches us the courage to be ourselves.
When you have heartbreak, what's important is that you don't go halfway. Go all the way down. Don't take pills that keep you in limbo. Cry out all the feelings. Then your own energy for life will put you up again. You become stronger.
I didn't want to be beholden to one person. So I did something where I had hundreds of people who backed the work. I could just do work, and since a lot of people were interested in it, I wasn't beholden to any particular one of them.
At 16, I decided to do something brave: I went on a prehistoric dig. In fact, I've had my name in a museum since I was 18 years old, not for my painting but for the prehistoric objects I found. That's how I started thinking about art.
In a sense, every work you do is a self-portrait because your paintings always reveal more about you than about your subject. Your experience of something, not the something itself, is the true underlying subject of every work you do.
The drawings that I show - the drawings that I present to people are finished works in themselves. They're meant to be thought of that way and not necessarily lead to larger pieces or anything like that. And that's the way I work now.
It's better to be quotable than honest, I don't speak, I quote. I am a fraud. I have cobbled together my personality from hundreds of little bits. I am simultaneously the most genuine and the most artificial person you will ever meet.
The message is that if you believe in what you create, it's enjoyable and people will follow. The talented mangaka should know that; otherwise, no one would read or enjoy it. So believe in yourself. Believing in yourself is important.
Usually, an author writes a manuscript that is handed in to the editor. The editor will then work with an art director to find just the right illustrator for the job, and off they go. Many times, the illustrator and author never meet.
She's like a queen, magnificently tall, with a lovely figure, a stately neck, and a face of the most delicate and finished modelling: the flow of surface from the temples over the cheek is exactly like the carving of a Phidean goddess
In art, one idea is as good as another. If one takes the idea of trembling, for instance, all of a sudden most art starts to tremble. Michelangelo starts to tremble. El Greco starts to tremble. All the Impressionists start to tremble.
I planned the exhibition so that it becomes a story where the viewer travels through these islands [of ideas]. Whether the contents of each chapter came first or the artist came first in making the decision was different in each case.
You are beautiful. Don't ever think you are not. It may be such a compliment that does not come from a man too often. They are shy, proud, and rude. Give yourself some love. And walk as what you are - a beautiful woman. All your life.
With things like 'Dragon Ball,' in the case of fight scenes, I'd take the panel layout across two pages when the book is opened and alter it by angling them, and making them bigger or smaller, to give movement to the panels themselves.
If you want someone to be ignored then build a life-size bronze statue of them and stick it in the middle of town. It doesn't matter how great you were, it'll always take an unfunny drunk with climbing skills to make people notice you.
I remember I read this harsh review about my show, and one of my friends told me that this was the exact same stuff people said about Madonna. And it's like, she didn't care. Madonna just came out and was herself. I respect that a lot.
I'm not at the point where I'd feel safe in a house alone. I would be really scared. I'm the kind of person that when I get up to go use the bathroom I have this big long hallway, and I just know someone's going to jump out and get me.
At the end of the day, I mean, I love my father, but I was always a mama's girl growing up. I'm from the South, so there's always something about me when I'm just with my girls or even my mother. There's just a strong connection there.
I was never good at painting. The great turning point came when I had a block of wood and I carved a shape into the wood and put a small piece of timber into that space - like a negative - and so it made an endless column, only inward.
When I used to do abstract paintings at school, like everyone else, the tutor said these would make great curtains. I would always neglect the formal stuff that was going on by using colour, because colour kind of came naturally to me.
Leonardo's Mona Lisa sure would have lost out if he had spent only 2 of the 4 or 5 years he took to complete it. It is thinking about him and Ryder, among others, that partly makes me feel so awful to send away a 'half-baked' painting.
In my head I am in one of those Buddhist caves where you see a thousand Buddha faces on the wall. In my head I am on my seventeen-year-old acid trip, when I saw my personas fall one minute after another, as if I was dying every moment.
I've been really very fortunate with the men I've been involved with. They've always really treated me very, very wonderfully. And whenever anything broke up, I was always the one to leave. So I think I've been really very, very lucky.
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I couldn't draw anything that was too outlandish or too horrible. I never did that. What I did draw was something intriguing. There was something about this monster that you could live with. If you saw him you wouldn't faint dead away.
All cultures have had means and techniques of expressing their immediate aims - the Chinese, the Renaissance, all cultures. The thing that interests me is that today painters do not have to go to a subject matter outside of themselves.
The only logical thing I can think of is that I knew there were such things as artists, and I knew there were none where I lived. So I knew that to be an artist you had to be somewhere else. And I very much wanted to be somewhere else.
I love fiction. I like reading short stories. Cupcakes, pop songs, Polaroids, and short stories. They all raise and answer questions in a short space. I like Lorrie Moore. Amy Hempel. Tim O'Brien. Raymond Carver. All the heartbreakers.
You have these relationships with people that you care about, but I also try to stick to my job as filmmaker and be fair and truthful about what I saw and my experience of the people, hopefully informed by a deep understanding of them.
You know what I like about San Francisco? The women are beautiful, fashionable and smart. San Francisco is one of the only cities I like to visit. I love New York and Chicago - I studied there, and L.A. has the same people as New York.
In India, you see the way they embrace color in the culture - it's very celebratory of the existence of color. There's no rule of what color belongs together or doesn't belong together. They're not precious about it. It's very full-on.
I just get the will to do it. I don’t plan a photograph in advance… I work by impulse. No philosophy. No ideas. Not by the head but by the eyes. Eventually inspiration comes-instinct is the same as inspiration, and eventually it comes.
In every ancient culture, there are rituals to mortify the body as a way of understanding that the energy of the soul is indestructible. The more I think about energy, the simpler my art becomes, because it is just about pure presence.
I really don't like art where you need to know so much theory to understand. If the theory is removed, it doesn't do anything. That means that this work is an illustration of theory, and I don't believe in the power of the work itself.
I do not believe that there was ever a question of being abstract or representational. It is really a matter of ending this silence and solitude, of breathing, and stretching one's arms again transcendental experiences became possible.
I know there is also the influence of television and being able to zap away so it is a weightier decision to go into the theater than it used to be. And probably attention spans are not as strong as they used to be, generally speaking.
The fact that you can take LEGO bricks from thirty years ago and they still snap together with the same new LEGO brick that comes out, I mean what type of product can span generations like that, there is something really special to it.
I want young people to be able to buy into what I design. When I was young, I wanted to buy designer brands even if all I could afford was the cheapest wallet, the cheapest pen, the cheapest T-shirt because I wanted to be a part of it.
It would be wrong to say that the city of Berlin is not regulated. What I think is more interesting is to what extent a city creates a sort of safe haven for its users, so that people feel confident that the city works on their behalf.
Everyone says Oscar Wilde was a dandy, but he wasn't, he was an aesthete. He took pleasure in food and stuff like that. Dandyism is much more austere-much more Calvinistic, more neurotic - it oscillates between narcissism and neurosis.
I think, in real life, when we're facing death - that is, when we come out on the other side of it, whether it's death of a friend or a family member - you come out on the other side of the mourning cherishing your life that much more.
Looking out at the photographic landscape that surrounds us - the world of images and image-making that we inhabit - it seems obvious that photography has undergone dramatic changes in its technical, cultural, and critical composition.
If I could relive my life, what I would do is work with scientists. But not one scientist, because they're locked into their little specializations. I'd go from scientist to scientist to scientist, like a bee goes from flower to flower.
Art work is inconclusive. It opens your mind up. At least, that's what I hope it does. And advertising, using exactly the same photograph, closes things down. It makes it conclusive. It sells a product, and that is its primary function.
I think my parents had in mind that I would settle down at quite a young age, but I decided that being a housewife in a big country house wasn't for me. I wanted to leave the country, head for London and see what the world had to offer.
My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone.