Best 22487 quotes in «art quotes» category

...if I can do it, it's not art.

If I am not mistaken, the word "art" and "artist" did not exist during the Renaissance and before: there were simply architects, sculptors, and painters, practicing a trade.

If I choose this platform [The Black Arts Movement] and God validates this platform, I feel like we have to use the hyper-reality to get people closer to [actual] reality. Right now is so special because it's the information age and people just want to be aware and there's no better way of doing that than through art.

If I could read your mind, what a tale your thoughts could tell. Just like a paperback novel, the kind that drugstores sell.

If I'd been a housemaid I'd have been the best in Australia - I couldn't help it. It's got to be perfection for me.

If I didnt choose art, I would have become an astronomer.

If I could ever be on a Missy Elliott record, I could then die. Missy Elliott, Mary J. Blige - I love hearing them interviewed, I love the way they talk about their art. They're very self-assured, they're funny, they're inviting. I love it.

If I could prescribe a single rule for looking at a work of art it would be to enjoy it. If we're honest with ourselves, we have to admit we enjoy our tears just as much as we enjoy our laughter. The only moments of life that are a bore are when we don't care one way or another.

If I create from the heart, nearly everything works; if from the head, almost nothing.

If I'd have gone to art school, or stayed in anthropology, I probably would have ended up back in film ... Mostly I just followed my inner feelings and passions ... and kept going to where it got warmer and warmer, until it finally got hot ... Everybody has talent. It's just a matter of moving around until you've discovered what it is.

If I ever have a conflict between art and nature, I let art win.

If I ever loved a man better than I love my art, I should marry him and leave the stage. But I have never met such a man.

If I do a lot of television, than I miss theater. If I do a lot of theater, than I miss film. This global thing of performing arts gives me strength.

I fight pain, anxiety, and fear every day, and the only method I have found that relieves my illness is to keep creating art. I followed the thread of art and somehow discovered a path that would allow me to live.

I figured out that art would be the perfect place for me because what's encouraged is the invention of languages.

If I had life to live over again, I would give my life to poetry, to music, to literature, and to art to make life richer and happier. In my youth I steeled myself against them and thought them so much waste.

If I go as hard as I can in practice, make sure it's a lot harder than than a fight, then the fight's going to be easy.

If I had to spend equal time doing paintings, and equal time going to galleries and doing art business, and equal time making music, and equal time going to record companies, or to the publicist or to the lawyer, forget it. It would take four times as long to do all that stuff. Unless I had a patron. That's why Leonardo da Vinci was successful. He had the Medicis, right?

If I hadn't done 'Harry Potter,' I would have gone and done years of art. I really do love it, and I'd love to write.

If I had to choose a single destination where I'd be held captive for the rest of my time in New York, I’d choose the Metropolitan Museum of Art.

If I knew what the meaning of art was, I wouldn't tell you.

If I look at the performance of another friend Sting, whenever I hear him take over a stage and share his art with millions, it's very inspiring to me. So I have a lot in my life, a lot of friends who inspire me and I'm sure it goes the other way around, or so that I inspire them.

If I'm doing my job correctly, I'm presenting a scenario for you as the reader to engage with on your own. I mean that's what the best art is supposed to do.

if I love something I do it, and if I don't, I don't. I think that this is the most important choice that any of us can make in life, in art, in history: to do the thing you love. If you love it, it is important. If you love it then while you are doing it, you are a true expression of yourself and your time and your story. You are authentic. If you don't love it you betray not only yourself but also your history, your culture, your position in your society.

If I make a painting, it should be seen for what it's set out to do too. A lot of the things that I do, it's not all art. Some of it's design, some of it's illustration, some of it's graphics, some of it's concept, some of it's business and some of it, hopefully, is art.

If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.

If I hear dance music, my body starts to move. Whatever the dance music is, I can't help it. With all that, I still felt, well, rock is a little higher art, but it wasn't. Right now, because I have so much experience with dance charts, I started to realize that it's incredible art. This is going to be known one day as high art.

If I'm going to be anything more than average, if anyone is going to remember me, then I need to go further, in art, in life, in everything!

If I'm in the country, my big idea is to do nothing. It means talking, it means cooking with the leftovers in the fridge - l'art d'accommoder les restes - it means gardening.

I find above all that the expression, atonal music, is most unfortunate — it is on a par with calling flying the art of not falling, or swimming the art of not drowning.

I find in all the artists that I admire most a disturbing element, a distortion, giving evidence of a struggle . . . . In great art, this conflict is hidden, it is unresolved. All that is bursting with energy is disturbing - not perfect.

I find it hard to believe that the machine would go into the creative artist's hand even were that magic hand in true place. It has been too far exploited by industrialism and science at expense to art and true religion.

I find I am more interested in the villain-type roles because they can be so much more complex than just the villain. I don't think anybody sees them as evil per se. They show how close we are to one another. It's an untapped area of art. And I think, physically, I'm not going to play the hero.

I find it so much easier to be creatively free at night. Daytime is for sleeping. Nighttime is the best time for making art. The later at night it gets the further into another world you go.

I find inspiration in everything from a piece of art to the hem of a dress.

I find that I have improved in my craft and I have improved considerably in my ability to critique other people's artwork. I forgot to mention that my course of study at the Art Institute is BSC in Media Arts and Animation.

I find that the quest to be perfect and make perfect music is like a black whole. I realize that you can come with the intention to capture a vibe and use a formula, but you have to accept that most of the time its not going to be what you envisioned and you might manifest something better. I think that's been the hardest thing to wrap my head around that most ideas we go for ends up sounding different. I think art in general should be about enjoying the process and the experience. All that matters is if you feel the music and it captures the element your going for.

I find people who prejudge reality TV to be annoying. Art comes from anywhere. Culture can ooze out of any crack. Prejudging is the death of creativity.

I find relatively little relationship between the work of art and the immediate critical response it gets.

I find myself moved by man in his new violent environment. I want to paint this explicitly and beautifully.

I find that it's a very odd thing to think of competition when you're talking about what I still think of as art. I don't think of competing with actors or filmmakers at all. You do compete, in a way, at the box office, but we're far enough apart when both films are coming out that I'm not concerned with that either.

If, in each hour, a man could learn a single fragment of some branch of knowledge, a single rule of some mechanical art, a single pleasing story or proverb (the acquisition of which would require no effort), what a vast stock of learning he might lay by. Seneca is therefore right when he says: "Life is long, if we know how to use it." It is consequently of importance that we understand the art of making the very best use of our lives.

If I put faith in medication, if I can smile a crooked smile, if I can talk on television, if I can walk an empty mile.

I finished VCA at the height of the last big recession in the early 90s, and seeing that I was not going to be able to join one of the dwindling number of commercial galleries, I started an ARI called the Basement Project which ran for three years. Things came a little at a time and all of a sudden it's 20 years later and I'm still making art, which is really all I ever wanted to do.

I find the Romantic period extraordinarily interesting. My landscapes have connections with Romanticism: at times I feel a real desire for, an attraction to, this period, and some of my pictures are a homage to Caspar David Friedrich.

I firmly believe that the only reason why I'm on this planet, the only reason why I live, breathe, and exist is, that it's my duty to be as honest as possible in my art.

If I spit, they will take my spit and frame it as great art.

If it adapts itself to what the majority of our society wants, art will be a meaningless recreation.

If I stop being on good behaviour for a moment, my dark little secret is that I don't actually believe many people in the art world have much feeling for art and simply cannot tell a good artist from a weak one, until the artist has enjoyed the validation of others - a received pronunciation.

I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. Initially I was attracted by the typical Pop Art aestheticism of using standard colour-sample cards; I preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of Albers, Bill, Calderara, Lohse, etc.