Best 22487 quotes in «art quotes» category

I'm trying to create flesh architecture. I aim to get a sculptural feel for groups of bodies, as well as create performance art.

I murmured to Picasso that I liked his portrait of Gertrude Stein. Yes, he said, everybody said that she does not look like it, but that does not make any difference, she will, he said.

I'm using my art to comment on what I see. You don't have to agree with it.

I must say that the first person to realise that I was talented in art was my mother.

I'm trying to inspire as many people as I can. I want the viewer to enjoy the art and I want the whole family to have something to react to. I hope that folks go home and do a bit of doodling and creating on their own.

I must create a system or be enslaved by another mans; I will not reason and compare: my business is to create.

I must apologise because I know all writers have memories of being on the outer because it's the children on the side of the playground who become the dangerous writers.

I must walk toward Oregon, and not toward Europe. And that way the nation is moving, and I may say that mankind progress from east to west. We go eastward to realize history and study the works of art and literature, retracing the steps of the race; we go westward as into the future, with a spirit of enterprise and adventure.

I'm very crafty! One time I made a television set out of a cardboard box - Everybody thought it was a lark! This was the beginning of a love affair with the arts.

I’m very much half-American - my mom is American. I grew up in Australia until I was 16 then I finished high school over here because I got into this performing arts high school.

I'm very hard on the art world just being a big business.

I'm very much into the costuming of any character that I portray and it's one of the great things about making movies is it's a collaborative art form so you get all these artists who are looking specifically about for this instance your character's costume and what that might tell about your character.

I'm very much involved with Asian art and its theory and practice, mainly Chinese because that was quite sophisticated. I tend to look at that more than I look the Western.

I'm very objective about what I want to have happen to my protagonists and where that has to come from. On one hand, it does help me that I had a mother who might have taken the last dollar and bought a pack of cigarettes or something, but I also had a mother who exposed me to art, music, other religions, different foods. My mother was very adventurous in her own way, so she fed the part of me that was going to grow up to be a writer. But there's always, too, the opposite response that helps me to create.

I'm very happy to be a part of a very successful piece of art, as the 'Saw' films have been. One gets into this to participate. It's the coming together of a good story. So, that aspect of it has been just splendid. It really has nothing to do with me or my popularity. I'm fascinated.

I'm very happy to hear that my work inspires writers and painters. It's the most beautiful compliment, the greatest reward. Art should always be an exchange.

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 must only warn you of one thing. You have become a different person in the course of these years. For this is what the art of archery means: a profound and far-reaching contest of the archer with himself. Perhaps you have hardly noticed it yet, but you will feel it very strongly when you meet your friends and acquaintances again in your own country: things will no longer harmonize as before. You will see with other eyes and measure with other measures. It has happened to me too, and it happens to all who are touched by the spirit of this art.

I must say a few words about memory. It is full of holes. If you were to lay it out upon a table, it would resemble a scrap of lace. I am a lover of history . . . [but] history has one flaw. It is a subjective art, no less so than poetry or music. . . . The historian writes a truth. The memoirist writes a truth. The novelist writes a truth. And so on. My mother, we both know, wrote a truth in The 19th Wife– a truth that corresponded to her memory and desires. It is not the truth, certainly not. But a truth, yes . . . Her book is a fact. It remains so, even if it is snowflaked with holes.

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.