Art Quotes - Page 433

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No other art-medium–neither painting nor poetry–can communicate the specific quality of the dream as well as the film can. When the lights go down in the cinema and this white shining point opens up for us, our gaze stops flitting hither and thither, settles and becomes quite steady. We just sit there, letting the images flow out over us. Our will ceases to function. We lose our ability to sort things out and fix them in their proper places. We're drawn into a course of events–we're participants in a dream. And manufacturing dreams, that's a juicy business.

Artists talk about art in sort of straightforward terms, more like the way you talk about plumbing fixtures. Does it function well? Does it bring the hot water up from the cellar efficiently, or does it lose too much thermodynamic energy in the process? Artists are also very ruthless with each other and can be very brutal in evaluating each other's work because their criteria is almost more mechanistic. Does it do what it's supposed to be doing in an efficient way? That doesn't mean that intention is not part of the conversation, but it's not the foreground.

I really believe that art has to play a role in changing the moral direction. Mean, selfish people are in charge of the government and we're letting them make us into a much meaner culture. It reminds me of McCarthyism, to be honest, and to the early stages of fascism. There are people out there cheering for war, treating those deaths like some kind of athletic event. How sick do we have to be that this is not only acceptable, but virtually unchallenged by other politicians or clergy or anyone? And it's artists who have to stand up and be counted. Right now.

There are little Indian girls out there who look up to me, and I never want to belittle the honor of being an inspiration to them. But while I’m talking about why I’m so different, white male show runners get to talk about their art. I always get asked, ‘Where do you get your confidence?’ I think people are well meaning, but it’s pretty insulting. Because what it means to me is, ‘You, Mindy Kaling, have all the trappings of a very marginalized person. You’re not skinny, you’re not white, you’re a woman. Why on earth would you feel like you’re worth anything?’

I have always sought to be understood and, while I was taken to task by critics or colleagues, I thought they were right, assuming I had not been clear enough to be understood. This assumption allowed me to work my whole life without hatred and even without bitterness toward criticism, regardless of its source. I counted solely on the clarity of expression of my work to gain my ends. Hatred, rancor, and the spirit of vengeance are useless baggage to the artist. His road is difficult enough for him to cleanse his soul of everything which could make it more so.

If the seminary is too large, it ought to be divided into smaller communities with formators who are equipped really to accompany those in their charge. Dialogue must be serious, without fear, sincere. It is important to recall that the language of young people in formation today is different from that in the past: we are living through an epochal change. Formation is a work of art, not a police action. We must form their hearts. Otherwise we are creating little monsters. And then these little monsters mold the People of God. This really gives me goose bumps.

Yes, the highest things are beyond words. That is probably why all art aspires to the condition of wordlessness. When literature works on you, it does so in silence, in your dreams, in your wordless moments. Good words enter you and become moods, become the quiet fabric of your being. Like music, like painting, literature too wants to transcend its primary condition and become something higher. Art wants to move into silence, into the emotional and spiritual conditions of the world. Statues become melodies, melodies become yearnings, yearnings become actions.

The format of the book was the idea of my wonderful editor, Stephen Segal. Stephen and I had worked together before, on projects for the Interstitial Arts Foundation, and when he got the idea for an accordion-style book, he called and asked if I could write the story for it. I told him that I would love to try! And I knew it had to be a love story, because that's the sort of story you really want to hear from both perspectives. I mean, imagine if Pride and Prejudice were told from Darcy's perspective as well as Elizabeth's. It would be quite a different story!

The dismal half-baked images of the average "reportage" and "documentary" photography are self dammning... the slick manner, the slightly obscure significance, the esoteric fear of simple beauty for its own sake - I am deeply concerned with these manifestations of decay. Gene Smith's work validates my most vigorous convictions that if the documentary photographs is to be truly effective it must contain elements of art, intensity, fine craft and spirituality. All these his work contains and we may turn to his work with gratitude, appreciation and great respect.

Poetry is perhaps this: an Atemwende, a turning of our breath. Who knows, perhaps poetry goes its way—the way of art—for the sake of just such a turn? And since the strange, the abyss and Medusa’s head, the abyss and the automaton, all seem to lie in the same direction—is it perhaps this turn, this Atemwende, which can sort out the strange from the strange? It is perhaps here, in this one brief moment, that Medusa’s head shrivels and the automaton runs down? Perhaps, along with the I, estranged and freed here, in this manner, some other thing is also set free?

The Puritan, of course, is not entirely devoid of aesthetic feeling. He has a taste for good form; he responds to style; he is even capable of something approaching a purely aesthetic emotion. But he fears this aesthetic emotion as an insinuating distraction from his chief business in life: the sober consideration of the all-important problem of conduct. Art is a temptation, a seduction, a Lorelei, and the Good Man may safely have traffic with it when it is broken to moral uses--in other words, when its innocence is pumped out of it, and it is purged of gusto.

I believe with all my heart that civilization has produced nothing finer than a man or woman who thinks and practices true tolerance. Some one has said that most of us don't think, we just occasionally rearrange our prejudices. And I suspect that even today, with all the progress we have made in liberal thought, the quality of true tolerance is as rare as the quality of mercy. That men of all creeds have fundamental common objectives is a fact one must learn by the process of education. How to work jointly toward these objectives must be learned by experience.

I've been an artist forever. I started when I was in the third grade. I drew drawings of monsters and I sold them to my classmates for a dime. I studied painting. Originally I was a design and illustration major, but I met this girl. Back then, if you were a designer, you were a real sellout, and she was a real hardcore painter. I knew she would never take me seriously unless I was an art major, so I switched majors to fine arts. Anyway, we're married now. So it worked. How I got to my style? I'm a weird artist in that everything I do looks a little different.

It is worthwhile adding that the power of the poem to teach not only sensibilities and the subtle movements of the spirit but knowledge, real lasting felt knowledge, is going mostly unnoticed among our scholars. The body of knowledge locked into and releasable from poetry can replace practically any university in the Republic. First things first, then: the primal importance of a poem is what it can add to the individual mind.Poetry is the voice of a poet at its birth, and the voice of a people in its ultimate fulfillment as a successful and useful work of art.

For me, being Christian Armenian, born into the Islamic culture in Iran and then, at the age of 13, being sent to England and embracing the English culture and becoming part of so-called swinging London and the era of euphoria and celebration that the '60s represented is very critical. It was a moment when, for the first time, the business of internationalism was being effectively represented-in music, art, cinema, design. Before that, everything was directed toward the old industry, the old school, the old format, and there was no room for varieties to evolve.

There questions of wanting to be an artist, and what does that mean, what makes you an artist? Are you an artist if you're in a gallery in New York and not an artist if you're doing it at home? Do you need legitimation to count? If you've been acculturated to believe that you have certain obligations - familial, social, human - if multitasking has been your forte and that's what's been praised and rewarded, where do you find the single-mindedness, the selfishness to do something like art? I think those are questions that arise differently for women and for men.

All "if" statements about the past are as dubious as prophecies of the future are. It seems fairly plausible that if Alexander or Ghengis Khan had never been born, some other individual would have filled his place and executed the design of the Hellenic or Mongolic expansion; but the Alexanders of philosophy and religion, of science and art, seem less expendable; their impact seems less determined by economic challenges and social pressures; and they seem to have a much wider range of possibilities to influence the direction, shape and texture of civilizations.

I love knowing and learning about people around the world displaying my art online. Also, it's how I learn about new artists that are in various parts of the world. The positive thing about Tumblr and Instagram is that they're a fantastic platform for art lovers. I also like, when I search for my art and it says, "see also or related artists," and I see those other artists that relate to me, at least according to the internet. I think it's fascinating - it's interesting to see hashtags people are using in relation to my work. It's another tool of communication.

The breakdown of the modern movement led to what later became known as postmodern-whatever the hell that means-referring to the mixture of people and backgrounds that became a common thing among artists in America. Many of the great artists in America, for example, came from Jewish families and backgrounds that fled all the way from Russia. It's remarkable, the great masters of American art and cinema who were coming from old roots in little villages there. And then Hollywood, and the haunting, hypnotic impact that American Cinema had throughout the world . . .

What is the central core of the subject [computer science]? What is it that distinguishes it from the separate subjects with which it is related? What is the linking thread which gathers these disparate branches into a single discipline. My answer to these questions is simple -it is the art of programming a computer. It is the art of designing efficient and elegant methods of getting a computer to solve problems, theoretical or practical, small or large, simple or complex. It is the art of translating this design into an effective and accurate computer program.

This, then, is the ultimate, that is only, consolation: simply that someone shares some of your own feelings and has made of these a work of art which you have the insight, sensitivity, and — like it or not — peculiar set of experiences to appreciate. Amazing thing to say, the consolation of horror in art is that it actually intensifies our panic, loudens it on the sounding-board of our horror-hollowed hearts, turns terror up full blast, all the while reaching for that perfect and deafening amplitude at which we may dance to the bizarre music of our own misery.

We therefore work, not for the work's sake, but for money—and money is supposed to get us what we really want in our hours of leisure and play. In the United States even poor people have lots of money compared with the wretched and skinny millions of India, Africa, and China, while our middle andupper classes (or should we say "income groups") are as prosperous as princes. Yet, by and large, they have but slight taste for pleasure. Money alone cannot buy pleasure, though it can help. For enjoyment is an art and a skill for which we have little talent or energy.

All of the Ten Commandments that are good were old; all that were new art foolish. If Jehovah had been civilized he would have left out the commandment about keeping the Sabbath, and in its place would have said: "Thou shalt not enslave thy fellow-men." He would have omitted the one about swearing, and said: "The man shall have but one wife, and the woman but one husband." He would have left out the one about graven images, and in its stead would have said: "Thou shalt not wage wars of extermination, and thou shalt not unsheathe the sword except in self-defence.

The Art of Success . . . Success is ninety-nine percent mental attitude. It calls for love, joy, optimism, confidence, serenity, poise, faith, courage, cheerfulness, imagination, initiative, tolerance, honesty, humility, patience, and enthusiasm. . . . Success is having the courage to meet failure without being defeated. It is refusing to let present loss interfere with your long-range goal. . . . Success is relative and individual and personal. It is your answer to the problem of making your minutes, hours, days, weeks, months, and years add up to a great life.

There is a conceptual depth as well as a purely visual depth. The first is discovered by science; the second is revealed in art. The first aids us in understanding the reasons of things; the second in seeing their forms. In science we try to trace phenomena back to their first causes, and to general laws and principles. In art we are absorbed in their immediate appearance, and we enjoy this appearance to the fullest extent in all its richness and variety. Here we are not concerned with the uniformity of laws but with the multiformity and diversity of intuitions.

Of all forms of mental activity, the most difficult to induce even in the minds of the young, who may be presumed not to have lost their flexibility, is the art of handling the same bundle of data as before, but placing them in a new system of relations with one another by giving them a different framework, all of which virtually means putting on a different kind of thinking-cap for the moment. It is easy to teach anybody a new fact...but it needs light from heaven above to enable a teacher to break the old framework in which the student is accustomed to seeing.

There are three ways in which a ruler can bring misfortune on his army: By commanding the army to advance or to retreat, being ignorant of the fact that it cannot obey. This is called hobbling the army. By attempting to govern an army in the same way as he administers a kingdom, being ignorant of the conditions which obtain in an army. This causes restlessness in the soldier's minds. By employing the officers of his army without discrimination, through ignorance of the military principle of adaptation to circumstances. This shakes the confidence of the soldiers.

Until we can insert a USB into our ear and download our thoughts, drawing remains the best way of getting visual information on to the page. I draw as a collagist, juxtaposing images and styles of mark-making from many sources. The world I draw is the interior landscape of my own personal obsessions and of cultures I have absorbed and adapted, from Latvian folk art to Japanese screens. I lasso thoughts with a pen. I draw a stave church or someone from Hello! magazine not because I want to replicate how they look, but because of the meaning they bring to the work.

Life is sacred. Life is art. Life is sacred art. The art of sacred living means being a holy actor, acting from the soul rather than the ego. The soul is out of space and time and hence always available, an ever-present potential of our being. It is up to each of us to celebrate and to actualize our being and to turn each meal, conversation, outfit, letter, and so on, into art. Every mundane activity is an opportunity for full authentic self-expression. The soul is our artistic self, our capacity for transforming every dimension of our lives into art and theater.

Some feminist critics debate whether we take our meaning and sense of self from language and in that process become phallocentric ourselves, or if there is a use of language that is, or can be, feminine. Some, like myself, think that language is itself neither male nor female; it is creatively expansive enough to be of use to those who have the wit and art to wrest from it their own significance. Even the dread patriarchs have not found a way to 'own' language any more than they have found a way to 'own' earth (though many seem to believe that both are possible).

I love to go out in late September among the fat, overripe, icy, black blackberries to eat blackberries for breakfast, the stalks very prickly, a penalty they earn for knowing the black art of blackberry-making; and as I stand among them lifting the stalks to my mouth, the ripest berries fall almost unbidden to my tongue, as words sometimes do, certain peculiar words like strengths or squinched, many-lettered, one-syllabled lumps, which I squeeze, squinch open, and splurge well in the silent, startled, icy, black language of blackberry - eating in late September.

I can worship Nature, and that fulfills my need for miracles and beauty. Art gives a spiritual depth to existence -- I can find worlds bigger and deeper than my own in music, paintings, and books. And from my friends and family I receive the highest benediction, emotional contact, and personal affirmation. I can bow before the works of Man, from buildings to babies, and that fulfills my need for wonder. I can believe in the sanctity of Life, and that becomes the Revealed Word, to live my life as I believe it should be, not as I'm told to by self-appointed guides.

Fashion has been collected and exhibited for many years. People were picking up clothing of famous individuals, like Marie Antoinette's shoe or Napoleon's hat. That part of the resistance to having fashion in museums had to do with it being associated with femininity, and with the female body. Yet, as early as the 18th century, some people were recognizing that just as you collected art, you, might think about collecting fashion for museums, because it would provide insight into the way people thought about their lives and, and the way they envisioned themselves.

The whole art of allowing the truth to take possession of you is of being vulnerable, of being open, of being in a let-go. Or in other words, the whole art consists of one word, "surrender". And that's what sannyas is, that's my definition of a sannyasin: a man who is surrendered to existence so totally that he never thinks in terms of achievement any more, because he is no more. Who is there to achieve? - he has disappeared totally, he has not left even a trace behind. In that very moment, when you are just a pure nothingness, truth arrives. It is a gift of God.

In our own time we have seen domination spread over the social landscape to a point where it is beyond all human control. Compared to this stupendous mobilization of materials, of wealth, of human intellect, of human labor for the single goal of domination, all other recent human achievements pale to almost trivial significance. Our art, science, medicine, literature, music and charitable acts seem like mere droppings from a table on which gory feasts on the spoils of conquest have engaged the attention of a system whose appetite for rule is utterly unrestrained.

When we look at the arts and letters in America, especially if we look at poetry, and poetry set to music, this dialogue, we have this very powerful beautiful, eclectic, diary, or narration of being in America, being American, participating in America, becoming more of America and also as an American, the American creative spirit, which is quite interesting. Our composers and poets have spent more time writing and thinking and speaking out of what it means to be a composer or poet as well as to be an American, or a composer or poet In America; both relationships.

Use what you have, use what the world gives you. Use the first day of fall: bright flame before winter's deadness; harvest; orange, gold, amber; cool nights and the smell of fire. Our tree-lined streets are set ablaze, our kitchens filled with the smells of nostalgia: apples bubbling into sauce, roasting squash, cinnamon, nutmeg, cider, warmth itself. The leaves as they spark into wild color just before they die are the world's oldest performance art, and everything we see is celebrating one last violently hued hurrah before the black and white silence of winter.

My dear friend, Bonnie, is a person who rests and, consequently, earned my ire early in our relationship. Her ability to rest eventually taught me incredibly valuable lessons about the art of taking time-outs. To this day, Bonnie is astutely aware of times when her energy dips too low and resolutely honors her need to rest. To boost her energy, she's been known to sit quietly with a cup of tea, adjourn a workshop we were co-facilitating to take a five-minute breather, or slip out of her own wedding reception to be restored by a few minutes of solitude in the sun.

In spite of their obvious differences, folk art and popular art have much in common; they are easy to understand, they are romantic, patriotic, conventionally moral, and they are held in deep affection by those who are suspicious of the great arts. Popular artists can be serious, like Frederick Remington, or trivial, like Charles Dana Gibson; they can be men of genius like Chaplin or men of talent like Harold Lloyd; they can be as uni versal as Dickens or as parochial as E.P. Roe; one thing common to all of them is the power to communicate directly with everyone.

You know, I sometimes think, how is anyone ever gonna come up with a book, or a painting, or a symphony, or a sculpture that can compete with a great city. You can't. Because you look around and every street, every boulevard, is its own special art form and when you think that in the cold, violent, meaningless universe that Paris exists, these lights. I mean come on, there's nothing happening on Jupiter or Neptune, but from way out in space you can see these lights, the cafés, people drinking and singing. For all we know, Paris is the hottest spot in the universe.

You have to take the responsibility totally, that it is you who decides either to be in misery or to be in blessing. If you want misery, have more desires. If you want a blissfulness, then learn the art - even for few moments - of being desireless, and you will be surprised. Even for a few moments, if you are desireless, all anguish, all anxiety disappears. And you are so contented, so fulfilled, that you cannot ask for more. Your blessing is so much that you can only say that you bless the whole existence. Still it will be there. It is so much; it is overflowing.

Whether you create, or you observe an objective piece of creativity, meditation should be the key. Without it, mind can only spread on the canvas its nightmares. Most of the paintings of the great painters like Paul Gaugin or Picasso are almost like vomit. They could not contain their agony and suffering - it was so much they threw it on the canvas to get relief. The real objective art is not a relief; it is not a sickness that you want to get rid of. It is a blissfulness that you want to share. And by sharing, it grows; you have more of it, the more it is shared.

The techniques are all means of dealing with one simple idea: She wrote it. (That is, the "wrong" person--in this case, female--has created the "right" value--i.e., art.) Denial of Agency: She didn't write it. Pollution of Agency: She shouldn't have written it. Double Standard of Content: Yes, but look what she wrote about. False Categorizing: She is not really she [an artist] and it is not really it [serious, of the right genre, aesthetically sound, important, etc.] so how could "she" have written "it"? Or simply: Neither "she" nor "it" exists (simple exclusion).

In Utero is a testament to the artistic vision of Kurt Cobain. It's kind of a weird record, and it's strangely beautiful at the same time. And if you look at Kurt's paintings and his drawings - he even did a sculpture for me - it's a rising, tortured-spirit person. It's kind of weird. It's done well, but it's like what Dave was saying about having your own sound. Kurt was a great songwriter. He knew he had a good ear for a hook [and was] a great singer, great guitar player, and In Utero is a good representation of what he liked in art and how he expressed himself.

What I feel I can do is help people become aware of how pervasive and extensive the arts are, how they affect each one of us in our daily lives—what kind of [buildings] we live in, what kind of clothes we wear, what we see with our eyes. We are often blind to the beautiful things around us. What I'm mostly concerned about is how often we're blind to our own talent. I think that within each human being there is a creative spirit, and some of us have been fortunate enough to have good teachers and parents who've brought this out and encouraged it, but others haven't.

What can be more foolish than to think that all this rare fabric of heaven and earth could come by chance, when all the skill of art is not able to make an oyster? To see rare effects, and no cause ; a motion, without a mover ; a circle, without a centre ; a time, without an eternity ; a second, without a first : these are things so against philosophy and natural reason, that he must be a beast in understanding who can believe in them. The thing formed, says that nothing formed it ; and that which is made is, while that which made it is not, This folly is infinite.

That so many of us find it entirely plausible that a vast network of researchers and health officials and doctors worldwide would willfully harm children for money is evidence of what capitalism is really taking from us. Capitalism has already impoverished the working people who generate wealth for others. And capitalism has already impoverished us culturally, robbing unmarketable art of its value. But when we begin to see the pressures of capitalism as innate laws of human motivation, when we begin to believe that everyone is owned, then we are truly impoverished.

The truth of literature and art has always been granted (if it was granted at all) as one of a "higher" order, which should not and indeed did not disturb the order of business. What has changed in the contemporary period is the difference between the two orders and their truths. The absorbent power of society depletes the artistic dimension by assimilating its antagonistic contents. In the realm of culture, the new totalitarianism manifests itself precisely in a harmonizing pluralism, where the most contradictory works and truths peacefully coexist in indifference.

Studying music encourages self-discipline and diligence, traits that carry over into intellectual pursuits and that lead to effective study and work habits. An association of music and math has, in fact, long been noted. Creating and performing music promotes self-expression and provides self-gratification while giving pleasure to others. In medicine, increasing published reports demonstrate that music has a healing effect on patients. For all these reasons, it deserves strong support in our educational system, along with the other arts, the sciences, and athletics.

Explore, and explore, and explore. Be neither chided nor flattered out of your position of perpetual inquiry. Neither dogmatise yourself, nor accept another's dogmatism. Why should you renounce your right to traverse the star-lit deserts of truth, for the premature comforts of an acre, house, and barn? Truth also has its roof, and bed, and board. Make yourself necessary to the world, and mankind will give you bread, and if not store of it, yet such as shall not take away your property in all men's possessions, in all men's affections, in art, in nature, and in hope.

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