Quotes of All Topics . Occasions . Authors
A man's work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened.
The moment you think you understand a great work of art, it's dead for you.
No matter how hard I tried to popularize, I never cheapened a great work of art.
Every work of art is a great promise of escape and, therefore, like an open invitation.
All great art is the work of the whole living creature, body and soul, and chiefly of the soul.
When the bright angel dominates, out comes a great work of art, a Michelangelo David or a Beethoven symphony.
'Parsifal' is one of the great examples in art of a work that transcends the personality of the man who wrote it.
I like the fact that in ancient Chinese art the great painters always included a deliberate flaw in their work: human creation is never perfect.
I want to continue to do some great work. I'm nowhere close to where I want to be. I'm a diverse person who's trying to use his art to make the world better.
The ultimate, if distant, aim of the Bauhaus is the unified work of art - the great structure - in which there is no distinction between monumental and decorative art.
Unless the work of art has wholly exhausted its maker's attention, it fails. This is why works of great significance are demanding and why they are infinitely rewarding.
You don't have to have a great art idea - just get to work and something will happen. So that's pretty much my modus operandi and pretty much my principal position, such as it is.
As much as we'd like to believe that our work is great and that we're infallible, we're not. Hollywood movies are made for the audience. These are not small European art films we're making.
All too often, when people think about art in the U.K., they think London. There's some really great work being produced outside of the capital city and I think it is important to stop and acknowledge that.
Art was always my main focus; I fell into writing by accident in the 1980s, writing magazine articles to pay for my studio. I have to put myself into the position of writing; sometimes it doesn't work, and sometimes it works great.
I did work at Christie's for a couple of weeks, getting ready for 'The Devil Wears Prada,' getting people coffee and doing whatever they needed around the office. It was amazing. I got to see some wonderful art, and everybody was really nice. It was great.
It's great that New York has large spaces for art. But the enormous immaculate box has become a dated, even oppressive place. Many of these spaces were designed for sprawling installations, large paintings, and the Relational Aesthetics work of the past fifteen years.
The plan was just to make great art, and working with Donald Glover, who is such a renaissance man, we've been working together for ten years, and he is always pushing the envelope in a way - like, whenever we work together, I have no idea what it is going to turn out to be.
I feel when you walk into somebody's apartment on Fifth Avenue or house in Malibu and you see a Basquiat, a Warhol, a Richard Prince, you say to yourself, '$700,000, $2.2 million, $350,000...' To me that is completely uninteresting. I'd rather go to a house where there's great art and I have no idea who the work is by.
Hollywood is a special place; a place filled with creative geniuses - actors, screenwriters, directors, sound engineers, computer graphics specialists, lighting experts and so on. Working together, great art happens. But in the end, all artists depend on diverse audiences who can enjoy, be inspired by and support their work.
I've worked with actors before where I was like, this is not working, and then I've seen their work on the screen and I've been like, Wow, that was a really great performance. Because there are a lot of elements with film. It's not like stage. It's not a kind of performance art anymore; it's a highly tuned kind of collaboration - a symphony.
