Art Quotes - Page 392

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The whole point of what I do - the monster ball, the music, the performance art aspect of it, I wanna create a space for my fans where they can feel free and they can celebrate because I didn't fit in in high school and I felt like a freak, so I like to create this atmosphere for my fans where they feel like they have a freak in me to hang out with and they don't feel alone.

It needs great art, learning to play with one's own life, to play on one's own life. Meditation is the art to create music from your heart. Meditation is simply the method to transform noise into harmony, the method to shift your consciousness from the head to the heart. The head is noisy, it is all noise - a tale told by an idiot, full of fury and noise, signifying nothing.

Once you are afraid of death you are bound to be afraid of life. That`s why I am talking about this Hasidic approach. The whole approach consists of methods, ways and means of how to die - the art of dying is the art of living also. Dying as an ego is being born as a non `ego; dying as a part is being born as a whole; dying as man is a basic step towards being born as a God.

When you're a kid you're already trying to create your own world and organize the one in front of you, but then you get all insecure around 6th grade and don't think you have a right to share that. I think it was my mom's attitude about art and being part of the narcissistic digital generation or whatever that made me think anyone would care what I had to say about anything!

I feel that, in a sense, the writer knows nothing any longer. He has no moral stance. He offers the reader the contents of his own head, a set of options and imaginative alternatives. His role is that of a scientist, whether on safari or in his laboratory, faced with an unknown terrain or subject. All he can do is to devise various hypotheses and test them against the facts.

Real greatness is often humble, simple, and unobtrusive. It is not easy to trust ourselves and our actions without public affirmation. Some of the greatest works of art and the most important works of peace were created by people who had no need for the limelight. They knew that what they were doing was their call, and they did it with great patience, perseverance, and love.

Healing is a biological process, not an art. It is as much a function of the living organism as respiration, digestion, circulation, excretion, cell proliferation, or nerve activity. It is a ceaseless process, as constant as the turning of the earth on its axis. Man can neither duplicate nor imitate nor provide a substitute for the process. All schools of healing are frauds.

The importance of the End of time is as ... a psychological event ... When you have seen the radiance of eternity through all the forms of time ... and it is the function of art to make that visible to you ... then you have really have ended life in the world as it is lived by those who only think only in the historical, concretizing terms. This is the function of mythology.

When I see that the nineteenth century has crowned the idolatry of Art with the deification of Love, so that every poet is supposed to have pierced to the holy of holies when he has announced that Love is the Supreme, or the Enough, or the All, I feel that Art was safer in the hands of the most fanatical of Cromwell's major generals than it will be if ever it gets into mine.

It is in the stomach of plants that development begins, and ends in the circles of the universe. 'Tis a long scale from the gorilla to the gentleman,--from the gorilla to Plato, Newton, Shakespeare,--to the sanctities of religion, the refinements of legislation, the summit of science, art, and poetry. The beginnings are slow and infirm, but it is an always accelerated march.

Growing up I was very into art. In high school I was into the surrealists and impressionists, and I loved Klimt. In '91 or '92 I saw one of those Felix Gonzalez-Torres Untitled billboards. I was just really arrested by it. It was kind of my first foray into contemporary art. It was a turning point for me as to what art could be and what it meant and the impact it could have.

True art means if it helps you to become silent, still, joyous; if it gives you a celebration, if it makes you dance—whether anybody participates with you or not is irrelevant. If it becomes a bridge between you and God, that is true art. If it becomes a meditation, that is true art. If you become absorbed in it, so utterly absorbed that the ego disappears, that is true art.

There are some people who want me and my husband to stay where it is safe and draw a paycheck every week instead of what we are doing (which is creating and sharing our art with others). The truth is that there are people in this world - Dave and I being two - who would die a slow painful death if stuck in an office and made to do the kind of work that we are not made to do.

I think I love and reverence all arts equally, only putting my own just above the others; because in it I recognize the union and culmination of my own. To me it seems as if when God conceived the world, that was Poetry; He formed it, and that was Sculpture; He colored it, and that was Painting; He peopled it with living beings, and that was the grand, divine, eternal Drama.

The secret art of inviting happiness The miraculous medicine of all diseases Just for today, do not anger Do not worry and be filled with gratitude Devote yourself to your work. Be kind to people. Every morning and evening, join your hands in prayer. Pray these words to your heart and chant these words with your mouth Usui Reiki Treatment for the improvement of body and mind

I do think that copyrights and intellectual property are important - it's important to be able to keep people from making verbatim copies of a particular creation that could somehow hurt the creator. If I spend time conceiving and making a piece of art and somebody else sees that it has market value and replicates it in order to steal part of my market, then that's not cool.

No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling... The desire to grasp and be united with another human is so fundamental a part of our nature that our judgement of what is known as 'pure form' is inevitably influenced by it, and one of the difficulties of the nude as a subject for art is that these instincts cannot be hidden.

…* to learn that money makes life smooth in some ways, and to feel how tight and threadbare life is if you have too little. * to despise money, which is a farce, mere paper, and to hate what you have to do for it, and yet to long to have it in order to be free from slaving for it. * to yearn toward art, music, ballet and good books, and get them only in tantalizing snatches.

The Western Idea of practice is to acquire a skill. It is very much related to your work ethic, which enjoins us to endure struggle or boredom now in return for future rewards. The Eastern idea of practice, on the other hand, is to create the person, or rather to actualize or reveal the complete person who is already there.... Not only is practice necessary to art, it is art.

I've seen a tremendous shift especially in indie comics. I see all these young women who are out there creating. They're making these great web comics. Their graphic novels are getting published. They're making all this wonderful art. They're powerful. There's this vital energy about it that's really, really beautiful that years ago I knew existed but I didn't see so clearly.

The Guide sang: The new age, the new art, the new ethic and thought, And fools crying, Because it has begun It will continue as it has begun! The wheel runs fast, therefore the wheel will run Faster for ever, The old age is done, We have new lights and see without the sun. (Though they lay flat the mountains and dry up the sea, Wilt thou yet change, as though God were a god?)

Painting, like poetry, selects in the universe whatever she deems most appropriate to her ends. She assembles in a single fantastic personage, circumstances and features which nature distributes among many individuals. From this combination, ingeniously composed, results that happy imitation by virtue of which the artist earns the title of inventor and not of servile copyist.

Obviously my own work comes from a conceptual art tradition, but I love the graffiti artists, and I feel spiritually closer to them than to most contemporary art; they make the city a free space of diverse voices and we shouldn't get all cynical about them just because Banksy made some money. I collaborate sometimes with Krae, who is an old school east London graffiti writer.

When I was sixteen and knew nothing about art, I sat through almost six hours of Andy Warhol’s Empire. I did not understand it but thought: this is in a major museum, it must be important, what is going on here? I stayed until the museum closed. His Screen Test films are some of my favorite works made this century, but you need to give them back the time they took to be made.

Whatever man may stand, whatever he may do, to whatever he may apply his hand - in agriculture, in commerce, and in industry, or his mind, in the world of art, and science - he is, in whatsoever it may be, constantly standing before the face of God. He is employed in the service of his God. He has strictly to obey his God. And above all, he has to aim at the glory of his God.

I need not print a line, nor conjure with the painter's tools to prove myself an artist ... Whilst in other spheres of labor the greater part of our life's toil and moil will of a surety end, as the wise man predicted, in vanity and vexation of spirit, here is instant physical refreshment in the work the garden entails, and, in the end, our labor will be crowned with flowers.

I think good art has good concept behind it. Nothing can always articulate fully the way a Ph.D. candidate can articulate their thesis, because artists work with a combination of intuition and intellect blended together and out comes whatever they produce. So it's a blend of kind of a sensual response to material and an intellectual response to idea, maybe a blend of the two.

From the earliest times man has been engaged in a search for general rules whereby to turn the order of natural phenomena to his own advantage, and in the long search he has scraped together a great hoard of such maxims, some of them golden and some of them mere dross. The true or golden rules constitute the body of applied science which we call the arts; the false are magic.

Somehow, some way, every person in the arts has to find an accommodation with disappointment and embarrassment. They are the pollen in the air we breathe. If you must go into the arts, go into them for yourself alone. On some basic level you must enjoy the act of doing it ... Otherwise, you are going to end up frustrated and unhappy. Recognition in the arts is luck and gravy.

Karate cannot be adequately learned in a short space of time. Like a torpid bull, regardless of how slowly it moves, it will eventually cover a thousand miles. So too, for one who resolves to study Karate diligently two or three hours every day. After three or four years of unremitting effort one's body will undergo a great transformation revealing the very essence of Karate.

Whatever other children learn in a year, let Bahá’í children learn in a month. The heart of ‘Abdu’l-Bahá longeth, in its love, to find that Bahá’í young people, each and all, are known throughout the world for their intellectual attainments. There is no question but that they will exert all their efforts, their energies, their sense of pride, to acquire the sciences and arts.

It is not proper to project our feelings onto things or to attribute our own sensations and passions to them. Can it also be improper to see in them a guide, a way of life? To learn the art of remaining motionless amid the agitation of the whirlwind, to learn to remain still and to be as transparent as this fixed light amid the frantic branches this may be a program for life.

My life as a painter influences my teaching and my duties as president of CCA - and I hope some of the experience of working at an exciting art school also spills over into my studio work. I believe most artists are adept at juggling multiple responsibilities - whether it's work, teaching, caring for family members or attending to relationships - with their studio commitment.

I went to school in drag, in art school and my day was completely different because everybody thought I was a chick. You should see me as a chick. So I went as a girl, as like an experiment and it worked really well and everyone was really nice to me but I couldn't talk obviously... you know train conductors were really cool to me on my commute... HA! I looked hot as a chick!

I switched up so that I could work 12-hour shifts at the firm on the weekends so I could have days free to paint. But it was almost like I had a secret life, because I wasn't showing any of my work. It was just in my house. In '89, I got a grant from the National Endowment for the Arts. That's when I started to get into group shows. Suddenly I sort of "came out" as an artist.

Philosophy, art, politics, religion and bohemia have never sought to do away entirely with the status hierarchy; they have attemptee, rather, to institute new kinds of hierarchies based on sets of values unrecognised by, and critical of, those of the majority.. They have provided us with persuasive and consoling reminders that there is more than one way of succeeding in life.

We do express our emotions, our reactions to events, breakups and infatuations, but the way we do that - the art of it - is in putting them into prescribed forms or squeezing them into new forms that perfectly fit some emerging context. That’s part of the creative process, and we do it instinctively; we internalize it, like birds do. And it’s a joy to sing, like the birds do.

I decided honestly that comic art is an art form in itself. It reflects the life and times more accurately and actually is more artistic than magazine illustration - since it is entirely creative. An illustrator works with camera and models; a comic artist begins with a white sheet of paper and dreams up his own business - he is playwright, director, editor and artist at once.

How do you capture the drama of a Rembrandt painting in a movie? How do you feel that moment that they captured in two hours? I kind of fell into it and at one point, I decided I wanted to live an art life; I wanted to tell stories. I came to New York, and did what most people do - you become a PA and run and get coffee and pay your dues and learn until your opportunity comes.

In spite of all the refinements of civilization that conspired to make art--the dizzying perfection of the string quartet or the sprawling grandeur of Fragonard's canvases--beauty was savage. It was as dangerous and lawless as the earth had been eons before man had one single coherent thought in his head or wrote codes of conduct on tablets of clay. Beauty was a Savage Garden.

It is that faculty by which we discover and enjoy the beautiful, the picturesque, and the sublime in literature, art, and nature; which recognizes a noble thought, as a virtuous mind welcomes a pure sentiment by a involuntary glow of satisfaction. But while the principle of perception is inherent in the soul, it requires a certain amount of knowledge to draw out and direct it.

Even if 80 percent of the population of a country are Christian believers, they will have almost no cultural influence if the Christians do not live in cultural centers and work in culture-forging fields such as academia, publishing, media, entertainment, and the arts. The assumption that society will improve simply be more Christian believers being present is no longer valid.

Most conservatives know better than to promote the state funding of art. The result of such funding is the mess that modern art has become. Atonal music is to music what subsidized art is to art. ...The fact that cacophony has reigned almost supreme since 1900 is a testimony to Mises' original observation. Atonal music is to music what socialism is to economics: planned chaos.

I visited the Museum of Modern Art last spring and spent time with David Alfaro Siqueiros's painting, 'Echo of a Scream (1937).' I got spun out by the way he creates tension and movement through the interlocking details in the painting. This poem began as an emulation of Siqueiros's compositional style and, in the process, became an ekphrastic aubade about my old neighborhood.

So long as the processes of healing were not understood and man thought that the power to heal resided in substances and things outside of him, he logically sought for extrinsic means of healing, and a healing art was a logical development. The system of medicine, as we know it today, was a logical development out of the fallacy that healing power resides in extrinsic sources.

You see, for me a painting is a dramatic action in the course of which the reality finds itself split apart. For me, that dramatic action takes precedence over all other considerations. The pure plastic act is only secondary as far as I'm concerned. What counts is the drama of that plastic art, the moment at which the universe comes out of itself and meets its own destruction.

Bop began with Jazz but one afternoon somewhere on a sidewalk maybe 1939, 1940, Dizzy Gillespie or Charlie Parker or Thelonious Monk was walking past a men's clothing store on 42nd Street or South Main in L.A. and from a loudspeaker they suddenly heard a wild impossible mistake in jazz that could only have been heard inside their own imaginary head, and that is a new art. Bop.

Our biggest art forms are film and television, and there hasn't been a great film about 9/11 yet, nor has there been a great television series. Something like The Wire gives us a rich and fully achieved picture of the wasteful, cruel War on Drugs; something like The White Ribbon gives a perspective on World War I that could only have been presented long after the event itself.

Now I began to understand art as a kind of black box the reader enters. He enters in one state of mind and exits in another. The writer gets no points just because what's inside the box bears some linear resemblance to "real life" -- he can put whatever he wants in there. What's important is that something undeniable and nontrivial happens to the reader between entry and exit.

Modern man has been in search of a new language of form to satisfy new longings and aspirations - longings for mental appeasement, aspirations to unity, harmony, serenity - an end to his alienation from nature. All these arts of remote times or strange cultures either give or suggest to the modern artist forms which he can adapt to his needs, the elements of a new iconography.

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