Best 22487 quotes in «art quotes» category

One mustn't always believe that feeling is everything. In the arts, it is nothing without form.

One might not think of light as a matter of fact, but I do. And it is, as I said, as plain and open and direct an art as you will ever find.

One might say that science itself, and civilization and art, are all about different orderings of the world - to contain it, and to make it in some sense intelligible, communicable. And bearable.

One might say the computer is being used to program the child. In my vision, the child programs the computer, and in doing so, both acquires a sense of mastery over a piece of the most modern and powerful technology and establishes an intense contact with some of the deepest ideas from science, from mathematics, and from the art of intellectual model building.

One never finishes learning about art. There are always new things to discover. Great works of art seem to look different every time one stands before them. They seem to be as inexhaustible and unpredictable as real human beings.

... one of art photography's most vigorous enterprises--[is] concentrating on victims, on the unfortunate--but without the compassionate purpose that such a project is expected to serve.

One of his officers, Henry Lee, summed up contemporary public opinion of Washington: First in war, first in peace, and first in the hearts of his countrymen.

One of my favorite films is LATE SPRING by Yasujiro Ozu. To me, it represents film as art.

One of my favorite things about art, especially at a gallery, is hearing people talk about the art. I find it quite amusing.

One of my fave TV shows is Into the Badlands because martial arts staged well and magically and saturated colours and eye candy and coherent plot and world building. It has a strong diverse cast.

One of my favorite things about soccer is how the art and the passion of the game somehow unites people and nations and classes and races. That's something that comes out of the game and how it's displayed and why people enjoy watching it and supporting it.

One must try, everyday, to expand one's limits.

One of my goals as a professor of English is to teach students to recognize and think critically about what makes something art.

One often forgets that even if art is a very successful field in contemporary culture, there are still a lot of people alienated by it. Even if people don't fully understand where my work is coming from, at least there's somebody who looks kind of sane standing in front of you and politely engaging with you. People react.

One often reads about the art of conversation-how it's dying or what's needed to make it flourish, or how rare good ones are. But wouldn't you agree that the infinitely more valuable rara avis [rare bird] is a good listener.

One of the aims of Budo is the suppression of fears.

One of the anomalies of modern ecology is the creation of two groups, each of which seems barely aware of the existence of the other. The one studies the human community, almost as if it were a separate entity, and calls its findings sociology, economics and history. The other studies the plant and animal community and comfortably relegates the hodge-podge of politics to the liberal arts. The inevitable fusion of these two lines of thought will, perhaps, constitute the outstanding advance of this century.

One of my inspirations, Harry Houdini, remains an icon of the art because he defied our primal fears. His demonstrations in the early 20th century, especially his escape from the Chinese water torture cell, represented triumph over suffocation, drowning, disorientation and helplessness.

One of my most strong memories was studying with Mel Bochner, one of the, I think, high water marks of American conceptual art.

One of the beauties of art is that it reflects an artist's entire life. What I've learned over the past 30 years is really beginning to inform what I make. I hope that process continues until I die.

One of my favorite titles of an art piece is "Première Communion de Jeunes Filles Chlorotiques Par Un Temps De Neige" or "First Communion of Chlorotic Young Girls in Snowy Weather" by Alphonse Allais. It's essentially a joke of a title, since the accompanying image is a simple white square.

One of my mission statements with all of my art has been to stop the world for people. I want to stop the worrying and stop the world.

One of my struggles is that I'm a glutton. There's always those very simple, long, old-ass things, but they're very real to me, and I'm sitting in them, and they're swirling in my mind all the time. I tell people about it and they think, "Why don't you just go and make some money, go get a big-screen TV, or look at the Internet." Or they say, "Go create some introspective art." I just want to explode. I don't know how everybody else is able to walk around so calm. It's amazing to me when I see people walking so calmly down the street. I envy them, but I also kind of hate them.

One of my life's principles is to develop myself to the maximum of my potential in all ways and to help others do the same.

One of the dangers of the American artist is that he finds himself almost exclusively thrown in with persons more or less in the arts. He lives among them, eats among them, quarrels with them, marries them.

One of the big failings of art schools is that students aren't given any teaching on how to survive as a one-person business, which is what it is.

One of the biggest problems of mathematics is to explain to everyone else what it is all about. The technical trappings of the subject, its symbolism and formality, its baffling terminology, its apparent delight in lengthy calculations: these tend to obscure its real nature. A musician would be horrified if his art were to be summed up as "a lot of tadpoles drawn on a row of lines"; but that"s all that the untrained eye can see in a page of sheet music... In the same way, the symbolism of mathematics is merely its coded form, not its substance.

One of the crucial underpinnings of New York as a culture capital is that there are multiple markets. There is not just one art gallery district, there are several art gallery districts. I feel that there should be art galleries and art studios in every neighborhood without exception. They should be integrated into the social and physical fabric of the streets. If we want a lively city, we can't just have high towers and dense constructions, we have to have living organisms of streets and neighborhoods. And the arts are a crucial part of that.

One of the drawbacks of Fame is that one can never escape from it.

One of the challenges in writing the script Call Me by Your Name was that I had to find something concrete for the professor to do. In the book he is some kind of classics scholar. But I thought it would be interesting to make him into something of an art historian and archaeologist whose background was the classical world. It's always difficult when someone is supposed to be an intellectual. What do they do? You can't just film them sitting around and thinking all day. And that's what the business of the statues is all about.

One of the challenges to our nation today is overcoming the notion that art is kind of a nice-to-have, when in reality art is a need-to-have.

One of the biggest things happening in the art world is this idea of expansion. No one embodies this aspect of what art is becoming better than James Franco.

One of the distinguishing characteristics of the true work of art is that it is able to both contain and express different meanings - meanings which may in fact contradict each other.

One of the first lessons a necromancer learns is the art of playing dumb. Of course, one problem with playing dumb is that is seeps into your everyday life. ~Jaime Vegas

One of the first obligations of art is to make all useful things beautiful.

One of the great currents in the contemporary experience of art is that it seems to come out of the experience of the author.

One of the greatest creations of the human mind is the art of reviewing books without having read them.

One of the first principles of decorative art is that in all manufactures ornament must hold a place subordinate to that of utility; and when, by its exuberance, ornament interferes with utility, it is misplaced and vulgar.

One of the functions of art is to offer a more desirable reality - a model, as it were, of another style of existence with its own pace and its own cultural reference.

One of the great arts in living is to learn the art of accurately appraising values. Everything that we think, that we earn, that we have given to us, that in any way touches our consciousness, has its own value. These values are apt to change with the mood, with time, or because of circumstances. We cannot safely tie to any material value. The values of all material possessions change continually, sometimes over night. Nothing of this nature has any permanent set value. The real values are those that stay by you, give you happiness and enrich you. They are the human values.

One of the greatest difficulties in civil war is, that more art is required to know what should be concealed from our friends, than what ought to be done against our enemies.

One of the greatest pains to human nature is the pain of a new idea.

One of the great events in my life was my first meeting with Edison. This wonderful man, who had received no scientific training, yet had accomplished so much, filled me with amazement. I felt that the time I had spent studying languages, literature and art was wasted; though later, of course, I learned this was not so.

One of the interesting things here is that the people who should be shaping the future are politicians. But the political framework itself is so dead and closed that people look to other sources, like artists, because art and music allow people a certain freedom.

One of the main reasons I am so drawn to Hitchcock is that he planned his shots way in advance on story-boards, which he designed like classic paintings (he was an art connoisseur). It's why he found shooting on set boring - because he had already composed the film in his head.

One of the major changes in attitude that occurred in the world of art as we moved from the nineteenth into the twentieth century was that the twentieth century artist became more involved with personal expression than with celebrating exclusively the values of the society or the church. Along with this change came a broader acceptance of the belief that the artist can invent a reality that is more meaningful than the one that is literally given to the eye. I subscribe enthusiastically to this.

One of the great things about collecting contemporary art is that you mix with contemporary people.

One of the jobs of art is to inspire discussion, and Brokeback Mountain certainly has done that. It's like a window and a mirror. You're looking through a window at lives you may or may not have experienced. But it's a mirror in the sense we've all felt lonely; we're all, at one time or another, looking for and hoping for love.

One of the grotesqueries of present-day American life is the amount of reasoning that goes into displaying the wisdom secreted in bad movies while proving that modern art is meaningless. They have put into practice the notion that a bad art work cleverly interpreted according to some obscure Method is more rewarding than a masterpiece wrapped in silence.

One of the main causes of our artistic decline lies beyond doubt in the separation of art and science.