Best 99 quotes in «artistry quotes» category

General belief is “There is no real magic, only tricks” but a great magician compel people not to trust that belief and make them believe, after all "There does exist a real magic".

Give royal treatment to your original magic effects, because one of the effects might make you the king of magic.

He locked himself up in his sanctuary of art and carried the keys with him at all times. He maintained the social façade for financial security. The more tragedies were shackled to his name, the more demand there was for his public persona to clean up after the family name and showcase his art to overshadow his domestic disasters. His prominent reputation in the limelight of the town kept buzzing while the man behind the infamy withered in privacy.

He was no god, just an artist; and when an artist is a man, he needs a woman to create like a god.

If New Orleans is not fully in the mainstream of culture, neither is it fully in the mainstream of time. Lacking a well-defined present, it lives somewhere between its past and its future, as if uncertain whether to advance or to retreat. Perhaps it is its perpetual ambivalence that is its secret charm. Somewhere between Preservation Hall and the Superdome, between voodoo and cybernetics, New Orleans listens eagerly to the seductive promises of the future but keeps at least one foot firmly planted in its history, and in the end, conforms, like an artist, not to the world but to its own inner being--ever mindful of its personal style.

He who can command, he who is a ‘master’ by nature, he who is forceful in deed and gesture – what has he to do with contracts! Such beings violate our every assumption: they come unexpectedly, without cause, reason, notice, excuse; they appear as suddenly as lightning, and are too terrible, too sudden, too convincing, too ‘different’ even to be hated. Their work is the instinctive creation and imposition of forms; of all artists, their work is the most instinctive, unconscious – in connection with appearance there arises something new, a system of governance which is alive , in which the functions and parts are defined and related to one another, in which above all no part finds a place unless it has some ‘function’ in connection with the whole. These instinctive organizers, they know nothing of guilt, responsibility, consideration; they are subject to that terrible artist-egoism which gleams like brass, and which sees itself justified to all eternity, in its work, even as a mother sees in her child.

He was ... at peace with the world, for it is not in the praise of others that the true artist revels, but in the knowledge that he has satisfied himself.

I can’t overstate how little I knew about myself at 22, or how little I’d thought about what I was doing. When I graduated from college I genuinely believed that the creative life was the apex of human existence, and that to work at an ordinary office job was a betrayal of that life, and I had to pursue that life at all costs. Management consulting, law school, med school, those were fine for other people — I didn’t judge! — but I was an artist. I was super special. I was sparkly. I would walk another path. And I would walk it alone. That was another thing I knew about being an artist: You didn’t need other people. Other people were a distraction. My little chrysalis of genius was going to seat one and one only.

If an artist can occupy the void of artistry while simultaneously parodying its iconography, they can have their metaphorical cake and cannibalise its crumbs too.

If you ask a twenty-one-year-old poet whose poetry he likes, he might say, unblushing, "Nobody's," In his youth, he has not yet understood that poets like poetry, and novelists like novels; he himself likes only the role, the thought of himself in a hat.

If you are really bored with life, just meet a decent magician and have a close up magic show, he will restore inspiration in your life.

I have a transgressive spirit, and Pop is transgression's best friend.

I had artistic classical training, and when you learn the classics for so many years, you might gain audacity, power and confidence to subvert everything. I am like the originals buffoons. I love the rules because I can break them.

I'm a Joker. Dangerous and silly at the same time.

I paint the stuff I see when my eyes are closed

In time, all great masterpieces turn into shameless creatures who laugh at their creators.

Not without deep pain do we admit to ourselves that the artists of all ages have in their highest flights carried to heavenly transfiguration precisely those conceptions that we now recognize as false: they are the glorifiers of the religious and philosophical errors of humanity, and they could not have done this without their belief in the absolute truth of these errors. Now if the belief in such truth generally diminishes, if the rainbow colors at the outermost ends of human knowing and imagining fade: then the species of art that, like the Divina commedia, Raphael's pictures, Michelangelo's frescoes, the Gothic cathedrals, presupposes not only a cosmic, but also a metaphysical significance for art objects can never blossom again. A touching tale will come of this, that there was once such an art, such belief by artists.

It is true that all men are created in the image of God, but Christians are supposed to be conscious of that fact, and being conscious of it should recognize the importance of living artistically, aesthetically, and creatively, as creative creatures of the Creator. If we have been created in the image of an Artist, then we should look for expressions of artistry, and be sensitive to beauty, responsive to what has been created for us” (p. 32).

Magic is not just for the entertainment, but to inspire people to be creative enough with their lives.

Marketing is so powerful that it can make even an extremely untalented musician a one-hundred-hits wonder.

No matter how many times audience has already applauded, the sound of their applause will get louder with the better quality of your magic effect.

Nothing I do is natural, realistic, organic or accidental. I'm never spontaneous, I'm completely premeditated.

It was a net from which it seemed to me, a few hours ago, that there was no possible escape. But he had not that supreme gift of the artist, the knowledge of when to stop. He wished to improve that which was already perfect . . . and so he ruined all.

Magic is logic.

No tricks, no tools, but talent makes a task truly top class.

One must know a bad performance to know a good one. You can't be middle-of-the-road about it, just as you can't be middle-of-the-road about life. I mean, you can't say about Hitler, I can take him or leave him. Well, I can't be middle-of-the-road about a performance, especially my own. I feel that if I can vomit at seeing a bad performance, I'm ahead of the game.

One is either an artist or one is not. It is not something one becomes. It is something that one is from birth. We do not study to be artists. We study to become more proficient. To understand more.

Only after a writer lets literature shape her can she perhaps shape literature. In working-class France, when an apprentice got hurt, or when he got tired, the experienced workers said, "It is the trade entering his body." The art must enter the body, too.

Only the artistic will to transform the future into a space of unlimited art-elevating chances enables us to understand the core of the procreation rule: 'a creator shall you create [...] a self-propelling wheel, a first movement'. This rule contains no less than Nietzsche's theology after the death of God: there will continue to be a God and gods, but only humanity-immanent ones, and only to the extent that there are creators who follow on from what has been achieved in order to go higher, faster and further.

Prove to the world that you are alive, let your words breathe life into the nostrils of the universe.

Our talents are living things, we give birth to them, nourish them till they grow and become immortal.

Pampered content is a public resignation of artistic integrity.

Perhaps the single most enjoyable part of my researches, which covered a period of about four years, was meeting the artists themselves, the people who provide the luxuries. All of them, from tailors and boot makers to truffle hunters and champagne blenders, were happy in their work, generous with their time, and fascinating about their particular skills. To listen to a knowledgeable enthusiast, whether he's talking about a Panama hat or the delicate business of poaching foie gras in Sauternes, is a revelation, and I often came away wondering why the price wasn't higher for the talent and patience involved.

Pop is about speaking everybody's language. The imagery and iconography we instantly recognize. When you can rely on things that the public already knows, you're dealing with Pop.

Reading is the foundation of learning but an artist drew up the blueprints.

Some days are better than others. The same can be said about people.

(reporter interviewing Broadway dancer Tommy Tune:) 'Do you think that greats like Fred Astaire possessed some kind of magic?' (pause) 'No. Magic possesses them'.

That I isn't I anymore. It's someone else, the character who plays me, someone who's a better actor than I could ever be. I'm just the writer. Someone else is starring in my part. I remember him just well enough to try to write about him. A case of the negative sublime. I guess art's always after the fact. The real is imaginary, or imagined. Reconstitution, reconstruction, representation is all we're left with. Autobiography becomes biography in the end.

Take delight on a woman’s pubic hair for its a signature of maturity and a secretive covenant . . . the hair signifies potent sexual energy and strength hold but also signifies virility of the animalistic tendencies and royal power . . . A woman who rejects narcissism of complete vaginal hair removal gives a signature of strength, virtuously liberated, body acceptance, and more womanhood.

Sometimes for the spectators a great magic effect is worth a life’s experience.

There are several ways to perform almost any act - an efficient, workable, artistic way and a careless, indifferent, sloppy way. Care and artistry are worth the trouble. They can be a satisfaction to the practitioner and a joy to all beholders.

The best art is not always the most popular art, and the most popular art is never truly the best art. The best art is that which is streamed through God. And the worst art is that which is void of God. The master artist of the universe is the Creator of All Things, and his reflection is in all of us. Only the artist who is aware that he is a reflection of that greatness, and that creativity is supreme love, is a true divine artist. Even if he is not the most popular artist, he will be very popular among the stars of His universe. That is the master artist, one who uses his talents to serve as a vehicle of God. In his work, you hear God's voice and see with His eyes.

The essence of the motif is the mirror of water, whose appearance alters at every moment.

The poem in the head is always perfect. Resistance starts when you try to convert it into language. Language itself is a kind of resistance to the pure flow of self.

The look that one directs at things, both outward and inward, as an artist, is not the same as that with which one would regard the same as a man, but at once colder and more passionate. As a man, you might be well-disposed, patient, loving, positive, and have a wholly uncritical inclination to look upon everything as all right, but as an artist your daemon constrains you to "observe", to take note, lightning fast and with hurtful malice, of every detail that in the literary sense would be characteristic, distinctive, significant, opening insights, typifying the race, the social or the psychological mode, recording all as mercilessly as though you had no human relationship to the observed object whatever.

There is one art, no more, no less, to do all things with artlessness.

There was a man with tongue of wood Who essayed to sing, And in truth it was lamentable. But there was one who heard The clip-clapper of this tongue of wood And knew what the man Wished to sing, And with that the singer was content.

(...) there's a difference between what happens to one in real life and what one can make real in art.

There’s something about doing a job well that is akin to art.

There’s this misconception that artists should create their own mythologies, through how they live. Not true. They should create their own mythologies through their work. In whatever styles, textures and approaches they choose to use.