Art Quotes - Page 403

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Science is a human activity, and the best way to understand it is to understand the individual human beings who practise it. Science is an art form and not a philosophical method. The great advances in science usually result from new tools rather than from new doctrines. ... Every time we introduce a new tool, it always leads to new and unexpected discoveries, because Nature's imagination is richer than ours.

When I went to see Valentino in Rome, I discovered 120 women in these ateliers who sew $100,000 dresses. There are no sewing machines. It's all done by hand for thousands of hours. It's a dying art and Valentino is really the last practitioner, the last person at the top of his house, which is why I called it The Last Emperor. That world is gone. You can almost see it slipping away as the cameras are rolling.

You have a lot to learn, young man. Philosophy. Theology. Literature. Poetry. Drama. History. Archeology. Anthropology. Mythology. Music. These are your tools as much as brush and pigment. You cannot be an artist until you are civilized. You cannot be civilized until you learn. To be civilized is to know where you belong in the continuum of our art and your world. To surmount the past, you must know the past.

I haven't really lost faith in my work - other than for quite short periods when the work is harder than usual - but I have hit points where I want to quit because cartooning is just too hard, too demanding an art form. Basically, there's nothing to be done about that but to keep going (if you're in the middle of something), or stop for a while and do other things while you wait for your motivation to return.

I think where the criticism of videogames come from is where videogames are just Xeroxes of films, and when you get a film adaptation of that game, you've just Xeroxed something twice. I think that's where a lot of the criticism comes from - there are ultra-violent games that are already based on a million films. But there's definitely beauty and art and design in games. I don't think anybody could deny that.

I said it before and I’ll say it again: books are dead, plays are dead, poems are dead: there’s only movies. Music is still okay, because music is sound track. Ten, fifteen years ago, every arts student wanted to be a novelist or a playwright. I’d be amazed if you could find a single one now with such a dead-end ambition. They all want to make movies. Not write movies. You don’t write movies. You make movies.

There is quite an important director in Germany who I think in the early fifties over here, and then went back, and he said something that's absolutely true. And it's more important to repeat that today than it ever was. Not for you, but for us over there it is important. He said, 'In America they make movies like art, and sell it like commodities. We make make movies like commodities and sell them like art.'

Already nature is serving all those uses which science slowly derives on a much higher and grander scale to him that will be served by her. When the sunshine falls on the path of the poet, he enjoys all those pure benefits and pleasures which the arts slowly and partially realize from age to age. The winds which fan his cheek waft him the sum of that profit and happiness which their lagging inventions supply.

One of the points where the art world is at its most metaphysical is in this weird aspect of the power of the expert. There are experts who claim they cannot be fooled because they have an inner connection to an artist and can feel whether something is genuine or fake. I've heard experts say, on panels: When it comes to my period, or my painters, I cannot be fooled. And of course that's completely ridiculous.

I am preoccupied with the possibility of creating art which functions in a public situation without compromising its private character of being antiheroic, antimonumental, antiabstract, and antigeneral. The paradox is intensified by the use on a grand scale of small-scale subjects known from intimate situations--an approach which tends in turn to reduce the scale of the real landscape to imaginary dimensions.

Everything can inspire me. I know that sounds like a cop-out answer, but I find inspiration in literally just about everything. As an actor, I have to watch people and observe their behaviors - this is how I create characters. My daily surroundings feed my work, whether it's something I'm working on right now or it's something down the road. Music, art, landscape - these are all things I draw inspiration from.

Chairman Mao creatively applied Marxism-Leninism to every aspect of the Chinese revolution, and he had creative views on philosophy, political science, military science, literature and art, and so on. Unfortunately, in the evening of his life, particularly during the "Cultural Revolution", he made mistakes - and they were not minor ones - which brought many misfortunes upon our Party, our state and our people.

Just watching a girl can give me the best reason to smile. Girls are something very special and you got to treat them that way. That's why I always say don't stare right at a chick. She'll begin to fidget, wondering if her hair's messed up or if her make-up is smeared. It's kind of like going to an art gallery to see beautiful paintings. If you look at a painting just the right way, you get the most out of it!

The refining influence is the study of art, which is the science of beauty; and I find that every man values every scrap of knowledge in art, every observation of his own in it, every hint he has caught from another. For the laws of beauty are the beauty of beauty, and give the mind the same or a higher joy than the sight of it gives the senses. The study of art is of high value to the growth of the intellect.

Hank Willis Thomas is great. He's the one who "discovered" my work and saw something that I didn't see. He's still constantly pushing me to try out new ideas and not be afraid of what other people will say. He truly is a mentor, and I often ask him about the art world, how to juggle it all and not lose your mind. It would be like accepting an award without thanking him because he really has been so supportive.

You can choose not to be a performing musician. You can choose to just be a recording artist. But then you run into the problem of trying to earn a living and balancing the time that you spend working on your creative efforts to just getting the bills paid. You can go off the grid and live in a cabin and make whatever art you want and also provide all the sustenance you need and not interact with anybody else.

I don't want to be hubristic about art's possibilities. I don't think that art has a causal relationship to revolution. I do think it's a way people coordinate or orient their own often-inchoate experiences, sometimes willfully. With "The Masque of Anarchy," one of the things I note is that many political movements over time have made use of it as a way to orient themselves and to narrate what they were doing.

You don't have to get a job that makes others feel comfortable about what they perceive as your success. You don't have to explain what your plan to do with your life. You don't have to justify your education by demonstrating its financial rewards. You don't have to maintain an impeccable credit score. Anyone who expects you to do any of those things has no sense of history of economics or science or the arts.

A tenor player named Bud Revels there at the time. A lot of really nice associations amongst the students. Garry Dial was a returning student. He actually got me on Red Rodney's band subbing a little bit. I gigged some with Red when I was 21 in 1988. So I had a lot of nice associations that came from [ Laguardia School of Arts]. But a lot of my education was going on in the clubs. Hearing music and sitting in.

I want to suggest to you that the day of the artists has come. That there are things about symbols and the genuine indirectness of art with integrity that can speak into a lost and stuck imagination. We are awakening the imagination of people who have become cynical about the old 'grand stories' that have done so much harm. We are sowing the possibility that the might be one which could actually set them free.

In any case, once you're dealing on a nonverbal level, ambiguity is unavoidable. But it's the ambiguity of all art, of a fine piece of music or a painting - you don't need written instructions by the composer or painter accompanying such works to 'explain' them. “Explaining” them contributes nothing but a superficial 'cultural' value which has no value except for critics and teachers who have to earn a living.

When I was at art college, the teachers who helped me were not the ones I agreed with, or the ones who encouraged me, but the ones who took very strong positions. Because if someone does that, you can find your own position in relation to it: what is it that I don't agree with? In the studio I want to articulate a position clearly enough so that other people can use it - or chuck it away if they don't want it.

I've long come to the conclusion that when people say they can't put a book down, they don't mean they're interested in what's happening next; they mean they are so mesmerised by the writer's voice and the relationship that has been established that they don't want to break that. That's what I feel when I read, and I'm sure now that that's what's going on in the relationship between the reader and the writing.

In the current era, more than prodigies in mathematics, science, athletics, or art, I believe we need prodigies of good character and integrity. People who have polished their character and integrity until they shine are the ones who can be the real heroes the world needs to solve its problems. I think that, when people have the correct understanding of the meaning of human character, there will be a solution.

I see love, like art, as an obsession. Maybe that's an overly romantic view of human existence, but I'm an overly romantic human being. If love, like rock and roll, doesn't consume me 24-7, it's not love. It can be respect, appreciation, admiration, wonderment, it can be a world of glory and a lifetime of peace, but I can't call it love. Love burns me and confuses me. Love's a light that can't be extinguished.

Let the people walk. Or ride horses, bicycles, mules, wild pigs-anything-but keep the automobiles and the motorcycles and all their motorized relatives out. We have agreed not to drive our automobiles into cathedrals, concert halls, art museums, legislative assemblies, private bedrooms and other sanctums of our culture; we should treat our national parks with the same deference, for they, too, are holy places.

When the enemy's envoy's speak in humble terms, but continues his preparations, he will advance. When their language is deceptive but the enemy pretentiously advances, he will retreat. When the envoys speak in apologetic terms, he wishes a respite. When without a previous understanding the enemy asks for a truce, he is plotting. When the enemy sees an advantage but does not advance to seize it, he is fatigued.

In the Art of Dreaming Don Juan tells Carlos, "... most of our energy goes into upholding our importance... if we were capable of losing some of that importance, two extraordinary things would happen to us. One, we would free our energy from trying to maintain the illusory idea of our grandeur; and two we would provide ourselves with enough energy to ... catch a glimpse of the actual grandeur of the universe."

Our whole life can go on in observation of the laws of nature, if we gain dominion over our desires from the beginning and if we do not kill, by various means of a perverse art, the human offspring, born according to the designs of divine providence; for these women who, in order to hide their immorality, use abortive drugs which expel the child completely dead, abort at the same time their own human feelings.

It is just so satisfying to create work that is beyond the framework of language. I think for me that when I make art, I allow myself the opportunity to think with my hands as well. The thing about writing is that you're constantly grappling with every word, because it is removed from the consideration of words in many ways, it can just allow you to move through the art. I discover things in the act of making.

If Watson and I had not discovered the [DNA] structure, instead of being revealed with a flourish it would have trickled out and that its impact would have been far less. For this sort of reason Stent had argued that a scientific discovery is more akin to a work of art than is generally admitted. Style, he argues, is as important as content. I am not completely convinced by this argument, at least in this case.

The writer's only responsibility is to his art. He will be completely ruthless if he is a good one. He has a dream. It anguishes him so much he must get rid of it. He has no peace until then. Everything goes by the board: honor, pride, decency, security, happiness, all, to get the book written. If a writer has to rob his mother, he will not hesitate; the 'Ode on a Grecian Urn' is worth any number of old ladies.

We live in the digital age and, unfortunately, it’s degrading our music, not improving it It’s not that digital is bad or inferior, it’s that the way it’s being used isn’t doing justice to the art. The MP3 only has 5 percent of the data present in the original recording. … The convenience of the digital age has forced people to choose between quality and convenience, but they shouldn’t have to make that choice.

Through the art of personal development, we see an opportunity for these animals to inspire compassion, essentially creating a path to deep personal growth. This program [Animal sanctuary] will deploy ISF's youth development program, U Factor. The program helps youth identify their passion, cultivate their talent, amplify their purpose, and connect the younger generation to diminishing species and biodiversity.

One of the most important elements of Caio-ness I wanted to keep was that left to right reading, where one form draws you... this movement in what is otherwise a fairly still art, that sense of pulling the eye. It involves a sense of time. To me that's esoteric and magical and playful, and if a painting doesn't have that, to me it's just canvas and paint. If it does have that, then it rises above its materials.

In fine arts, when you make a painting, it's just a painting. But if you make a painting in the entertainment industry, it can be an album cover or a t-shirt or a logo. I like that entertainment has this usefulness - that it's ultimately trying to make a bunch of people feel something, and to think about life and be able to use things that were so simple and direct but potentially have a really powerful effect.

We are actually starting to manipulate our bodies, because we can, into a shape. We are becoming our own art. But what happens for me is that it desexualizes everything. You know, you start to look more and more polished, more and more lacquered and you look like a beautiful car. Does anyone want to sleep with you? Does anyone want to touch you? Does anyone want to kiss you? Maybe not, because you're too scary.

As Buddhists, statues are more than simply pieces of stone to us. We believe the statue of the Buddha has a kind of soul and is the Buddha in some sense. This is why we can pray to it. Clay is a very interesting and fundamental material - it's earth, it's water and - with fire - it takes on form and life. In fact, what is art? Art is giving to what you create a soul. That's why it is said God is like an artist.

Excellence in art is to be attained only by active effort, and not by passive impressions; by the manly overcoming of difficulties, by patient struggle against adverse circumstance, by the thrifty use of moderate opportunities. The great artists were not rocked and dandled into eminence, but they attained to it by that course of labor and discipline which no man need go to Rome or Paris or London to enter upon.

From cradle to grave this problem of running order through chaos, direction through space, discipline through freedom, unity through multiplicity, has always been, and must always be, the task of education, as it is the moral of religion, philosophy, science, art, politics and economy; but a boy's will is his life, and he dies when it is broken, as the colt dies in harness, taking a new nature in becoming tame.

When I lived in Pinetop I just wanted to leave - I thought the city was where I belonged. But now that I'm living in the city, I love it for what it is. It's brought me closer to my art and put me in the right place as far as having people around me. It's very inspiring, but I miss our little town. There's something very simple and beautiful about growing up in a small place. That's where my heart is, for real.

That was always what I felt was the beauty of Rock 'n' Roll, it was entertainment and showbiz yet it had the idea of the voice of the people, it had an essence to it which was socially motivated. Not that I want to change to world, you know? But it was sort of relevant to real life, it involved the real essence of poetry or the real essence of fine art. But it was also entertainment. That was the real vitality.

Without Christ, sciences in every department are vain....The man who knows not God is vain, though he should be conversant with every branch of learning. Nay more, we may affirm this too with truth, that these choice gifts of God -- expertness of mind, acuteness of judgment, liberal sciences, and acquaintance with languages, are in a manner profaned in every instance in which they fall to the lot of wicked men.

What art thou, life, that we, must court thy stay? A breath one single gasp must puff away! A short-lived flower, that with the day must fade! A fleeting vapor, and an empty shade! A stream that silently but swiftly glides To meet eternity's immeasured tides! A being, lost alike by pain or joy? A fly can kill it, or a worm destroy! Impair'd by labor, and by ease undone, Commenced in tears, and ended in a groan.

When you study art history, you learn that there is very little that is completely new, and in many ways digital art is no different. I love to derive inspiration from all types of images: mosaics, hieroglyphics, petroglyphs, woven patterns in textiles, and needlework. There is a lot of very good "pixel" design work before the 20th century, like a 1760 sampler by Elizabeth Laidman that looks like a bitmap font.

If the art of gardening is at last to turn back from her extravagances and rest with her other sisters, it is, above everything, necessary to have clearly before you what you require . . . It is certainly tasteless and inconsistent to desire to encompass the world with a garden-wall, but very practicable and reasonable to make a garden . . . into a characteristic whole to the eye, heart, and nderstanding alike.

When envoys are sent with compliments in their mouths, it is a sign that the enemy wishes for a truce. If the enemy's troops march up angrily and remain facing ours for a long time without either joining battle or removing demands, the situation is one that requires great vigilance and circumspection. To begin by bluster, but afterward to take fright at the enemy's numbers, shows a supreme lack of intelligence.

I had Paterson, and The Art Lover, to guide me for The Tales of Horror (written from 1988-'97 and published in 1999), but I still was so lost, back then, as I tried to understand what I was writing and how it went together. There was a draft of that manuscript that had all these brightly colored paper clips on the pages so I could visualize what I saw as the book's themes and threads - that was a long time ago.

Publishing has gone very middlebrow. It's turned its back on legacy of modernism and gone into a humanist mode. When people go through art school they are exposed to the history of the avant-garde, and there's a general understanding that what you're doing as an artist is to a large extent, not just regurgitating that history, but engaging with it. There's this denial of that in the mainstream publishing world.

If the essence of cynicism consists in preferring nature to art, virtue to beauty and science; in not bothering about the letter of things -- to which the Stoic strictly adheres -- but in looking up to the spirit of things; in absolute contempt of all economic values and political splendor, and in courageous defence of the rights of independent freedom; then Christianity would be nothing but universal cynicism.

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