Quotes of All Topics . Occasions . Authors
There's a ton of stuff in mythology and folklore that is loaded with wonderful creatures that I haven't drawn yet, but that's kind of my retirement plan. Theoretically, I won't be doing comics any longer, and I'll just be drawing and painting whatever the hell I want. Most of that will be monsters.
I'm not sure why I've decided to do this. I'm not any stronger than I was, and nothing else has changed. But all the same, this time I'm not going to run away. It's okay to feel weak sometimes. It's okay to be afraid. The important thing is that we face our fears. That's what makes us strong."-Yuki
Photography should be redefined. It's largely technical... Photography is just unbelievably limiting. I always think of David Bailey and all the fashion photographers - they overlap, you can't always tell who did it. I don't really even like photography all that much. I just think it's so overdone.
The images for my works are somewhat insignificant to me. It became an exercise of variation. I only see the surface images as doodles in a sketchbook, but it's hard to not see an image and bring some kind of personal association, though there's not a prescribed idea of what you're supposed to see.
For me, collages manage to - it satisfies all of my madness, like I'm able to make these obsessive things, but then I'm also able to make these very strong statements. I don't know what they mean to other people, but in my mind, they have a very strong particular resonance; there's sort of a power.
Some people are saying there's going to be a third World War. I hope not. I really think this is a time that people can start to mend things by negotiations, dealings. We know about dealings, don't we? We have brilliant lawyers. Why don't we have brilliant lawyers standing up and working for peace?
People sometimes say that the way things happen in the movies is unreal, but actually, it's the way things happen to you in life that's unreal. The movies make emotions look strong and real, whereas when things really do happen to you, it's like you're watching television -- you don't feel anything.
A revolution is to bring on change and we're spiritual people trying to bring on spiritual change. It might sound like I'm a dreamer, but economic models have reached their height of evolution. Technology has evolved. What hasn't evolved is mankind's spirituality; everything is from 3,000 years ago.
There must be understanding between the artist and the people. In the best ages of art that has always been the case. Genius can probably run on ahead and seek out new ways. But the good artists who follow after genius — and I count myself among these — have to restore the lost connection once more.
Progress has always been understood to be driven by exceptional white men. Whether it's the military victories we've achieved, the philosophical foundations that are the underpinnings of the nation, or our economic ingenuity, all this has been articulated through narratives of exceptional white men.
A cupcake is like a great pop song. The whole world in less than three minutes. And it's impossible to have a bad cupcake. In New York you walk everywhere. So I'm always looking, always on the eternal search for the perfect cupcake. I take them very seriously. It's like hunting and gathering for me.
I think that nationality has no relation to that which gives rise to manga. Even among the Japanese, manga creators are making their creations everyday reflecting their own individuality, with none being the same. What is important isn't the differences between the creators but their love for manga.
I have loved you in every manner that my imagination could contrive. I have wanted you so deeply that my body sang with pain and pleasure. You have been my obsession, my passion, my philosophers' stone of fantasy. You are my desire, my longing, my spirit. I love you unconditionally. - Sabine Strohem
Actually, I never liked the idea of bags. I would say, 'Why do so many of my friends spend so much money on these bloody bags?' But once I started designing them, I was completely hooked. There are all of these blogs about bags. It's a whole other industry, and I'm really excited to be a part of it.
It's possible to do your best work at your highest level without competing. I'm not anticompetition, but at an individual level, it can be degrading for both sides. And it doesn't have to be that way. I've done pretty well at getting past that sort of thing, and it's a relief not to have the rancor.
As well as many subspecies, the main blocks are fear of failure after previous success, fear of success due to a sense of unworthiness, lack of potential venue, jaded attitude, crisis of confidence, evidence of persistent poor quality, lackadaisical motivation, and common everyday shortage of ideas.
The complete and definitive work of art is created beyond one's individuality... ...The universal transcends such a level. Mere spontaneity has never created a work of art which possesses a lasting cultural value. The method leading to universal form is based upon calculations of measure and number.
Throughout history, works of art have been stolen under mysterious circumstances...Said by some to be the work of "Phantom" thieves... ...Others dismiss it as mere myth. But in this country, the stories are all too true. The name of this mysterious thief? "Dark." And his true identity? No one knows.
When I was first painting the Monopoly guy I received a criticism. People said, "You're just painting cartoon characters, anyone can do that," but I'm actually a very skilled artist. That's why I released a Jack Nicholson portrait right after that that was very detailed in the face to show my skills.
What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you can know that the President drinks Coke. Liz Taylor drinks Coke, and just think, you can drink Coke, too.
How do you feel about a person when you're talking over the phone? If you know them, or if you don't know them, do you get something, do you put that into words of your own, from what they say, or from what you think? Or if it were music over the radio, have you ever tried to think how it would look?
The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world - in other words - expressing the energy, the motion, and other inner forces.
I went to art school... but I worked at the Museum of Modern Art. I worked in fundraising at the information membership desk. I ended up, over a period of time, doubling the amount of membership revenue that came in through people entering the museum, so people would ask me to come and work for them.
So once I thought of the villain with a sense of humor, I began to think of a name and the name "the Joker" immediately came to mind. There was the association with the Joker in the deck of cards, and I probably yelled literally, 'Eureka!' because I knew I had the name and the image at the same time.
Prior to 'Action' and 'Justice League 1,' there was no label 'superhero' for a superpowered being. It's really the emergence of Superman and the Justice League that gets the public comfortable with the idea of people amongst us who have extraordinary power and that they've agreed to be our champions.
When a character has as wide an audience and as rich a history as Batman, it's truly exciting to see him introduced into an all-new storytelling medium. BATMAN LIVE will bring a completely new experience to fans of the character - it's great to be able to give them something they haven't seen before.
Impressionism' was the name given to a certain form of observation when Monet, not content with using his eyes to see what things were or what they looked like as everybody had done before him, turned his attention to noting what took place on his own retina (as an oculist would test his own vision).
I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.
I'm constantly trying to deconstruct what I see and to show its beauty and its attraction. I use bright colors and strobes to get that full reflection. I want to acknowledge and reference the attraction of wealth. But I'm also looking for the layer that reveals how wealth doesn't fulfill its promise.
My first book, 'Fast Forward', was about growing up in the shadow of Hollywood and how kids are affected by the culture of materialism and the cult of celebrity, and I've often felt the reason my work has an audience in the U.K. is because it's everything the British love to hate about the Americans.
The myth holds us, therefore, not through its romantic flavor, not the remembrance of beauty of some bygone age, not through the possibilities of fantasy, but because it expresses to us something real and existing in ourselves, as it was to those who first stumbled upon the symbols to give them life.
You form a society: that limits you. Adopt a name, and you've limited yourself again; draw up a constitution and bylaws and you've made a groove, a rut, that hampers your growth. You think you can fix your course and move straight along it. But sometimes the important thing is to strike out sidewise.
Do not be afraid of large patterns, if properly designed they are more restful to the eye than small ones: on the whole, a pattern where the structure is large and the details much broken up is the most useful...very small rooms, as well as very large ones, look better ornamented with large patterns.
What I most cherish is the observation of the movement of colors. Only in this have I found the laws of those simultaneous and complementary color contrasts that nourish the actual rhythm of my vision. In this I find the actual essence, an essence which is not born out of an a priori system or theory.
Even though China was a very closed country, they thought of themselves as the center of the world. It is an ethnic characteristic. After I went to Japan, I had a totally different view. The Japanese are always talking about what the Western world is doing. There is the anxious feeling of an outsider.
'Impressionism' was the name given to a certain form of observation when Monet, not content with using his eyes to see what things were or what they looked like as everybody had done before him, turned his attention to noting what took place on his own retina (as an oculist would test his own vision).
I'm actually looking for a gallery, but the thing is some galleries just want to show the video work and some are just interested in the 2-D work. It has to be a gallery where I can do the 2-D collages, the video, and live performance, where it's not this weird conflict, where it can all move forward.
[Photography] ties back into this feeling of wanting to watch things fall and the moment before they break. Fireworks are that way for me - this lovely thing that blows up and is gone. It all goes back to this desire to record things before they disappear - the original reason we take pictures, right?
Painting has always been a means of self-expression for me. Therefore, I paint because I have to and need to, not necessarily because I want to. Subconsciously or not, the figures I paint are a reflection of myself and whatever mood I am in at the time, so every painting is in essence a self-portrait.
The twentieth-century artist who uses symbols is alienated because the system of symbols is a private one. After you have dealt with the symbols you are still private, you are still lonely, because you are not sure anyone will understand it except yourself. The ransom of privacy is that you are alone.
When people ask about the aspect of race in the work, they are looking for very simple or easy answers. Part of it is when you think other people are so different than yourself, you imagine that their thoughts aren't the same. When I think about thought, I think about how much there is that is common.
There are very few good writers about art, and you either get art-fashion writing with trendy views or you get very traditional writing. Occasionally, you get people who can write in an interesting way. Really, I think in a sense art writing needs to be renewed as well. It's in a pretty bad condition.
Share your presence with others, no boundaries, completely, openly, lovingly. Love is what makes us alive, that is why we feel so alive when we love. Service is being available to love. Life is the combustion of love. That we love ourselves here, that is the true magnificence in the mountains of being.
I remember going into galleries and seeing this thing called conceptual art, and I understand people’s marginalization from what the art subculture is because if you haven’t crashed the codes, and if you don’t know what it is, you feel it’s a conspiracy against your unintelligence. You feel it’s fraud.
I still love Marvel to death and I had a great experience, and it was a really tough decision to leave Marvel. It was a very easy decision to come to DC; it was very difficult to leave Marvel. And I really wanted to draw Batman, and really, that was entirely the discussion when it came to coming to DC.
Of course, the camera is a far more objective and trustworthy witness than a human being. We know that a Brueghel or Goya or James Ensor can have visions or hallucinations, but it is generally admitted that a camera can photograph only what is actually there, standing in the real world before its lens.
I'll never have a best friend who is a man. It just doesn't work that way. So many times young girls will be like, 'I'm a guy's girl.' And I'm like, 'No, you're not. There's no way a man can understand you like a woman, and you're a guy's girl because you're threatened by other women.' I was like that.
I used to always say - and I think a lot of artists think of it this way - that when you see a black figure, the way the critical establishment operated, you can only imagine that figure having a sociological value. They never say the ways in which their aesthetics were equally worthy of consideration.
Art is a spiritual function of man, which aims at freeing him from life's chaos. Art is free in the use of its means in any way it likes, but is bound to its laws and to its laws alone. The minute it becomes art, it becomes much more sublime than a class distinction between proletariat and bourgeoisie.
Historically, the women who have been the great painters of the canon have very often have been the wives or daughters of supportive men. Like Artemisia, whose father was a very established painter. I will say that the two current contemporary artists I admire the most are women: Kara Walker and Swoon.