Quotes of All Topics . Occasions . Authors
I use printers to make prints of the images that I am creating. And I try to have that surface kind of replicated in the painting.
This is a culture filled with perfect images of women and perfect images of movie actresses, and most people can't live up to them.
Art is more than a series of images that are disembodied. Art is objects that live in real places, economies, spaces, architecture.
When our TV screens are filled with heartbreaking images of suffering, we have to dig deep inside ourselves in order to keep going.
People of color have a constant frustration of not being represented, or being misrepresented, and these images go around the world.
The most ordinary word, when put into place, suddenly acquires brilliance. That is the brilliance with which your images must shine.
The Internet is fascinating but also stupid in a way. You only see two-dimensional images, and you think you've seen it and know it.
Writers and politicians are natural rivals. Both groups try to make the world in their own images; they fight for the same territory.
For more than two decades, GLAAD has combatted anti-LGBT images in the media and changed the national conversation about LGBT people.
There's something fascinating about record collector minds, hoards of quotes shared and dealt like cards, lines traded, images bought.
Different people get different things out of the images. It doesn't matter what it's about, all that matters is how it makes you feel.
I have always been fascinated by the way music can completely change the way you watch film - and how you feel as you watch the images.
The way we tell our stories on stage is that we use spoken word to convey action, and in movies, we use visual images to convey action.
Movies become art after editing. Instead of just reproducing reality, they juxtapose images of it. That implies expression; that's art.
I remember how my world expanded in amazing fashion by that magical operation of translating words into images, and images into stories.
If you get rid of music, images, videos, words and literature from the smartphone, you just have a simple phone that would be worth $50.
For me, nudity and strong language have never been huge loadbearing elements of how I like to tell a story. Graphic images certainly are.
Before I write a novel, images float around in my head that work like icons - they are meaningless in themselves, but serve as reminders.
I felt like I was definitely seeing something - the falsely gorgeous images of war, painted, almost invariably, in 'Times' combat photos.
My concern has always been with creating images that catch people's eyes, penetrate their minds, warm their hearts and cause them to act.
I try to give the media as many confusing images as I can to retain my freedom. What's real is for my children and the people I live with.
Music conveys moods and images. Even in opera, where plots deal with the structure of destiny, it's music, not words, that provides power.
When I have used cartoon images, I've used them ironically to raise the question, 'Why would anyone want to do this with modern painting?'
Dream Home' is uncomplicated with everyday language that resonates with homeowners. We also included hundreds of never-before-seen images.
When you look at magazines, you feel so inadequate and so small and you feel really imperfect, when you're constantly seeing these images.
War is big and there are only so many reporters and only so many places for their words and images to appear. Choices are made constantly.
I am not at all interested in theories about cinema. I am only interested in images and people and sound. I am really a very simple person.
As bad as it might be to destroy a creature made in God's image, it might be very much worse to be creating them after images of one's own.
Drake went through my exhibition. I did meet him in Los Angeles, and he was in the spaces that I did do there, and has some images from that.
I am fascinated by the idea of employing beautiful images as a device to convey something extremely disturbing in an apparently harmless way.
The best models in the industry are the ones who feel comfortable on the set. If she doesn't feel comfortable, the images won't be beautiful.
Our culture now wonderfully, alchemically transforms images and history into artistic material. The possibilities seem endless and wide open.
For whatever reason, from a young age I've always been able to shoot images and cut them together with sound in a way that was very engaging.
Any images that I've had retouched, I look at them, and I think, 'Oh I actually don't want that.' That's why I don't share them on Instagram.
What I try to do is the art of building, and the art of building is the art of construction; it is not only about forms and shapes and images.
Truly great images make all the other millions of images you look at unimportant. You gotta look at an image and understand it in a nanosecond.
These days, our senses are bombarded with aggression. We are constantly confronted with global images of unending, escalating war and violence.
You've got to work. You've got to want an audience to sit forward in their chairs sometimes, rather than sit back and be bombarded with images.
When the doctor said I had diabetes, I conjured images of languishing on a chaise longue nibbling chocolates. I have no idea why I thought this.
I don't watch horror films, because I don't want those images in my psyche, and I resent having them forced on me before a movie of my choosing.
I made several short films with very little dialogue. I'm still not a fan of talking heads. My stories are told with images as much as possible.
Most people think of cinematographers as choosing subjects of an epic nature to show off what they do - big, sweeping images of war or pageantry.
In my work, I construct texts and images. Between those two points the blur occurs. Each is altered by the other again and again, back and forth.
Most people are visually illiterate. Most people don't understand images: they don't understand how to interpret them or how to manufacture them.
I don't covet images or belongings. My television set and video are rented, any paintings aren't worth a fortune, and money is of little interest.
I'm always secretly the most pleased when a show just really, really looks good and when my camera guys are really happy with the images they got.
Showing 'Get Out' to a room full of strangers and having them react lets them be introspective and see the way certain images affect other people.
I think that we can't deny the public's want for balancing out the images that are out there depicting women. Not all of us are 17 and a size two.
My books come to me in images, and sometimes the image is at the beginning of the book, and sometimes it's simply a flash somewhere in the middle.
I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.