Best 22487 quotes in «art quotes» category

In my life I have had to work through problems of stigmatization and prejudice. When I discovered the power of the arts to express my pains and joys, it became clear to me that there would be no other way to work through the demons except to fully embrace the process of creation. The work was not personal therapy but had a connection to other peoples' realities. As I grow older and more mature, it becomes clearer to me that personal struggles and conflicts are connected with universal struggles and conflicts. It is this knowledge, ironically, that gives me the freedom to experiment in my work

In my own work I am invested in art as a way to break through impasses, whether those impasses are personal, social, or political.

In my low periods, I wondered what was the point of creating art. For whom? Are we animating God? Are we talking to ourselves? And what was the ultimate goal? To have one's work caged in art's great zoos - the Modern, the Met, the Louvre?

In my martial arts days. I was taught a lot of discipline that probably rolls over into other parts of my life. You're not supposed to attack back until you're attacked. You never take your skills and abuse them. I knew I could be lethal to someone my size.

In my opinion in art nothing can go too far as long as you don't physically hurt people or animals. Art is there to push boundaries. I love it when my work freaks people out but it's all fake!

In my own version of the idea of 'what art wants,' the end and fulfillment of the history of art is the philosophical understanding of what art is, an understanding that is achieved in the way that understanding in each of our lives is achieved, namely, from the mistakes we make, the false paths we follow, the false images we have come to abandon until we learn wherein our limits consist, and then how to live within those limits.

In my mind, martial arts movies are martial arts movies and action is action. It's quite different, because martial arts doesn't just have physical form; you have a philosophy, internal and external. A lot of it involves your life. How you see the world. An action film I think is just about the movement. I think it's different.

In my opinion, an individual without any love of the arts cannot be considered completely civilized.

In my opinion, he only may be truly said to live and enjoy his being who is engaged in some laudable pursuit, and acquires a name by some illustrious action, or useful art.

In my previous life I was a civil attorney. At one point I truly believed that was what I wanted to be- but that was before I'd been handed a fistful of crushed violets from a toddler. Before I understood that the smile of a child is a tattoo: indelible art.

In my teens I fancied myself an artist; I hung out with the eccentric art teacher at my high school, painted still lifes and portraits and landscapes in watercolor and acrylics, took private lessons, won some blue ribbons for my earnest renderings. My lack of talent did little to dampen my enthusiasm. In college I thought I'd continue, but, like Salieri, I quickly realized that while I had the ability to appreciate art, I wasn't actually very good.

In my view, art and the approach to life through art, using it as a vehicle for education and even for doing science is so vital that it is part of a great new revolution that is taking place. I believe we are entering a whole new epoch.

In my view, it is the most important function of art and science to awaken this feeling and keep it alive in those who are capable of it.

In my vocabulary there are two bad words: art and good taste.

In my world, history comes down to language and art. No one cares much about what battles were fought, who won them and who lost them - unless there is a painting, a play, a song or a poem that speaks of the event.

In my theater pieces, I would do "Tits on the Head" - Polaroid photos for $10 on the stage. There would be a line of folks paying me $10 for their turn. It was public prostitution. I turned my whole audience into johns. But because it was in a theater context, an art context, it was socially acceptable.

In my thirties, I have felt a greater urgency to make art that highlights what it feels like to be racialized, likely due to living in a country that obscures our racism with the idea of "multiculturalism.

In my sculpture, it's not an image I am seeking, it's not an idea. My goal is to re-live a past emotion. My art is an exorcism, and beauty is something I never talk about.

In my view, the composer, just as the poet, the sculptor or the painter, is in duty bound to serve Man, the people. He must beautify life and defend it. He must be a citizen first and foremost, so that his art might consciously extol human life and lead man to a radiant future.

In my view, The Temple of Man is the most important work of scholarship of this century. R. A. Schwaller de Lubicz finally proves the existence of the legendary 'sacred science' of the Ancients and systematically demonstrates its modus operandi. It was this great science-based upon an intimate and exact knowledge of cosmic principles-that fused art, religion, science, and philosophy into one coherent whole and sustained Ancient Egypt for three thousand years.

In my regular life, I am very involved in commissions for cities and sometimes countries. And I think of public art as a team sport. The outcome is only possible with the interaction of all the players.

In my view, the lost art of listening and ignoring the patient as a human being is a quintessential failure of our health care.

In my world, history comes down to language and art.

In nature, all is useful, all is beautiful. It is therefore beautiful, because it is alive, moving, reproductive; it is thereforeuseful, because it is symmetrical and fair. Beauty will not come at the call of a legislature, nor will it repeat in England or America its history in Greece. It will come, as always, unannounced, and spring up between the feet of brave and earnest men.

In New York, Catholic groups have forced an art gallery to shut down an exhibition of a six-foot image of Jesus in chocolate. So, the Archbishop of New York was very upset. He said, 'It is appalling to make Jesus out of food! Now, if you'll excuse me, I have to go bake some communion wafers.'

In New York, the impact of these concentrated superskyscrapers on street scale and sunlight, on the city's aniquated support systems, circulation, and infrastructure, on its already tenuous livability, overrides any aesthetic. ... Art becomes worthless in a city brutalized by overdevelopment.

In no way am I demeaning writing or any other form of art because it's popular. What I'm saying is that anything fed into the industrial machinery to comply with rules of size and length and shelf-life has a hard time surviving as art.

In order for the artist to have a world to express he must first be situated in this world, oppressed or oppressing, resigned or rebellious, a man among men.

In Old Europe and Ancient Crete, women were respected for their roles in the discovery of agriculture and for inventing the arts of weaving and pottery making.

In one sense it is evident that the art of kingship does include the art of lawmaking. But the political ideal is not full authority for laws but rather full authority for a man who understands the art of kingship and has kingly ability.

In oratory the greatest art is to hide art.

In one dancing saloon I saw the only rational method of art criticism I have ever come across. Over the piano was printed a notice: 'Please do not shoot the pianist. He is doing his best.'

In on summer they have done their business... they have completely pulled down to the ground their monarchy, their church, their nobility, their law, their revenue, their army, their navy, their commerce, their arts, and their manufactures... destroyed all balances and counterpoises which serve to fix a state and give it steady direction, and then they melted down the whole into one incongrous mass of mob and democracy... the people, along with their political servitude, have thrown off the yoke of law and morals.

In order that our art may arrive at the degree of the sublime which I demand and hope for, it is imperative for dancers to divide their time and studies between the mind and the body, and that both become the object of their application; but, unfortunately, all is given to the latter and nothing to the former. The legs are rarely guided by the brain, and, since intelligence and taste do not reside in the feet, one often goes astray.

In opera, as with any performing art, to be in great demand and to command high fees you must be good of course, but you must also be famous. The two are different things.

In order that the mind should see light instead of darkness, so the entire soul must be turned away from this changing world, until its eye can learn to contemplate reality and that supreme splendor which we have called the good. Hence there may well be an art whose aim would be to effect this very thing.

In order to be a world-class expert in anything, be it audiology, drama, music, art, gymnastics, whatever, one needs to have a minimum of 10,000 hours of practice. Unfortunately, it doesn't mean that if you put in 10,000 hours that you will become an expert, but there aren't any cases where someone has achieved world-class mastery without it! So the time spent at the activity is indeed the most important and influential factor.

In order to gain some insight into the forces that elevate certain products to the level of 'works of art' it is helpful - among other investigations - to look into the economic and political underpinnings of the institutions, individuals and groups who share in the control of power.

In order to educate man to a new longing, everyday familiar objects must be shown to him with totally unexpected perspectives and in unexpected situations. New objects should be depicted from different sides in order to provide a complete impression of the object.

In order to correctly define art, it is necessary, first of all, to cease to consider it as a means to pleasure and consider it as one of the conditions of human life. ...Reflecting on it in this way, we cannot fail to observe that art is one of the means of effective communication between people.

In order to create art today, you have to compromise your art somewhat and be a businessman.

In order to play musically you have to learn the art of exaggerating.

In other words, the unique value of the "authentic" work of art has its basis in ritual, the location of its original use value. This ritualistic basis, however remote, is still recognizable as secularized ritual even in the most profane forms of the cult of beauty.

I note how calm she looks and how focused she is. She is well-practiced in the art of losing herself. I can't say the same of myself.

I note that warmists are often banging on about the fact that sceptics like Christopher Booker and myself 'only' have arts degrees. But actually that's our strength, not our weakness. Our intellectual training qualifies us better than any scientist - social or natural sciences - for us to understand that this is, au fond, not a scientific debate but a cultural and rhetorical one.

In other countries, congenital introverts simply remain introverts all their lives, neither advancing nor retreating, but America's commitment to extroversion as a national art form can abrade some naturally aloof personalities until they flower into deadly nightshade.

In our conversations, he [Michael Jackson] revealed a surprising understanding of art history. We were going through the finer points of the difference between one Italian sculptor to the next. You know, this - these are things that we don't necessarily assume of people in sanctified light.

In order to write about the machine you have to know it, to live with it, to love it (or hate it). I think that true writing could be done on industrial subjects by people who work in industry, who are firmly linked with it. But ... and here is the opposite 'but', the technology of literary craftsmanship is itself a very fine and complex matter. Qualified specialists from industry prove themselves dilettantes in the field of literature. The needed synthesis is not yet in sight.

In our age the common religious perception of men is the consciousness of the brotherhood of man - we know that the well-being of man lies in the union with his fellow men. True science should indicate the various methods of applying this consciousness to life. Art should transform this perception into feeling.

In other countries, art and literature are left to a lot of shabby bums living in attics and feeding on booze and spaghetti, but in America the successful writer or picture-painter is indistinguishable from any other decent businessman.