Quotes of All Topics . Occasions . Authors
No mathematician should ever allow him to forget that mathematics, more than any other art or science, is a young man's game. ... Galois died at twenty-one, Abel at twenty-seven, Ramanujan at thirty-three, Riemann at forty. There have been men who have done great work later; ... [but] I do not know of a single instance of a major mathematical advance initiated by a man past fifty. ... A mathematician may still be competent enough at sixty, but it is useless to expect him to have original ideas.
We can use our art to become political, to become something you want to talk about. We make clothes, but we have the chance to change a generation as well. We have to remember that fashion changed the roles of men and women: When Yves Saint Laurent was putting pants on a woman, he was not only doing that - he was assuming the fact that a woman can wear pants like a man. It's all the codes that I think fashion pushed so much to change the world, and today it's what I'm trying to do in my own way.
Architecture, either practically considered or viewed as an art of taste, is a subject so important and comprehensive in itself, that volumes would be requisite to do it justice. Buildings of every description, from the humble cottage to the lofty temple, are objects of such constant recurrence in every habitable part of the globe, and are so strikingly indicative of the intelligence, character, and taste of the inhabitants, that they possess in themselves a great peculiar interest for the mind.
A work of art does not need an explanation. The work has to speak for itself. The work may be subject to many interpretations, but only one was in the mind of the artist. Some artists say to make the work readable for the public is an artist’s responsibility, but I don’t agree with that. The only responsibility to be absolutely truthful to the self. My work disturbs people and nobody wants to be disturbed They are not fully aware of the effect my work has on them, but they know it is disturbing.
I don't get particularly precious about things like this, though. Like the record company said, "We need a radio edit that delivers the hook" - I don't even know what they consider the hook in that song ["Oh No"] - "that delivers the hook sooner." So I'm like, "Okay. I see that." And they were all walking on eggshells, like is this going to be sacrilegious to me or something, to mess with this art I've created? And I'm like, "Great. I get to tinker with it, I get to mess with my song some more."
I am not a difficult man by any stretch, and I'm saying that with a full and honest inventory going on. I'm not. And I'm not angry on stage. There is a heightening. There is an intensification of the feelings on stage in order to let them carry the room. There is a theatricality about it. The whole thing is oratory, so there's persuasion involved. There's the art of rhetoric involved. And so, with hyperbole and with the desire to really punch the thing home, some of it reads a little more angry.
For that again, is what all manner of religion essentially is: childish dependency. If something is irrational, that means it won't work. It's usually unrealistic. People don't just get upset. They contribute to their upsetness. People have motives and thoughts of which they are unaware. Rational beliefs bring us closer to getting good results in the real world. Self-esteem is the greatest sickness known to man or woman because it's conditional. The art of love is largely the art of persistence.
The public needs art, and it is the responsibility of a ’self-proclaimed artist’ to realize the public needs art, and not to make bourgeois art for the few and ignore the masses. … I am interested in making art to be experienced and explored by as many individuals as possible with as many different individual ideas about the given piece with no final meaning attached. The viewer creates the reality, the meaning, the conception of the piece. I am merely a middleman trying to bring ideas together.
Politics is the only serious. subject that men think themselves qualified to act upon without any previous education or instruction whatever. If it happened to be astronomy, or botany, or medicine, or law, he would never be allowed to work in any of these arts, or to take a decisive part in the history of any one of these sciences without having, at least, acquired: the A B C of it; but the awful fact of politics is that we do not take the trouble seriously to understand the political situation.
A text makes the word more specific. It really kind of defines it within the context in which it is being used. If it is just taken out of a context and presented as a sort of object, which is what - you know, which is a contemporary art idea, you know. It is like an old surrealist idea or an old cubist idea to take something out of context and put it in a completely different context. And it sort of gives it a different meaning and creates another world, another kind of world in which we enter.
I've always been fond of the idea expressed in Buddhist art, that there are certain objects that, just by seeing them, can plant a seed for liberation in the individual. That class of objects is called "liberation through seeing." Certain Buddha images are like that, but if it were possible, I would like to find contemporary non-traditional sacred images. Maybe it sounds pretentious, but most spiritual paths point to the possibility that we all can access the deep, absolute dimensions of reality.
In addition to all of the ratios and goals and parameters and bottom lines, it is fundamental that leaders endorse a concept of persons. This begins with an understanding of the diversity of people's gifts and talents and skills. Recognizing diversity gives us the chance to provide meaning, fulfillment and purpose, which are not to be relegated solely to private life any more than such things as love, beauty and joy. The art of leadership lies in polishing and liberating and enabling those gifts.
Every great artist must begin by learning to draw with the single line, and my advice to young animators is to learn how to live with that razor-sharp instrument or art. An artist who comes to me with eight or ten good drawings of the human figure in simple lines has a good chance of being hired. But I will tell the artist who comes with a bunch of drawings of Bugs Bunny to go back and learn how to draw the human body. An artist who knows that can learn how to draw ANYTHING, including Bugs Bunny.
The Constitution exists precisely so that opinions and judgments, including esthetic and moral judgments about art and literature, can be formed, tested, and expressed. What the Constitution says is that these judgments are for the individual to make, not for the Government to decree, even with the mandate or approval of a majority. Technology expands the capacity to choose; and it denies the potential of this revolution if we assume the Government is best positioned to make these choices for us.
I had just been doing graffiti around New York and this real estate investor guy had walked through meat packing in New York and saw some of my graffiti. He was impressed and asked if I sold canvases. I really had not made any canvases of my graffiti work yet, but told him I could make one for him. He then commissioned me to make ten paintings and put on my first art show. Between the sold out show and the cops chasing after me it created a lot of media and I've been doing really well since then.
My "degree" has done nothing for me at all. But that I've learned - the critical thought processes I've tried to keep sharp - these things were furthered along by college. I hated so much of my life "at university," but I also loved so much of it, and the things that I loved about it have kept me in a sort of "scholarly pursuit" to this day. Maybe it messed me up because I believe that there are things like truth and beauty, and that art and discussion can help us find them and enhance our lives.
My father probably taught me everything I know, aside from dialogue, which I think I get from my mom a lot more. He certainly didn't teach me everything he knew, but you know he has got this book out called "The Spooky Art," which is essentially an advanced book on writing and it's not... You know it's not ABC, but it's for people who feel that bug and know that they're writers and are willing to put in that time alone. Pretty much the vast majority of what he taught me you can find in that book.
The new painters do not propose, any more than did their predecessors, to be geometers. But it may be said that geometry is to the plastic arts what grammar is to the art of the writer. Today, scholars no longer limit themselves to the three dimensions of Euclid. The painters have been lead quite naturally, one might say by intuition, to preoccupy themselves with the new possibilities of spatial measurement which, in the language of the modern studios, are designated by the term fourth dimension.
The genuinely significant creation, whether an idea, or a work of art, or a scientific discovery, is most likely to be seen at first as erroneous, bad, or foolish. Later it may be seen as obvious, something self-evident to all. Only still later does it receive its final evaluation as a creative contribution. It seems clear no contemporary mortal can satisfactorily evaluate a creative product at the time it is formed, and this statement is increasingly true the greater the novelty of the creation.
Now culture being a social product, I firmly believe that any work of art should have a social function to beautify, to glorify, to dignify man... Since any social system is forced to change to another by concrete economic forces, its art changes also to be recharged, reshaped, and revitalized by the new conditions... The making of a genuine artist or writer is not mysterious. It is not the work of Divine Providence. Social conditions, history, and the people's struggle are the factors behind it.
Whether it's a pebble in a riverbed or a soaring mountain peak, I see everything in the world as the handiwork of the Lord. When I paint, I try to represent the beauty of God's creation in my art. Many modern painters see the world as a jumble of random lines and shapes with no divine beauty or order, and their works reflect their viewpoint. Because I see God's peacefulness, serenity, and contentment, I work to capture those feelings on the canvas. My vision of God defines my vision of the world.
The beginning of civilisation is the discovery of some useful arts, by which men acquire property, comforts, or luxuries. The necessity or desire of preserving them leads to laws and social institutions. The discovery of peculiar arts gives superiority to particular nations ... to subjugate other nations, who learn their arts, and ultimately adopt their manners;- so that in reality the origin as well as the progress and improvement of civil society is founded in mechanical and chemical inventions.
It fits to glorify God - it not only fits reality, because God is infinitely and supremely praiseworthy, but it fits us as nothing else does. All the beauty we have looked for in art or faces or places - and all the love we have looked for in the arms of other people - is only fully present in God himself. And so in every action by which we treat him as glorious as he is, whether through prayer, singing, trusting, obeying, or hoping, we are at once giving God his due and fulfilling our own design.
People study martial arts for many reasons, sometimes all the wrong reasons. For example, I have had potential students come to my dojo with a belligerent and cocky attitude. When I ask why they want to study my art, their response has indicated to me that their goal is to learn to fight, which is the antithesis of the philosophy I hope to instill: I want them to know how to defend themselves if necessary, but to avoid fighting whenever possible because they will have nothing to prove by fighting.
Wij wezen allles wat kopie of beschrijving was af en lieten het elementaire en het spontane in volle vrijheid reageren. Omdat de plaatsing van de vlakken en de kleuren en de verhoudingen van deze vlakken louter op toeval schenen te berusten, verklaarde ik dat deze werken, zoals in de natuur, gerangschikt waren "volgens de wetten van het toeval", toeval dat voor mij alleen maar een beperkt onderdeel vormde van een onpeilbare reden van bestaan, van een orde die in zijn totaliteit ontoegankelijk was.
In architecture, to do anything beyond object form is often treated as something extra-disciplinary - something outside the discipline that has nothing to do with art. So I'm making it clear that this is an artistic choice. It's not everyone's artistic choice. Some people should choose only to make object form because that's what gives them pleasure. But there are people for whom aesthetic pleasure comes from doing something else, and why would you deny that choice? It's another autonomous choice.
To be worthy of the name, an experimenter must be at once theorist and practitioner. While he must completely master the art of establishing experimental facts, which are the materials of science, he must also clearly understand the scientific principles which guide his reasoning through the varied experimental study of natural phenomena. We cannot separate these two things: head and hand. An able hand, without a head to direct it, is a blind tool; the head is powerless without its executive hand.
. . . what humanity most desperately needs is not the creation of new worlds but the recreation in terms of human comprehension of the world we have -- and it is for this reason that arts go on for generation to generation in spite of the fact that Phidias has already carved and Homer has already sung. The creation, we are informed, was accomplished in seven days with Sunday off, but the recreation will never be accomplished because it is always accomplished anew for each generation of living men.
The Dancer believes that his art has something to say which cannot be expressed in words or in any other way than by dancing... there are times when the simple dignity of movement can fulfill the function of a volume of words. There are movements which impinge upon the nerves with a strength that is incomparable, for movement has power to stir the senses and emotions, unique in itself. This is the dancer's justification for being, and his reason for searching further for deeper aspects of his art.
... we have almost succeeded in leveling all human activities to the common denominator of securing the necessities of life and providing for their bundance. Whatever we do, we are supposed to do for the sake of "making a living;" such is the verdict of society, and the number of people, especially in the professions who might challenge it, has decreased rapidly. The only exception society is willing to grant is to the artist, who, strictly speaking, is the only "worker" left in a laboring society.
I went away to this summer program after my junior year of high school. They used to have this thing called the Governor's School, and they had it for different disciplines - science, math, performing arts. I auditioned and I got accepted, and it was an eight-week program away from home. I went for acting. I was 15, and I turned 16 while I was there, so that was a seminal moment for me. It made me realize the life of it, the discipline of it, and the joy of that discipline, where it was all we did.
The place resembled a new model prison, or one that had achieved a provisional utopia after principled revolt, or maybe a homeless shelter for people with liberal arts degrees. The cages brought to mind those labs with their death-fuming vents near my college studio. These kids were part of some great experiment. It was maybe the same one in which I'd once been a subject. Unlike me, though, or the guinea pigs and hares, they were happy, or seemed happy, or were blogging about how they seemed happy.
It is better to use this available energy for your observation, inner observation. Just watch everything - and it is good because you have nothing much to do. You have not to go here and there and visit people and become a member of the Rotary Club. You are saved from so much nonsense that I felt really jealous of you! Enjoy it! And feel sorry for everybody else! They are poorer and you can become immensely rich. And the art of that richness is witnessing. Witnessing is another name for meditation.
Stories are the collective wisdom of everyone who has ever lived. Your job as a storyteller is not simply to entertain. Nor is it to be noticed for the way you turn a phrase. You have a very important job--one of the most important. Your job is to let people know that everyone shares their feelings--and that these feelings bind us. Your job is a healing art, and like all healers, you have a responsibility. Let people know they are not alone. You must make people understand that we are all the same.
We like to think of industrialization as being despicable. I don't really know what to make of it. There’s something terribly brittle about it. I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter. There are certain things that are usable, forceful, and vital about commercial art. We're using those things – but we're not really advocating stupidity, international teenagerism, and terrorism.
There was an exchange between me and Andy Warhol. We met, we liked each other, we appreciated each other. He would come to us for Easter in Marrakech. In September we would meet up in Venice. And every time I went to New York I would spend some time with him at the Factory, where we would have dinner together. He's a man that I admired deeply. He shook up the notion of painting - not as much as Marcel Duchamp had done, but he was part of the same general movement. And then we both admired art deco.
If I was a young director starting off, there's so many tools at your disposal now to do things relatively inexpensively that it's a great time to learn your chops and do some cool music videos. If I started all over again, I'd still be doing music videos, I'd just be doing them very differently. It's very difficult for me to do them now, but for young kids out there that love music and want to tackle a different art form - and I do think music video is an art form - that's a very cool thing to do.
Harvey sought for truth in Truth's own book- Creation - which by God himself was writ;And wisely thought 'twas fitNot to read comments only upon it,But on th' original itself to look.Methinks in Art's great circle others standLock'd up together hand in hand:Every one leads as he is led,The same bare path they tread,A dance like that of Fairies, a fantastic round,With neither change of motion nor of ground.Had Harvey to this road confined his wit,His noble circle of the blood had been untrodden yet.
I should think that many of our poets, the honest ones, will confess to having no manifesto. It is a painful confession but the art of poetry carries its own powers without having to break them down into critical listings. I do not mean that poetry should be raffish and irresponsible clown tossing off words into the void. But the very feeling of a good poem carries its own reason for being... Art is its own excuse, and it’s either Art or it’s something else. It’s either a poem or a piece of cheese.
Creatures are cups. The sciences and the arts and all branches of knowledge are inscriptions around the outside of the cups. When a cup shatters, the writing can no longer be read. The wine's the thing! The wine that's held in the mold of these physical cups. Drink the wine and know what lasts and what to love. The man who truly asks must be sure of two things: One, that he's mistaken in what he's doing or thinking now. And two, that there is a wisdom he doesn't know yet. Asking is half of knowing.
Spirit of BEAUTY, that dost consecrate With thine own hues all thou dost shine upon Of human thought or form, where art thou gone? Why dost thou pass away and leave our state, This dim vast vale of tears, vacant and desolate? Ask why the sunlight not for ever Weaves rainbows o'er yon mountain-river, Why aught should fail and fade that once is shown, Why fear and dream and death and birth Cast on the daylight of this earth Such gloom, why man has such a scope For love and hate, despondency and hope?
I would imagine, a very large percentage of people who get something for art and they do something else, and they have some excess resources. And they trade those resources with artists whose work makes them feel good, or feel better, or question. And the artist, if they're smart, they use it to buy the most expensive thing in the world: time to make more. The more that come, the better it is for these people, their children, the people they care about, fills the society with a real constant thing.
Madness, provided it comes as the gift of heaven, is the channel by which we receive the greatest blessings... the men of old who gave things their names saw no disgrace or reproach in madness; otherwise they would not have connected it with the name of the noblest of arts, the art of discerning the future, and called it the manic art... So, according to the evidence provided by our ancestors, madness is a nobler thing than sober sense... madness comes from God, whereas sober sense is merely human.
I don't think I can break down any doors, but I'm thinking, "Maybe I can be a cameraman, because I love the cameras." And the cameraman would show me how to thread the film, how to repair it, the lenses. That's when you become, like, goony goo-goo about it. You breathe and eat camera, and all of a sudden, you don't want anything else in the world. You finally know, "This is my calling." When you're passionate about something, it doesn't become work. It's art and it's fun. It's arduous, it's sweaty.
From that night on, the electron-up to that time largely the plaything of the scientist-had clearly entered the field as a potent agent in the supplying of man's commercial and industrial needs... The electronic amplifier tube now underlies the whole art of communications, and this in turn is at least in part what has made possible its application to a dozen other arts. It was a great day for both science and industry when they became wedded through the development of the electronic amplifier tube.
The idea was to take fine art and put it into the location of the movie scripts. The script itself is collage - some of the lines come from actual movies and I've written others to make the text work with the found image. In this way, the details of old dead guys' paintings (from the collection of the Städel Museum in Frankfurt, where this work will be exhibited in relation to the historical paintings) become illustrations of the movie scripts. I found this mélange of high art and Hollywood amusing.
For a while I used to listen to those whispers about babies costing you books, and Cyril Connolly's loathsome quote that "There is no more somber enemy of good art than the pram in the hall." But it's rubbish. Absolute rubbish. A huge amount of your work is done when you're not at your desk. Knotty problems that you need your unconscious to solve. So it can be helpful to walk away and focus on other things and it can be helpful to be a bit harassed in your daily life, to be hungry for time to write.
I may remind you that history is not a branch of literature. The facts of history, like the facts of geology or astronomy, can supply material for literary art; for manifest reasons they lend themselves to artistic representation far more readily than those of the natural sciences; but to clothe the story of human society in a literary dress is no more the part of a historian as a historian, than it is the part of an astronomer as an astronomer to present in an artistic shape the story of the stars.
I recall an August afternoon in Chicago in 1973 when I took my daughter, then seven, to see what Georgia O’Keeffe had done with where she had been. One of the vast O’Keeffe ‘Sky Above Clouds’ canvases floated over the back stairs in the Chicago Art Institute that day, dominating what seemed to be several stories of empty light, and my daughter looked at it once, ran to the landing, and kept on looking. "Who drew it," she whispered after a while. I told her. "I need to talk to her," she said finally.
I grew up in an artistic family where everyone was doing something in one field of the arts or another. I was I think 12 years old when I did my first acting at the Actor's Studio and James Dean once said that the only reason to become and actor is because you have to. I think that you know from a young age if that is a certain rush that you're going to need to satisfy you and to make you feel fulfilled - and if you don't then you shouldn't do it. It's just too brutal of a business most of the time.
