Art Quotes - Page 422

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What if at school you had to take an 'art class' in which you were only taught how to paint a fence? What if you were never shown the paintings of Leonardo da Vinci and Picasso? Would that make you appreciate art? Would you want to learn more about it? I doubt it..........but this is how math is taught and so in the eyes of most of us it becomes the equivalent of watching paint dry. While the paintings of the great masters are readily available, the math of the great masters is locked away.

To put it simply, we need to keep the arts in education because they instill in students the habits of mind that last a lifetime: critical analysis skills, the ability to deal with ambiguity and to solve problems, perseverance and a drive for excellence. Moreover, the creative skills children develop through the arts carry them toward new ideas, new experiences, and new challenges, not to mention personal satisfaction. This is the intrinsic value of the arts, and it cannot be overestimated.

In "solid modernity" difference was tolerated as a temporary irritant only, expected to disappear tomorrow, when "those aliens" will become like us. "Living with strangers" was therefore not something to last and did not call for developing appropriate arts and skills. Now, however, it looks like that diasporic context of our living will not go away - it will be there forever, so learning how to live with strangers day in, day out without abandoning my own strangeness is high on the agenda.

Whenever I eat at a restaurant I never put the napkin in my lap. People say, 'Hannibal, why don't you put the napkin in your lap?' Because I believe in myself. I believe in my ability to not spill food in my pants 'cause I'm a goddamn adult. And I've mastered the art of getting food from my plate to my mouth without messing up my jeans. You need to believe in yourself, too and get your life together, that's for babies. Have some confidence in your eating abilities and hand/eye coordination.

Europe has an incredibly long, bloody history based on an excess of nationalism which has also created a lot of amazing art. The issue is that America also imported a lot of that wholesale, dropped it onto this other big continent over the sea, and that's worked really well so far, but my view is that a little breather is necessary to make sure that - because Europe is about to fall, Sweden is going, Germany is going, France is going, America is going to be the preserver of that inheritance.

The highest art is where has been most perfectly breathed the sentiment of humanity...Some persons suppose that landscape has no power of communicating human sentiment. But this is a great mistake. The civilized landscape peculiarly can: and therefore I love it more and think it more worthy of reproduction than that which is savage and untamed. It is more significant. Every act of man, every thing of labor, effort, suffering, want, anxiety, necessity, love, marks itself wherever it has been.

And sometimes then he sat with us for an hour or so, sharing our limbo, listening while I read. Books from any shelf, opened at any page, in which I would start and finish anywhere, mid-sentence sometimes. Wuthering Heights ran into Emma, which gave way to The Eustace Diamonds, which faded into Hard Times, which ceded to The Woman in White. Fragments. It didn't matter. Art, its completeness, its formedness, its finishedness, had no power to console. Words, on the other hand, were a lifeline.

There have been many poets who have lived at the fifth center of creativity and never gone ahead - many painters, many dancers, many singers who created great art, but never moved to the third eye. And there have been mystics who have remained with the third eye, knowing their own inner beauty; it is so fulfilling that they thought they had arrived. Somebody is needed to tell you that there is still something more ahead; otherwise, in your ignorance, what you will do is almost unpredictable.

Learning, traveling and comparing the world, writing outraged poetry, producing revolutionary art, demonstrating, holding the older generation-including their own parents and grandparents, responsible for destroying this country, and finally aiming at building a just, kind and beautiful nation called 'Indonesia'. This is much better and glorious than sitting in Starbucks, staring like idiots at uniformed smart phones, and basically killing ones life... and the lives of others... for nothing.

One road to happiness is to cultivate curiosity about everything. Not only about people but about subjects, not only about the arts but about history and foreign customs. Not only about countries and cities, but about plants and animals. Not only about lichened rocks and curious markings on the bark of trees, but about stars and atoms. Not only about your friends but about that strange labyrinth we inhabit which we call ourselves. Then, if we do that, we will never suffer a moment's boredom.

Not to find one's way around a city does not mean much. But to lose one's way in a city, as one loses one's way in a forest, requires some schooling. Street names must speak to the urban wanderer like the snapping of dry twigs, and little streets in the heart of the city must reflect the times of day, for him, as clearly as a mountain valley. This art I acquired rather late in life; it fulfilled a dream, of which the first traces were labyrinths on the blotting papers in my school notebooks.

That's what I like about the idea of the aesthetic experience, the idea of both enjoying looking at works of art and how they kind of talk to you, and also the process of making art, getting back to that idea of the aesthetic experience of making art is very important, It's another way of thinking. Instead of just using your brain, you're using your hands to think with. They're different connections, the brain that comes through the fingertips as opposed that comes through the eyes and ears.

Art and literature need extreme sociality to a degree that even dolphins don't have. We are the only large mammalian species that has such intense sociality. There are some small mammals that have become eusocial - the mole rats - but that's a different thing. Humans are able to understand one another at very high levels, to cooperate in very large groups. Humans depend on one another in ways that are an absolute precondition to sharing the kinds of information that makes narrative possible.

The requirements of the theatre are very great--a strong constitution, energy and unflagging purpose, charm of feature, these alone do not necessarily mean anything, and they must not be relied upon as assurances of an easy conquest of the public heart. It is not only a question of fitness for the work, but of long years of most diligent effort to master the technique of the theatre, and to develop whatever of the art instinct we may possess upon the simplest, broadest, and most human lines.

Photography - the supreme form of travel, of tourism - is the principal modern means for enlarging the world. As a branch of art, photography's enterprise of world enlargement tends to specialize in the subjects felt to be challenging, transgressive. A photograph may be telling us: this too exists. And that. And that. (And it is all 'human.') But what are we to do with this knowledge - if indeed it is knowledge, about, say, the self, about abnormality, about ostracized or clandestine worlds?

A great emotion is too selfish ; it takes into itself all the blood of the spirit, and the congestion leaves the hands too cold to write. Three sorts of emotion produce great poetry - strong but quick emotions, seized upon for art as soon as they have passed, but not before they have passed ; strong and deep emotions in their remembrance along time after ; and false emotions, that is to say, emotions felt in the intellect. Not insincerity, but a translated sincerity, is the basis of all art.

Each of us contributes our own piece to the whole, each in our own way, each in our own time with the gifts and talents that are ours. You ask about possible vehicles for change: question, stand, speak, act. Engage in unruly behavior. Disturb the status quo. Take direct action. Commit civil disobedience. Make art. Build community. Dance. Sing. Farm. Cook. Create something beautiful and then give it away. Find your own monkey wrench and use it with the force of love. Sharpen your pencil. Vote.

I started getting really curious about art. I read about the Dadaists and the Futurists and the Constructivists - those kind of movements which were reflecting the angst of the people of their times. Their work was trying to lead a movement. I began thinking about what was happening, with painting on the streets and painting on the trains as being similar but also coming from a real, pure space. It wasn't being created by academies. It was a spontaneous combustion of ideas that just happened.

I never had the idea of moving to Paris and becoming something. I liked the idea of living in Paris because it seemed to have so many parts of life I really enjoyed. The people there seemed to prize literature and art, food and drinking, a more hedonistic way of living. My ambition was to be cosmopolitan. I grew up in the suburbs. I went to college in Maine. I had a dream in my head that if you wanted to be the most urbane, living-life-to-the-fullest kind of person, Paris was the place to be.

It is not your passing thoughts or brilliant ideas so much as your plain everyday habits that control your life....Live simply. Don’t get caught in the machine of the world— it is too exacting. By the time you get what you are seeking your nerves are gone, the heart is damaged, and the bones are aching. Resolve to develop your spiritual powers more earnestly from now on. Learn the art of right living. If you have joy you have everything,so learn to be glad and contented....Have happiness now.

I would simply ask why so many critics, so many writers, so many philosophers take such satisfaction in professing that the experience of a work of art is ineffable, that it escapes by definition all rational understanding; why are they so eager to concede without a struggle the defeat of knowledge; and where does their irrepressible need to belittle rational understanding come from, this rage to affirm the irreducibility of the work of art, or, to use a more suitable word, its transcendence.

I'm being given a little bit of credit now as being a viable collage artist, which some people think is ridiculous. Like this guy who said, "Wait a minute: You had an art show where you just cut out pictures and then glued them back together?" And I said, "Yeah, that's pretty much what it is." There's more to it than that. It's about having the eye for detail, moving things from one environment and reassembling them into new environments....Everyone can do it, but not everyone can do it well.

The relationships of our present social life are so numerous and so interwoven that a child placed in the most favorable position could not readily share in many of the most important of them. Not sharing in them, their meaning would not be communicated to him, would not become a part of his own mental disposition. There would be no seeing the trees because of the forest. Business, politics, art, science, religion, would make all at once a clamor for attention; confusion would be the outcome.

A great deal of the joy of life consists in doing perfectly, or at least to the best of one's ability, everything which one attempts to do. There is a sense of satisfaction, a pride in surveying such a work, a work which is rounded, full, exact, complete in all its parts-which the superficial man, who leaves his work in a slovenly, slipshod, half-finished condition can never know. It is this conscientious completeness which turns work into art. The smallest thing, well done, becomes artistic.

The eager or dutiful persons who subject themselves to these tidal waves of the classics and the moderns find everything wonderful in an absent-minded way. The wonder washes over them rather than into them, and one of its effects is to make anything shocking or odd suddenly interesting enough to gain a month's celebrity. And so another by-product of our come-one, come-all policy is the tendency to reward cleverness, not art, and to put one more hurdle in the path of the truly original artist.

Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.

A person is not a democrat thanks to his ignorance of literature and the arts, nor an elitist because he or she has cultivated them. The possession of knowledge makes for unjust power over others only if used for that very purpose: a physician or lawyer or clergyman can exploit or humiliate others, or he can be a humanitarian and a benefactor. In any case, it is absurd to conjure up behind anybody who exploits his educated status the existence of an "elite" scheming to oppress the rest of us.

It is a thoughtless and immodest presumption to learn anything about art from philosophy. Some do begin as if they hoped to learnsomething new here, since philosophy cannot and should not do anything further than develop the given art experiences and the existing art concepts into a science, improve the views of art, and promote them with the help of a thoroughly scholarly art history, and produce that logical mood about these subjects too which unites absolute liberalism with absolute rigor.

It is with art as with love: How can a man of the world,with all his distractions, keep the inwardness which an artist must possess if he hopes to attain perfection? That inwardness which the spectator must share if he is to understand the work as the artist wishes and hopes... Believe me, talents are like virtues; either you must love them for their own sake or renounce them altogether. And they are only recognized and rewarded when we have practised them in secret, like a dangerous mystery."

Where philosophy ends, poetry must commence. There should not be a common point of view, a natural manner of thinking which standsin contrast to art and liberal education, or mere living; that is, one should not conceive of a realm of crudeness beyond the boundaries of education. Every conscious link of an organism should not perceive its limits without a feeling for its unity in relation to the whole. For example, philosophy should not only be contrasted to non-philosophy, but also to poetry.

Ideals are very often formed in the effort to escape from the hard task of dealing with facts, which is the function of science and art. There is no process by which to reach an ideal. There are no tests by which to verify it. It is therefore impossible to frame a proposition about an ideal which can be proved or disproved. It follows that the use of ideals is to be strictly limited to proper cases, and that the attempt to use ideals in social discussion does not deserve serious consideration.

When anyone is creating anything, it has no choice but to be in that stream. The art I create and the art my colleagues create is part of it. But the question is: how long will it last in the stream? I think of it really as an enormous river, with its shores very distant from each other, and only time will tell what's going to last in the end. It seems to me that all music of our time is connected, but I never think about where I am in the river or how I would be placed by others inside of it.

We wish we could have been there for you. We didn't have many role models of our own--we latched on to the foolish love of Oscar Wilde and the well-versed longing of Walt Whitman because nobody else was there to show us an untortured path. We were going to be your role models. We were going to give you art and music and confidence and shelter and a much better world. Those who survived lived to do this. But we haven't been there for you. We've been here. Watching as you become the role models.

It is not merely the brevity by which the haiku isolates a particular group of phenomena from all the rest; nor its suggestiveness, through which it reveals a whole world of experience. It is not only in its remarkable use of the season word, by which it gives us a feeling of a quarter of the year; nor its faint all-pervading humour. Its peculiar quality is its self-effacing, self-annihilative nature, by which it enables us, more than any other form of literature, to grasp the thing-in-itself.

Sam Fuller and 'Shock Corridor' can only be conjured as a mantra. 'Shock Corridor' is a classic work of art - it's unique. It comes from the unique experience of being Sam Fuller and yes, there's always that element of 'Shock Corridor' hovering around the picture, but never specifically. In fact, I didn't even screen it because it's in us. It's in me anyway. It's in me. It was a way of conjuring up support just by saying the name, 'Shock Corridor,' as I was going to shoot. Poor Sam [Fuller]...

It is unnatural that a pure stream should flow from a foul fountain its vices are but a continuation of the vices of its origin. A man of moral honor and good political principles, cannot submit to the mean drudgery and disgraceful arts, by which such elections are carried. To be a successful candidate, he must be destitute of the qualities that constitute a just legislator: and being thus disciplined to corruption it is not to be expected that the representative should be better than the man.

Please don't make the mistake of thinking that the arts and sciences are at odds with one another. That is a recent, stupid and damaging idea. You don't have to be unscientific to make beautiful art or to write beautiful things... science is not a body of knowledge or a belief system, it is just a term that describes humankind's incremental acquisition of understanding through observation. Science is awesome. The arts and sciences need to work together to improve how knowledge is communicated.

One of the major changes in attitude that occurred in the world of art as we moved from the nineteenth into the twentieth century was that the twentieth century artist became more involved with personal expression than with celebrating exclusively the values of the society or the church. Along with this change came a broader acceptance of the belief that the artist can invent a reality that is more meaningful than the one that is literally given to the eye. I subscribe enthusiastically to this.

We seem to have forgotten that the expression "a liberal education" originally meant among the Romans one worthy of free men; while the learning of trades and professions by which to get your livelihood merely, was considered worthy of slaves only. But taking a hint from the word, I would go a step further and say, that it is not the man of wealth and leisure simply, though devoted to art, or science, or literature, who, in a true sense, is liberally educated, but only the earnest and free man.

I do want to once again speak directly to the Iranian people. Yours is a great civilization with a vibrant culture that has so much to contribute to the world - in commerce and in science and in arts. For decades, your government's threats and actions to destabilize your region have isolated Iran from much of the world, and now our governments are talking with one another. Following the nuclear deal, you, especially young Iranians, have the opportunity to begin building new ties with the world.

My fourth mother, my godmother, she passed away a couple years ago - her name was Gwen. She was the theater director over at the gym where I grew up and learned about all those awesome things I told you about already. She was the one who taught me terms like "upstage" and "downstage," all those technical things about the art of what I do - how to breathe what I see, how to move. They were all her tactics, not anything learned or given to me through a theory, but rather by her natural abilities.

Hospitality has never been about having House Beautiful with perfectly coordinated accessories and the most up-to-date equipment, nor is it dependent upon having large chunks of leisure time and a big entertainment budget to spend, nor does it require special training in the culinary arts or event planning. Hospitality is about a heart for service, the creativity to stretch whatever we do have available, and the energy to give the time necessary to add a flourish to the ordinary events of life.

For in the immediate world, everything is to be discerned, for him who can discern it, and central and simply, without either dissection into science, or digestion into art, but with the whole of consciousness, seeking to perceive it as it stands: so that the aspect of a street in sunlight can roar in the heart of itself as a symphony, perhaps as no symphony can: and all of consciousness is shifted from the imagined, the revisive, to the effort to perceive simply the cruel radiation of what is.

Poetry operates by raising our curiosity, engaging the mind by degrees to take an interest in the event, keeping that event suspended, and surprising at last with an unexpected catastrophe. The painter's art is more confined, and has nothing that corresponds with, or perhaps is equivalent to, this power and advantage of leading the mind on, till attention is totally engaged. What is done by Painting, must be done at one blow; curiosity has received at once all the satisfaction it can ever have.

The detachment of the artist is kind of creepy. It's kind of rude, and yet really it's where art comes from. It's not the same as courage. It's closer to bad manners than to courage. If you're going to be a writer, you basically have to say, 'this is just who I am'. There's a certain indefensibility about it. It's not about loving your community and taking care of it — you're not attached to the chamber of commerce. It's a little unsafe. You have to be willing to have only four friends, not 11.

The religion of art, like the religion of politics, was born from the ruins of Christianity. Art inherited from the old religion the power of consecrating things and endowing them with a sort of eternity; museums are our temples, and the objects displayed in them are beyond history. Politics--or more precisely, Revolution--co-opted the other function of religion: changing human beings and society. Art was an asceticism, a spiritual heroism; Revolution was the construction of a universal church.

The difference between men and women is inalienable. It is not a political fact, subject to cultural definition and redefinition, but a physical verity. We do truthfully experience our lives differently because our bodies are different. It is in what we do with our experience that we are the same. We feel, absorb and examine with the same intensity, and intense experience honestly examined informs the art of both sexes equally. ... The power of imagination illuminates all human lives in common.

Imagination helps you to recognize the reality of facts, but then to go beyond them, to penetrate beneath them, to rise above them in your search for creative answers to problems. Imagination "stirs up the gift of God in thee." Through your imagination you touch and express the inspiration of the Infinite. Imagination, in the words of Shakespeare, "gives to airy nothing a local habitation and a name." You reach into the heavens to grasp an idea, then you bring it down to earth and make it work.

Artists tend to be people of strong character and opinion. Often they are dismissed in our culture if they don't fit a certain mainstream media mold. It's a reason why filmmakers are now releasing films online. Art, in any form can invoke various emotions and actions. I think some can be frightened of the power that a simple image can invoke and that's why they tend to shy away from it. But art documents moments in our history and that image is often what many people remember of a certain time.

Sometimes life is hard. Things go wrong—in life and in love and in business and in friendship and in health and in all the other ways that life can go wrong. And when things get tough, this is what you should do: make good art. . . . Someone on the internet thinks what you’re doing is stupid or evil or it’s all been done before: make good art. Probably things will work out somehow, eventually time will take the sting away, and it doesn’t even matter. Do what only you can do best: make good art.

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