Best 22487 quotes in «art quotes» category

It’s not a real place, not a real thing. Mom made up the Gray Space, the place of anti-art, antifeeling, the cold dark place that felt like death. It was just her zany way of describing the place she went when she felt most depressed, when making music at all became impossible. It isn’t real.

It's not Art. And Art is not Design.

IT'S NOT THE HONEY WHISKEY IN A FRIDAY NIGHT - IT'S THE MANIC SHOW OF POETRY TWEETS THAT TURNS ME ON.

It's not worth staying up all night just to paint masterpieces.

It's okay to keep a broken oven in your yard as long as you call it art.

It's not what you look at that matters, it's what you see" ~Someone who had great insight

It's rather the possibility of friendship, unencumbered by feelings of attraction or shyness; the possibility of working on the same wavelength, as it were, with someone who understands you because he's a boy as you are, or a girl as you are. Committee work stifles the imagination, because people have to work down to the common denominator of what would be minimally acceptable to everyone. But friendship exalts the imagination. Indeed it is one of the things that the ancients said friendship was for. Plato suggests in Symposium that one of the highest forms of friendship is one whose love issues forth in beautiful and virtuous deeds, for thus "the partnership between [the friends] will be far closer and the bond of affection far stronger than between ordinary parents, because the children that they share surpass human children by being immortal as well as more beautiful.

It’s possible to commit art and entertainment in the same moment.

It's so warm it's almost friendly. A friendly work of art. I've never thought such a thing in my life. And look at it. It's never sentimental. It's generous, but it's sardonic too. And whenever it's sardonic, a moment later it's generous again.

It’s so easy to lose faith and become lost in all of the politics of the world. That’s why we need the arts. To sublimate our frustration and anger into something beautiful. Freud called sublimation a virtuous defence mechanism because it is in the arts that we can find our humanity.

It's the sketch Edward did of me before he went away, the one he said was fine but didn't want to keep. It's as if he's drawn me not once but twice. In the main drawing I have my head turned to the right. It's so detailed, you can see the tautness of my neck muscles and the arch of my clavicle. But underneath or over that there's a second drawing, barely more than a few jagged, suggestive lines, done with a surprising energy and violence: my head turned the other way, my mouth open in a kind of snarl. The two heads pointing in opposite directions give the drawing a disturbing sense of movement. Which one's the pentimento, and which the finished thing? And why did Edward say there was nothing wrong with it? Did he not want me to see this double image for some reason?

It’s television, after all. No one is dead, even when they die.

It's the pointless things that give your life meaning. Friendship, Compassion, Art, Love. All of them are pointless. But, they're what keeps life from being meaningless.

It's ugly, but is it art?

It's true. The storms won't last forever. The nasty weather will never last. There is always that light at the end of the tunnel.

It’s when your plans look dead that God’s resurrection power begins to operate in your life in greater measure

It takes me living an intentional, mindful, and quiet life to hear or see what’s here. Great art doesn’t necessarily create something new, it helps you appreciate what’s already here.

It takes more courage to disturb the neighborhood than it takes to disturb the universe. And the price is often higher.

It took me years to learn to sit at my desk for more than two minutes at a time, to put up with the solitude and the terror of failure, and the godawful silence and the white paper. And now that I can take it . . . now that I can finally do it . . . I'm really raring to go. I was in my study writing. I was learning how to go down into myself and salvage bits and pieces of the past. I was learning how to sneak up on the unconscious and how to catch my seemingly random thoughts and fantasies. By closing me out of his world, Bennett had opened all sorts of worlds inside my own head. Gradually I began to realize that none of the subjects I wrote poems about engaged my deepest feelings, that there was a great chasm between what I cared about and what I wrote about. Why? What was I afraid of? Myself, most of all, it seemed. "Freedom is an illusion," Bennett would have said and, in a way, I too would have agreed. Sanity, moderation, hard work, stability . . . I believed in them too. But what was that other voice inside of me which kept urging me on toward zipless fucks, and speeding cars and endless wet kisses and guts full of danger? What was that other voice which kept calling me coward! and egging me on to burn my bridges, to swallow the poison in one gulp instead of drop by drop, to go down into the bottom of my fear and see if I could pull myself up? Was it a voice? Or was it a thump? Something even more primitive than speech. A kind of pounding in my gut which I had nicknamed my "hunger-thump." It was as if my stomach thought of itself as a heart. And no matter how I filled it—with men, with books, with food—it refused to be still. Unfillable—that's what I was. Nymphomania of the brain. Starvation of the heart.

[I]t was [Barnett] Newman who made the famously wry remark, “Aesthetics is for the artist as ornithology is for the birds,

It was held that the six great arts – visual art (including architecture and photography), drama, dance, music, film and literature – form a family of related, if largely autonomous, practices: they all work through the aesthetic, all address the imagination, and all are concerned with the symbolic embodiment of human meaning.

It was music first of all that brought us together. Without being professionals or virtuosos, we were all passionate lovers of music; but Serge dreamed of devoting himself entirely to the art. All the time he was studying law along with us, he took singing lessons with Cotogni, the famous baritone of the Italian Opera; while for musical theory, which he wanted to master completely so as to rival Moussorgsky and Tchaikovsky, he went to the very source and studied with Rimsky-Korsakov. However, our musical tastes were not always the same. The quality our group valued most was what the Germans call Stimmung, and besides this, the power of suggestion and dramatic force. The Bach of the Passions, Gluck, Schubert, Wagner and the Russian composers – Borodin in ‘Prince Igor’, Rimsky and, above all, Tchaikovsky, were our gods. Tchaikovsky’s ‘Queen of Spades’ had just been performed for the first time at the Opera of St Petersburg, and we were ecstatic about its Hoffmannesque element, notably the scene in the old Countess’s bedroom. We liked the composer’s famous Romances much less, finding them insipid and sometimes trivial. These Romances, however, were just what Diaghilev liked. What he valued most was broad melody, and in particular whatever gave a singer the chance to display the sensuous qualities of his voice. During the years of his apprenticeship he bore our criticisms and jokes with resignation, but as he learned more about music – and about the history of art in general – he gained in self-confidence and found reasons to justify his predilections. There came a time when not only did he dare to withstand our attacks but went on to refute our arguments fiercely.

It was not my intention - it never was - to invent a character who should speak for me, the author, in person. A character is in a story to fill a role there, and the character's life along with its expression of life is defined by that surrounding - indeed is created by its own story. Yet, it seems to me now, years after I wrote The Golden Apples, that I did bring forth a character with whom I came to feel oddly in touch. She derived from what I already knew for myself, even felt I had always known. What I have put into her is my passion for my own life work, my own art. Exposing yourself to risk is a truth that Mrs. Eckhart and I had in common. What animates and possesses me is what drives Mrs. Eckhart, the love of her art and the love of giving it, the desire to give it until there is no more left. Of course any writer is in part all of his characters. How otherwise would they be known to him, occur to him, become what they are? In the making of her character out of my most inward and most deeply felt self, I would say I have found my voice in my own fiction.

It was odd to have something so personal out there in that way, but the good thing about art is that no one necessarily knows what you mean by it anyway.

It was shameless how life made fun of one; it was a joke, a cause for weeping! Either one lived and let one's senses play, drank full at the primitive mother's breast—which brought great bliss but was no protection against death; then one lived like a mushroom in the forest, colorful today and rotten tomorrow. Or else one put up a defense, imprisoned oneself for work and tried to build a monument to the fleeting passage of life—then one renounced life, was nothing but a tool; one enlisted in the service of that which endured, but one dried up in the process and lost one's freedom, scope, lust for life... Ach, life made sense only if one achieved both, only if it was not split by this brittle alternative! To create, without sacrificing one's senses for it. To live, without renouncing the mobility of creating. Was that impossible?

It was the quartets of Beethoven (numbers 12,13,14, and 15) which over fifty years, created and expanded the the audience of listeners to the quartets of Beethoven, thus achieving, as all masterpieces do, progress if not in the quality of artists, at least in the company of minds, which is largely composed these days of what was missing when the work appeared: people capable of liking it.

I unconsciously decided that, even if it wasn't an ideal world, it should be so and painted only the ideal aspects of it - pictures in which there are no drunken slatterns or self-centered mothers . . . only foxy grandpas who played baseball with kids and boys who fished from logs and got up circuses in the back yard.

It would be narrowness to suppose that an artist can only care for the impressions of those who know the methods of his art as well as feel its effects. Art works for all whom it can touch.

It would be both an identical work of art only by virtue of its difference. The same but different, he suggested, like twins.

I used to wonder: Do only ignorant laypeople gaze on the colossal bust of Ramses II at the British Museum and ask themselves how it ended up there? Is it only the unschooled visitor who looks at the soaring column from the Temple of Artemis at the Met and questions why it exists in this place?

I used to flirt with fundamentalism, and I had this idea that creation was something that happened. Now I see creation as something happening. Hundreds of millions of stars are still being born every day. Creation is an ongoing process. The Artist has not yet cleaned out the brushes. The paint is still wet. Human beings are the small clumps of clay and breath, and we have been handed brushes of our own, like young artist apprentices. The brushes aren't ours, nor the paint or canvas, but here they are in our hands, on loan. What shall we make?

I've become like one of those people I hate, the sort who go to the museum and, instead of looking at the magnificent Brueghel, take a picture of it, reducing it from art to proof. It's not "Look what Brueghel did, painted this masterpiece" but "Look what I did, went to Rotterdam and stood in front of a Brueghel painting!

I’ve always seen this in you, ever since you were a little girl — this hunger to love other people into their highest selves and it’s what has made me irreversibly and just so forever in love with you.

I've barely survived inside a world that took too long to ring it's song. The poet simply becomes the the last line of his greatest poem he never wrote.

I've found that busting your ass on a daily basis to make your art good, clear, and meaningful creates the most luck.

I've found that people reveal nothing of their true selves except within their art and their sin." ~ Dacey Sinnett, 'ROAM

I've been 40 years discovering that the queen of all colors was black.

I’ve done everything I wanted to do, writing books, learning about things, but I’ve been swindled all the same because it’s never anything more.

I've met artists before who have experienced similar feelings—not feeling worthy of their own work, guilt over an incomplete piece, anxiety about what their fans want and how they might deliver it. It's normal, but that doesn't mean it's always healthy. Eliza, you worth as a person is not dependent on the art you create or what other people think of it.

I've never been somewhere I belonged, but there are places where I think I could be happy. Like San Francisco. Well, do art museums count? Because I feel like I belong in them.

I've noticed that everything I'm inspired by the most at this stage is very different from what inspired me when I was younger. There's significantly little romance and significantly more depth. At first I was sad and worried about this. I thought there was something emptied or broken with me for a while, that the experiences of life had really damaged that part of me. But I think I've been misunderstanding the purpose of that. Maybe everything is exactly right with me now for what I have to create. And maybe the best and highest art I can ever make will come from this version of myself.

I walked around and around it, not because I felt I had to, but because I felt like it deserved that much attention from me. I found myself looking at each individual part closely, rather than the entire thing, because if I looked at the entire thing it would be like staring at the sun. It was such an unblinking portrayal of a person that it rose above any hack-neyed hype about it. It flicked away all my cynicism about Seeing Art without flinching and just made me look. I walked out of there thinking, Now I am older.

I want art that makes the world seem more unreal. I want fiction that can crumble the world and build it back into something new.

I’ve more or less finished with the world as narration – the world of novels and films, the world of music as well. I’m now only interested in the world as juxtaposition – that of poetry and painting.

I've never kissed an art forger before" Lord Huntington to Eliza Somerton in "An Artful Seduction

I've realized I don't need to keep looking for my path. I'm already on it. I just need to trust where it leads.

I want constructive energy generated by every brushstroke and between every line.

I wanted to lead my students to another world, one where people value writing and art more than war, and yet I knew and I know that the only thing that matters is to make that world here. There is no other world. This is the only world we are in. This revisable country, so difficult to change, to easily changed.

I want to create, not kill.

I want to be famous but unknown!