Best 22487 quotes in «art quotes» category

In such a person, sadness breeds purpose; finding inspiration in the darkness and often times, I believe, they will impress a hell onto their own lives in order to re-create it, that others might suffer the experience from the comfort of their armchairs. - Quote from Her Past's Present.

Intelligence can create nothing without action.

Intellectual work sometimes, spiritual work certainly, artistic work always — these are forces that fall within its grasp, forces that must travel beyond the realm of the hour and the restraint of the habit. Nor can the actual work be well separated from the entire life. Like the knights of the Middle Ages, there is little the creatively inclined person can do but to prepare himself, body and spirit, for the labor to come — for his adventures are all unknown. In truth, the work itself is the adventure. And no artist could go about this work, or would want to, with less than extraordinary energy and concentration. The extraordinary is what art is about.

In terms of craft, there’s no excuse for losing readers through sloppy workmanship. If they doze off in the middle of your article because you have been careless about a technical detail, the fault is yours. But on the larger issue of whether the reader likes you, or likes what you are saying or how you are saying it, or agrees with it, or feels an affinity for your sense of humor or your vision of life, don’t give him a moment’s worry. You are who you are, he is who he is, and either you’ll get along or you won’t.

In the absence of organized religion, faith abounds, in the form of song and art and food and strong arms.

In the arts, as in life, everything is possible provided it is based on love.

Interns, unite: you have nothing to lose but your unpaid positions!

In the art of magic be quick of sleight and slow of climax.

In the case of someone who is spiritual receptive, it is possible to talk of an analogy between the impact made by a work of art and that of a purely religious experience. Arts acts above all on the soul shaping its spiritual structure.

in the corner of the painting of success the signature is blurred

In the end the soul is itself the longing of the soulless for salvation.

In the end, this volume should be read a s a collection of love stories, Above all, they are tales of love, not the love with which so many stories end – the love of fidelity, kindness and fertility – but the other side of love, its cruelty, sterility and duplicity. In a way, the decadents did accept Nordau's idea of the artist as monster. But in nature, the glory and panacea of romanticism, they found nothing. Theirs is an aesthetic that disavows the natural and with it the body. The truly beautiful body is dead, because it is empty. Decadent work is always morbid, but its attraction to death is through art. What they refused was the condemnation of that monster. And yet despite the decadent celebration of artifice, these stories record art's failure in the struggle against natural horror. Nature fights back and wins, and decadent writing remains a remarkable account of that failure.

In the dynamics of the main family of the story, a rising socialist in England's postwar government expects his grandparents to be pleased that the local aristocrat's garden is commandeered to allow the people to get coal underneath. Instead, the grandparents grieve because the garden represents something more than a resource to be divided. It is a symbol of community and beauty.

In the future, as in the present, as in the past, black people will build many new worlds. This is true. I will make it so. And you will help me.

In the heart of appeasement there's the fear of rejection, and in acts of fear there are mirrors of oppression.

In the example of the navigator, no writing was essential to draw the meaning of observing the object at a distance from the ship. In the real the observation has been noted and that is enough to give it a meaning, a subjective meaning, a meaning exclusively important for the navigator himself.

In the flailing light they all looked sharp-edged and ethereal and divided by great distances

In the late afternoon, Lily approached Ian as he reclined on the couch sketching. “I’ve got something to ask you,” she said, the tiniest waver in her voice betraying her nervousness. Ian went on high alert and placed his pad and pencil on the coffee table. “What is it, sweetheart?” he managed to get out, keeping his voice even. Lily wrung her hands. “Okay. Now, you don’t have to if you don’t want to, okay? I promise I’ll understand if you say no. Really, I will.” His shoulders slumped in relief and he rescued her hands from each other before either was damaged. “Darlin’, you needn’t be afraid to ask. I would love for you to take me to bed and spend the rest of the day making wild, passionate love to me. Tonight and tomorrow too, if that would make you happy,” Ian assured her. Lily blinked and frowned uncertainly. “Umm…tempting as that sounds, no, that’s not it.” “Need an organ donated, then? I’ve got one in mind just for you.” “This is serious.” She giggled, thumping him on the chest. “Damn right it is. Do you have any idea how long it’s been since I’ve seen you naked?” he said, raising an eyebrow in challenge. “How the hell am I supposed to get better under these horrific conditions? I may end up in therapy yet. See, look, my eye’s already starting to twitch…

In the old days, when travelers would get lost, they would follow the stars and I love that idea. I wish that I could rely on something as simple and magnificent as a star for all of my aching questions.

In the moment before I crossed over, I knew that the priests and magicians of Egypt were fools and charlatans for promising to prolong the beauties of life beyond the world we are give. Death is no enemy, but the foundation of gratitude, sympathy, and art. All of life's pleasures, only love owes no debt to death.

In the psychology of aesthetics, there is a name for the moment between the anxiety of confronting something new and the satisfying click of understanding it. It is called an 'aesthetic aha.

In the same way there is much, much in all of us, but we do not know it. No one ever calls it out in us, unless we are lucky enough to know intelligent, imaginative, sympathetic people who love us and have the magnanimity to encourage us, to believe in us, by listening, by praise, by appreciation, by laughing. If you are going to write, you must become aware of this richness in you and come to believe in it and know it is there so that you can write opulently with with self-trust. Once you become aware of it, have faith in it, you will be all right. But it is like this: if you have a million dollars in the bank and don't know, it doesn't so you any good.

In the turbulent art arena they all pitch in and do their dubious and mercantile part in the rocambolesque saga of the art since so many judge art with their ears and the sound of the money. (“When is art?”)

In the twentieth century, one encounters artworks that seek to cancel the difference between a real and an imagined reality by presenting themselves in ways that make them indistinguishable from real objects. Should we take this trend as an internal reaction of art against itself? … No ordinary object insists on being taken for an ordinary thing, but a work that does so betrays itself by this very effort. The function of art in such a case is to reproduce the difference of art. But the mere fact that art seeks to cancel this difference and fails in its effort to do so perhaps says more about art than could any excuse or critique.

In the stillness I find my heart growing hot while I seek the person I have already found. God is so much more than I know.

In the wake of the Patriot Act, during the second administration of George W., you made a series of small, handheld weapons. The rule was that each weapon had to be assembled from household items within minutes. You’d been gay-bashed before, two black eyes while waiting in line for a burrito (you ran after him, of course). Now you thought, if the government comes for its citizens, we should be prepared, even if our weapons are pathetic. Your art-weapons included a steak knife affixed to a bottle of ranch dressing and mounted on an axe handle, a dirty sock sprouting nails, a wooden stump with a clump of urethane resin stuck to one end with dull bolts protruding from it, and more.

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

In times of trouble, people need artists. We create those spaces where their own pain and worry and sadness can rest, and where their broken hearts can hope again.

In those glorious moments when someone sees, really sees, your art and bothers to tell you so, relish it!

Introducing a great artist, Alexander Wainwright in THe Fate of Pryde. In his landscapes, Alex expresses the totality of everything in the universe. At the same time, within each leaf, each drop of water or human hair, he conveys a light or glow, which seems to come—how shall I put this—from another dimension. And each brushstroke contains every ounce of his own life and vitality. From The Fate of Pryde, the second in The Trilogy of Remembrance. Enter the giveaway to win one of ten personalized, autographed copies of this novel starting July 31st to August 31st. You can sample the first fifty pages of it at my page.

In truth, the best works of art are by no means the most perfect ones, but rather those whose imperfection bears the most profound witness to their fundamental contradictions. That is why those works, whose success takes its measure from the failure of the world, assume something helpless, frail and disorganized under the gaze of contemporary cultural administration.

In "Tracer Shells," 2002, forty-six cats with bright-white fluron-tipped tails, leap over upturned chairs and tables (depicting social chaos) in response to rapid bursts of recorded machine-gun fire. In the darkened space the effect is startling, the message disturbing, and the method ethically challenging.

Invisible prose only!" rules out the sparkling style of [writers]. . . For [whom] vivid prose, and the visionary mind it evinces, rich with speculation, insight, and subjectivity, is the craft and offers a unique caliber of truth. Is there any other art form one would praise by saying it's "invisible"? By definition, art transcends the ordinary, calls attention to itself, and offers virtuosity as its calling card. One that makes it possible to do what metaphor does so well: illuminate what can't be wholly understood.

In your worst moments, you need a dream the most.

I opened the door and stepped in. Raw pain filled me at the sight of my painting. 'Show me what it looked like, before the fire.' His request surprised me, but I did as he asked. With eyes closed, I projected the exact details of the painting I had poured my soul into. Just as I had experienced his love of surfing in a visceral way, he shared not just the visual beauty of my work, but the love and passion with which I had dedicated myself to it. 'Thank you. Now, it will never truly be gone.' I choked back a sob and went to Mr. K's office.

I owe it all to words and art, the peace that came with a flicker of a pen silenced the suffering; eased the pain and life that was once filled with burden became sane again. It Became meaningful. Art does matter, it made me, when the world changed me.

I painted for the eyes, and wrote prose for the ears… Between those senses lay the mind and soul… I enjoyed connecting with people’s deepest thoughts, their hopes and dreams… My pen and brush were tools to achieve my artistic desired effects.

'Paint only what you see,' his hero Millet had admonished. 'Imagination is a burden to a painter,' Auguste Renoir had told him. 'Painters are craftsmen, not storytellers. Paint what you see.' Ah, but what they hadn't said, hadn't warned him about, was how much you could see.

I owe them gods a bottle of whiskey and a bullet each

I paint the stuff I see when my eyes are closed

I paint the darkness and the silence, You see them as stars and poetry.

I pastiche, I quote, I lie. Fake, forge, forage, fabricate, copy, borrow, transform, steal. I illusion. I’m a genuine deceiver, a shy sham artist.

I paint to make up the gaps that language just can't fill.

I realized that the "thing" and the "concept" were substituted for feeling and understood the falsity of the world of will and idea

I realized how subversive Ruth was then, not because she drew pictures of nude women that got misused by her peers, but because she was more talented than her teachers. She was the quietest kind of rebel. Helpless, really.

I really believe that there is an invisible red thread tied between him and me, and that it has stretched and tangled for years — across oceans and lifetimes. I know that it won’t break because our souls are tied.

I really don't like art with a message, unless the message is crystal clear. If you have a message that really needs to be said, just fuckin' say it! Don't hide it in indecipherable lyrics... a sculpture, it's a play, the subtext... just fuckin' say it, 'cause the people who need to hear messages are dumb as shit--the masses of humanity are dumb as shit, and you're really just pandering to your friends. Say what the fuck you mean, just say it! Title the song 'eat more leafy greens'. 'Give a hoot, don't pollute' is as much message and art combined, 'cause I get that, it's a poem but I'm pretty sure you're saying 'don't pollute'. But if you have something... 'ooh, I have the cure for cancer...and I've hidden it in this Rubix cube!!' -- just fuckin' say it! - Before Turning the Gun on Himself [2012]

I refused, and still refuse, the inflated definition of artists as special people with special prerogatives and special excuses.

I recognized the great monument from the illustration in the copy of /The Jungle Book/ that my mother kept in the top drawer of my bedside table. When I went with Sophia to the Taj Mahal for the first time, I was not as enchanted by the real mausoleum as I had been by its plaster, paint, and paper replica in the studio; the original posed a dreadfully seductive promise in cool marble of a strangely painful loveliness, a lover's lie that death itself might in some mysterious way, because of love, be lovely.

I ruin everything. I think that a bullet must have passed through my heart when I was very young, causing me to bleed out slowly, over things and people and every white surface that I’d ever come across.