Best 22487 quotes in «art quotes» category

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

I'm very much against photographs being framed and treated with reverence and signed and sold as works of art. They aren't. They should be seen in a magazine or a book and then be used to wrap up the fish and chucked away.

I'm very much involved in art. I started buying art a few years ago and really like the work of T.C. Cannon, who is a native American artist. Then I was introduced to Soviet-era Russian impressionism and started collecting that, especially Gely Korzhev.

I'm very grateful that I was too poor to get to art school until I was 21. . . I was old enough when I got there to know how to get something out of it.

I'm very interested in the materiality of language. I wonder if, perhaps, this comes from my background in the visual arts. I was a potter for a number of years and earned a BFA in art before going to graduate school for creative writing.

I'm very silly as a person, but quality silliness on-screen has more of an art to it. Harrison Ford, whom I was in Morning Glory with, has mastered that dry funny better than anyone.

I'm very tolerant of other art and other artists. But what I truly appreciate, what I truly admire in contemporary art, is work that takes on more than it can sometimes handle - art that gets in over its head.

I'm what they call a 'non-black person of color': NBPOC. It's easy and seductive and common to mobilize around these identity issues, but often that's done at the expense of considering structural anti-blackness. That puts everything in a slightly different light for me, especially because of where I am and why - where I am in the world of the arts, where I live, in Harlem - and the music that I've been able to make, whom I've been able to make it with, who has nurtured me. It's not just about solidarity. It's actually about debt.

I'm with a crowd but oh so alone.

I'm working in my mind.

In 1972 Charlie Chaplin was allowed back to America to receive an honorary Oscar, 'for the incalculable he had on making motion pictures the art form of this century'. That's what the Academy was always for - to blur the equation enough so that profit and fame could be called art.

I, myself, came to enjoy the players who didn't only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around.

I myself incline to drift, to accept a lesser situation rather than strive for a greater, and yet, I know that character in life and art is only made by an effort that is quite beyond one's ordinary everyday acceptance of things as they are.

In 1951 I took my first art course. And one day I looked over my shoulder and there was this tall gentleman standing, very well-dressed and groomed, and he asked, "What is your name? I don't know you. What is your major?" I said history. And he looked at my drawing and looked at me and said, "You don't belong over there; you belong here." He was James A. Porter.

In 1968 the Arts Council managed to get a grant from the treasury to buy up a lot of derelict touring theatres and put them back in the hands of the local authorities.

I myself will perhaps cry out with all the rest, looking at the mother embracing her child's tormentor: 'Just art thou, O Lord!' but I do not want to cry out with them. While there's still time, I hasten to defend myself against it, and therefore I absolutely renounce all higher harmony. It is not worth one little tear of even that one tormented child who beat her chest with her little fist and prayed to 'dear God' in a stinking outhouse with her unredeemed tears!

In 1966, while working on a feature about a Picasso exhibition at the Tel Aviv Museum of Art, I recorded the pre-opening preparations and observed a moment: One of the cleaners stopped, puzzled, in front of the Picassos. I think that this is an image that can be universally understood, but with a grain of salt. I never chose this image in edits before because it seemed to me that it felt posed-the composition was a little too perfect. But, believe me, it was a lucky moment.

In 1967 there was no place for photography in a contemporary art gallery. It was almost impossible to get an art dealer to look at, let alone exhibit, anything photographic.

In 1847, two years before the greedy rush for gold began in California, the Mormons quietly began irrigating Utah's Salt Lake Valley. In a sense, they were the first American irrigators of any significance. And their knowledge about the art of applying water to land has spread throughout the world.

In 1975,Bob Dylan was almost 10 years past his prime - and then he released the best album of his career, Blood on the Tracks. Written and recorded amid a painful divorce, Blood on the Tracks is proof that heartbreak makes great art - just as many of the albums that followed were the opposite.

In 1989 I came to New York to go to the School of Visual Arts. Then, after two years, I switched over to the New School for Social Research and did cultural anthropology in the graduate school there.

In 1993, I retired from the Art Ensemble of Chicago to devote myself full time to Buddhist studies and to the practice of Aikido.

I myself do nothing. The Holy Spirit accomplishes all through me.

I myself happen to find, on the basis of experience and nothing else, that photography can be a high art.

In 1981, I think, for the Kunsthalle in Düsseldorf. Before that I designed a mirror room for Kasper König's Westkunst show, but it was never built. All that exists is the design - four mirrors for one room.

In '83 I started travelling round Europe with my slide show. It wasn't until I moved to Europe and got accepted in a big way in Berlin in the '90s that I got acceptance by the big art world in New York. I didn't really get to be known, or in the market, til '93 in New York.

In abstract mathematics or abstract art, the purpose is to describe inner states of our mind, and to explore the limits of our own imagination and our capacity for creativity. While this has some applications in the world, I think it leads to a distance from the world. Going to Congo was for me an act of seeking proximity, of breaking that distance. With abstraction, which is brilliant and vain, you divorce yourself from any kind of proximity to other people.

Inability, human incapacity, is the only boundary to an art.

In a budget, how important is art versus music versus athletics versus computer programming? At the end of the day, some of those trade-offs will be made politically.

In addition to giving our children the science and math skills they need to compete in the new global context, we should also encourage the ability to think creatively that comes from a meaningful arts education.

In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art.

In Africa, music is not an art form as much as it is a means of communication.

In a democracy you cannot stop public access to that art that will most misinform the people. You cannot stop people from being misinformed. But what you can do is to educate the people to the point that they will throw the rascals out.

In Afghanistan I was doing street art because it was more open, but when I had a show, only men would come. I said, I'm an artist not only for men, but for women too. So that's why I like graffiti.

In adopting the form of the adventure novel, Wells deepened it, raised its intellectual value, and brought into it elements of social philosophy and science. In his own field - though, of course, on a proportionately lesser scale - Wells may be likened to Dostoyevsky, who took the form of the cheap detective novel and infused it with brilliant psychological analysis.

In all the arts abundance seems to be one of the surest signs of vocation.

In all great arts, as in trees, it is the height that charms us; we care nothing for the roots or trunks, yet it could not be without the aid of these.

In all places where there is a Summer and a Winter, and where your Gardens of pleasure are sometimes clothed with their verdant garments, and bespangled with variety of Flowers, and at other times wholly dismantled of all these; here to recompense the loss of past pleasures, and to buoy up their hopes of another Spring, many have placed in their Gardens, Statues, and Figures of several Animals, and great variety of other curious pieces of Workmanship, that their walks might be pleasant at any time in those places of never dying pleasures.

In all fighting, the direct method may be used for joining battle, but indirect methods will be needed in order to secure victory. Indirect tactics, efficiently applied, are inexhaustible as Heaven and Earth, unending as the flow of rivers and streams; like the sun and moon, they end but to begin anew; like the four seasons, they pass away to return once more.

In all great works of fiction, regardless of the grim reality they present, there is an affirmation of life against the transience of that life, an essential defiance. This affirmation lies in the way the author takes control of reality by retelling it in his own way, thus creating a new world. Every great work of art, I would declare pompously, is a celebration, an act of insubordination against the betrayals, horrors and infidelities of life. The perfection and beauty of form rebels against the ugliness and shabbiness of the subject matter.

In all technai or arts (medicine perhaps most of all), there is a self-exhilaration on the part of the practitioner (the intoxication of the ego with its own potency) which is infectious: the patient enjoys a placebo-effect which redounds to the ego of the "artist.

I naively thought I was making a low-budget movie. But, when the film came out, the Daily Variety reviewer at that time who was named Art Murphy described it as an exploitation film. I had never heard that term before. Roger never used it. So that's how I learned that I had made an exploitation film.

In all fighting, the direct method may be used for joining battle, but indirect methods will be needed in order to secure victory. In battle, there are not more than two methods of attack.. the direct and the indirect; yet these two in combination give rise to an endless series of maneuvers.

In all I wish, how happy should I be, Thou grand Deluder, were it not for thee? So weak thou art that fools thy power despise; And yet so strong, thou triumph'st o'er the wise.

IN ALL MY FILMS, IT SEEMED IMPORTANT TO ME TO REMIND THE AUDIENCE TO THE FACT THAT THEY ARE NOT ALONE, LOST IN AN EMPTY UNIVERSE, BUT THAT THEY ARE CONNECTED BY INNUMERABLE THREADS WITH THEIR PAST AND PRESENT, THAT THROUGH CERTAIN MYSTICAL WAYS, EVERY HUMAN BEING REALIZES THE RAPPORT WITH THE WORLD AND THE LIFE OF HUMANITY.

In all these products, whether iron bridges, locomotives, automobiles, telescopes, cottages, airport-hangars, funicular railways, skyscrapers, or children's toys, the will towards a new style expresses itself. The similarity of these examples to the new creations in art consists in the same striving for clear, pure form which expresses truth in the objects.

In all the useful arts the world is either standing still or going backwards.

In America, the word art has become like the word adultery. It's this big scarlet letter. When you say you're an artist, people are like, "Ugh.

In almost every task involving form, there are dozens, often hundreds of contradictory elements, which need to be forced to work in harmony by man's will. This harmony can be acheived only through art.

In a lot of cases, you think that the art director and the production designer designed and built this amazing set, when in fact they only built part of it and were able to extend it using all of this fabulous technology.