Best 22487 quotes in «art quotes» category

My fingers always seem busier than my mind.

My films have elements of genre in them, which prevents them from being purely art films.

My first book published in France was translated and titled Exercices d'Attente in 1972. It was a collection of short works written and published in Romania. In 1973 I was ready to publish the novel Arpièges, which I had started writing in Romanian and of which I had published some fragments under the title Vain Art of the Fugue. Some years later, I finished Necessary Marriage.

My first love in music was jazz, but I like it all," "I reacted emotionally to Art Blakey and, of course, to Joe Pass and Wes Montgomery. I was all of 16 when I had my first guitar lesson with Joe. But I never focused on being a bebop player. I loved the harmony, rhythm and phrasing, but I wanted to apply them to my own concept and sound.

My first love is art, and I see a lot of things in an artistic way.

My first pieces, in an art context, were ways to get myself off the page and into real space. These photographic pieces were ways to, literally, throw myself into my environment. They were photographs not of an activity, but through an activity; the activity (once I planted a camera in the instrument of that activity - once I, simply, held a camera in my hands) could produce a picture.

My first concern was to take care of my drawing. I did not have any knowledge in arts, especially Haitian arts, apart from the paintings I saw in my father's office.

My first exploration through art was really through music - I've trained classically with piano for about ten years.

My focus on silence is to be understood as an intrinsic part of the body's search for meaning amongst the noisy assaults of everyday life. ... What quilts have brought to the viewing of art generally is this intervening layer of silence, of collected thought and concerted attention.

My first job in construction paid my way through art school. I was building to pay my bills.

My forever mission is to take the best elements of both commercial and independent films and bring them together. I learned so much about the art of independent films and I have so much fun in commercial ones. I think that a mix of both is good.

My fourth mother, my godmother, she passed away a couple years ago - her name was Gwen. She was the theater director over at the gym where I grew up and learned about all those awesome things I told you about already. She was the one who taught me terms like "upstage" and "downstage," all those technical things about the art of what I do - how to breathe what I see, how to move. They were all her tactics, not anything learned or given to me through a theory, but rather by her natural abilities.

My Friend: Art thou abroad on this stormy night on thy journey of love, my friend? The sky groans like one in despair. I have no sleep tonight. Ever and again I open my door and look out on the darkness, my friend! I can see nothing before me. I wonder where lies thy path! By what dim shore of the ink-black river, by what far edge of the frowning forest, through what mazy depth of gloom art thou threading thy course to come to me, my friend?

My friend James Cameron and I made three films together - True Lies, The Terminator and Terminator 2. Of course, that was during his early, low-budget, art-house period.

My furniture, boxes, and turnings are simple, practical designs for everyday use. I love the grain and beauty of wood. Each piece of lumber is a work of art, after all, and I'd like to honor that gift and pass it on for someone else to appreciate.

My goal, if I was going to do art, fine art, would have been to become Picasso or greater.

My goal is to share all my learning, all of my knowledge, so that other generations of martial arts will benefit.

My girlfriend's packed her bags and moved out to another town, she couldn't stand the boredom when the video broke down.

My goal is to make fine art, and fine art comes from the soul. If you have virtuosity and facility, you can take and create something of significance.

My goal is to be one with the music. I just dedicate my whole life to this art.

My God, my aim and my fulfillment; I am thy yesterday and thou are my tomorrow. I am they root in the earth and thou art my flower in the sky, and together we grow before the face of the sun.

My goal, if I was going to do art, fine art, would have been to become Picasso or greater. That always sounds so funny to people, comparing yourself to someone in the past that has done so much, and in your life you’re not even allowed to think that you can do as much. That’s a mentality that suppresses humanity.

My grandfather used to say, "Learn to like art, music and literature deeply and passionately. They will be your friends when things are bad". It is true: at this time of year, when days are short and dark, and one hardly dares to open the newspapers, I turn, not vainly either, to the great creators of the past for distraction, solace and help.

My greatest aim has been to advance the art of photography and to make it what I think I have, a great and truthful medium of history.

My grandmother lived to be 100 years old. Her grandmother was a slave, yet she was a college graduate in the Spellman class of 1917. She taught art for 50 years and she saved her Social Security checks for her children's education.

My greatest fortune was that I was ordered to take up art for the good of my health

My greatest passion has always been connecting with creative people, appreciating the artistic and discovering fresh perspectives on the world. I came on board to use my experience in building an international community of photographers, illustrators and video artists at iStockphoto who learned, grew and sold their work to millions around the world. Building a community that large requires personality, a keen sense of what both the contributing artists and the buying audience need, and an ability to balance both. I wanted very much to transfer those skills to the fine art world.

My grandfather was a most gifted person, and amongst his many qualities, one of them had always particularly impressed me. While the past was a book he had read and re-read may times, the future was just one more literary work of art into which he used to pour himself with deep thought and concentration. Innumerable people since his death have told me how he used to read in the future, and this certainly was one of his very great strengths.

My great grandfather used to say to his wife, my great-grandmother, who in turn told her daughter, my grandmother, who repeated it to her daughter, my mother, who used to remind her daughter, my own sister, that to talk well and eloquently was a very great art, but that an equally great one was to know the right moment to stop.

My heart beats more for a raw, average vulgar art, which doesn't live between sleepy fairy-tale moods and poetry but rather concedes a direct entrance to the fearful, commonplace, splendid and the average grotesque banality in life.

My heart is turned to stone; I strike it, and it hurts my hand.

My guitar player calls the process of writing lyrics based on another story, "filling up the well" when you can get inspiration from other people's art without stealing, more being influenced by it.

My health has benefited the most from practising Wing Chun.

My hand is the extension of the thinking process - the creative process.

My house is to me as my castle, since the law has not the art to destroy it.

My hobbies away from horse racing would be reading and painting; I love art.

My idea of happiness is effortless happiness. The things that ground you. For me it's art and cooking, for example, and when I can be with my friends and the people I love and do simple things. That's when I'm the happiest.

My idealism is clearly one reason I'm an artist. I see art as one of mankind's more sublime acts, as a vital counterbalance to our base impulses .

My influences were from Europe from between 1900 and 1945. My favorite artists were Egon Schiele or Edvard Munch. I wasn't interested in contemporary art at all.

My idea is that there is music in the air, music all around us; the world is full of it, and you simply take as much as you require.

My imagination can picture no fairer happiness than to continue living for art.

My initial plan was to spend a year in France, go to some kind of school and learn a bit of French. I went a year in an American college in the outskirts of Strasbourg, but got a glimpse of a real art school, L'Ecole des Arts Decoratifs, and enrolled the following year.

My inspiration's coming from nature, I love nature and all the expressions, I love art, I love expressions of beauty. It's part of my life, being engaged in the moment.

My Instagram has personal things, like pictures of my home, but generally it's my voice, and that's a public thing. Using my Instagram posts in my art is not about taking my personal Instagram and making it public; it's about understanding and challenging the notion of these free platforms that encourage self-promotion and understanding what they are technically and culturally.

My job is to confront apathy and confront all the forces that tend to batter each of us down with all kind of oppression, even self-oppression. I consider that the main job of the art that I do- to rattle the cage, wake people up, wake myself up, confront all that would conspire to keep us down.

My intention, certainly, is to create something which is aesthetic but many things are implicit in the work that I do. For me photography is writing, it is history; it can be aesthetic, it can be many things though it does not have to be art.

My job as art critic is to watch artists dance naked in public, and then I will, in turn, dance naked critically in public.

My job is not to produce answers. My job is to produce good questions.

My interest in gospel music and liturgical art and Biblically-inspired literature has nothing to do with organised religion and everything to do with human beings trying to figure out their place on this planet.

My intention was to create a work of art which would transcend the visible, which cannot be perceived except in stages, with the understanding that it is a partial revelation and not the perpetuation of the existing. My aim is to show what can be seen within the limits of possibility which exists in the midst of coming into being.