Quotes of All Topics . Occasions . Authors
You like it, that's all, whether it's a landscape or abstract. You like it. It hits you. You don't have to read it. The work of art-sculpture or painting-forces your eye.
I cannot pretend to do sculpture and make a woman the ridiculous pedestal of my pretensions. To render clothing poetic, yes--but one must preserve its dignity as clothing.
In my opinion, everything, every shape, every bit of natural form, animals, people, pebbles, shells, anything you like are all things that can help you to make a sculpture.
The nearest approach I have ever seen to the symmetry of ancient sculpture was among the Arab tribes of Ethiopia. Our Saxon race can supply the athlete, but not the Apollo.
Im sick of the foodies who need every morsel that goes into their mouth to be a Picasso painting, a Giacometti sculpture, a Proust novel, evoking the world with each crumb.
The best artist has that thought alone Which is contained within the marble shell; The sculptor's hand can only break the spell To free the figures slumbering in the stone.
Food is exacting. The face is truly a canvas upon which our food choices paint an accurate picture. The body is truly a sculpture, chiseled and polished by our food choices.
I'm sick of the foodies who need every morsel that goes into their mouth to be a Picasso painting, a Giacometti sculpture, a Proust novel, evoking the world with each crumb.
All my life as an artist I have asked myself: What pushes me continually to make sculpture? I have found the answer. art is an action against death. It is a denial of death.
The sculptor must search with passionate intensity for the underlying principle of the organisation of mass and tension - the meaning of gesture and the structure of rhythm.
Film is like sculpture, writing, acting, technical arts, all sorts of arts. And that's why I wanted to do it for so long, because it would include so many places for attention.
It's hard for people to understand editing, I think. It's absolutely like sculpture. You get a big lump of clay, and you have to form it - this raw, unedited, very long footage.
My paintings and sculptures, at first glance, may appear to be purely aesthetic; closer up, they are not. They hold a feeling of tentativeness, combined with a sense of arrival.
Scale is very, very important, like the scale of a person is very important. It's to do with the size of our space, the fact they are big sculptures, they are still human scale.
I've always been concerned with my sculpture. The drawings I do at night at home to relax. And for a long time, I just gave them to friends or my wife and didn't really show them.
I paint - I tend more to abstraction - but not as much as I would like to because of time. I would love to do sculpture - I've toyed with the idea of fitting in a sculpture course.
It could be that people want to consume sculpture the way they consume paintings - through photographs... I'm interested in the experience of sculpture in the place where it resides.
Sculpture is not the mere cutting of the form of anything in stone; it is the cutting of the effect of it. Very often the true form, in the marble, would not be in the least like itself.
Art itself, in all its methods, is the child of religion. The highest and best works in architecture, sculpture and painting, poetry and music, have been born out of the religion of Nature.
Art has become more than painting, sculpture or music: art is more than Van Gogh painting a landscape or Wagner composing an opera. The whole of reality itself has become the object of art.
I would never put a sculpture in front of a painting, so that it is difficult to see the painting. I always place each thing so you can see it isolated. You can focus on every individual work.
I've noticed a lot of younger artists have less fear of doing different sorts of things, whether it's various types of music, or gallery artists moving between video and sculpture and drawing.
It is easy now to communicate with people through abstraction, and particularly so in sculpture. Since the whole body reacts to its presence, people become themselves a living part of the whole.
Without the definiteness of sculpture and painting, music is, for that very reason, far more suggestive. Like Milton's Eve, an outline, an impulse, is furnished, and the imagination does the rest.
'Spring One' probably has only four bars of Vivaldi in it, but it feels like it's all Vivaldi. It's odd. It's a bit like walking around a sculpture, you just sort of see it from a different angle.
We are each given a block of marble when we begin a lifetime, and the tools to shape it into sculpture... We can drag it behind us untouched, we can pound it into gravel, we can shape it into glory.
Art works because it appeals to certain faculties of the mind. Music depends on details of the auditory system, painting and sculpture on the visual system. Poetry and literature depend on language.
I usually have several things on the go. Whether it is my own drawings for the next work that I am working on while a sculpture is being fabricated or several works at different points in production.
That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.
It wasn't stone. It wasn't welded steel. It wasn't traditional sculpture. They thought it was craft, or something else, but not art. They couldn't define it in the early Fifties when I was starting out.
I'm quite sure that all true professional artists, of every description, in all walks of life, whether their craft is painting, music, sculpture, medicine or anything have one primary concern - mankind.
I'm quite sure that all true professional artists, of every description, in all walks of life, whether their craft is painting, music, sculpture, medicine or anything, have one primary concern - mankind.
The Parthenon is really only a farmyard over which someone put a roof; colonades and sculptures were added because there were people in Athens who happened to be working and wanted to express themselves.
And certainly the history of public sculpture has been disastrous but that doesn't mean it ought not to continue and the only way it even has a chance to continue is if the work gets out into the public.
Each artist comes to the painting or sculpture because there he can be told that he, the individual, transcends all classes and flouts all predictions. In the work of art, he finds his uniqueness confirmed.
If conversation be an art, like painting, sculpture, and literature, it owes its most power charm to nature; and the least shade of formality or artifice destroys the effect of the best collection of words.
A painting or sculpture not modelled on any real object is every bit as concrete and sensuous as a leaf or a stone... but it is an incomplete art which privileges the intellect to the detriment of the senses.
Ideas were growing in all directions and dimensions; they were becoming a sculpture, or a castle. And then everyone left her, to return to their own affairs; and she was alone, and empty and unbelieving again.
Painting and sculpture are very archaic forms. It's the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe.
The thing with sculpture is, 90% of the time, when I pass a piece of sculpture, it's in public or somewhere, and it's just, how inconvenient that that's there. It takes up so much room, and it's so oppressive.
When a finished work of 20th century sculpture is placed in an 18th century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us.
My first impression of Beverly Hills was that it had a landscape of small houses built by famous architects, so I didn't want to make a big block or sculpture here; I wanted to make a community rooted to the place.
Whether you listen to a piece of music, or a poem, or look at a picture or a jug, or a piece of sculpture, what matters about it is not what it has in common with others of its kind, but what is singularly its own.
Every other piece of industrial design is a pot or a dish or something insignificant. But when you have a chair, it's like a sculpture of a person: it's alive. It's big. You can't miss it. It's a 'look at me!' item.
Firstly I did it in this huge theatre in Avignon, then to smaller places, then bigger places. You have to change the volume of the voice, give more or less. The way you have to relate to space makes it like sculpture.
I really have to think of myself as a painter first because sculpture came much, much later. As a student at the Art Institute in Chicago, I simply never became involved in sculpture. I did prints, and I did paintings.
The Bauhaus strives to bring together all creative effort into one whole, to reunify all the disciplines of practical art - sculpture, painting, handicrafts, and crafts - as inseparable components of a new architecture.
If I wanted to have total control and be a dictator, I would do ice sculpture in my basement. If I want to make a movie, I'm going to work with 500 people, and I will have to work with their strength and their weakness.
Though I love the arts with all my heart - paintings, sculpture, theatre, and music - and think they are among the biggest achievements we humans can do, I am really convinced that architecture is among the most important.
I believe people can have a profound experience by being surrounded by something beautiful - that's what I aim for. My sculpture is about the way you feel when you're standing under it and inside it. It's experiential art.