Quotes of All Topics . Occasions . Authors
People who were born alone are defined by feelings like "Who's gonna be with me when I die? Who will ever understand me? Will I always feel so alone? Maybe if I write a book..." and you forget that that doesn't help you so much.
I feel like people either love me or hate me, which is good, because that was the point of what I do. The point of M.I.A. is to be - it's either to be loved or hated. At least you evoke that much of a strong opinion about music.
What a funny thing painting is. The abstract painters always insist on their connection with the visible reality, while the so called figurative artists insist that what they really care about, is the abstract qualities of life.
So much of my work involved the Vietnam War that it would have been obscene to show it in a gallery. But now, it’s different; it’s important to remember and to enable the young to discover what to some of us is still so present.
Ayame: Yuki, let's deepen the bond between us brothers! Yuki: Before you can do that I'll drown you in the deepest part of that lake. Ayame: That's right! No matter what happens we'll be together. Yuki: I'll let you drown alone!
I remember the university as being very encouraging, especially to experimentation. I think you always get a lot of musicians in any art community, and it seemed like a lot of people I knew worked on films that got made locally.
In one hundred years time people will look back and think 'these people were really worried about the environment, they were looking at things to do with global warming, and this is why they were making work about these issues'.
The thing is to sift out the important sounds, little syllables and vowels that bring hints of their lost words, and not to mistake the fossil for the life, or the kiss for the love, not to mistake the fragment for the sentence.
When I was doing just the underwater, I don't think people could relate to it at first. Then I added the land, which was a painting called, Two Worlds. For some reason that particular painting gave people something to hold onto.
I've always said that the Europeans subconsciously knew how to pose because of the culture or tradition of having your portrait made. They were surrounded by these portraits, and subconsciously they were already posing for them.
We want a vernacular in art. No mere verbal or formal agreement, or dead level of uniformity but that comprehensive and harmonizing unity with individual variety which can be developed among people politically and socially free.
People are fond of using military terms to describe what they do. We call it bombing when we go out painting, when of course it's more like entertaining the troops in a neutral zone, during peacetime in a country without an army.
To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach
The only person I do worry about, that I want to be a good person for, I think is my responsibility, is my sister. I'm going to be cool for you, okay. I like, I need to, I like being by myself right now. I think it's good for me.
There seems to be a peculiar kind of clamor for comics. And I'm not sure how much a part of reality that is. I think partly it's based on some idea that comics are what everybody wants to read - and I don't think that's the case.
We were told, no, you don't do. There was this high standard of morals and a sense of responsibility. That didn't mean that everybody stuck to those laws, but we were cognizant of the importance of trying to live up to that code.
Maybe poets express more directly a sense of sympathy for other human beings. Painting is a little bit more of a retreat from human beings in real life; painting is more about the extreme moments when speech doesn't help anymore.
Today we live in a chaos of straight lines, in a jungle of straight lines. If you do not believe this, take the trouble to count the straight lines which surround you. Then you will understand, for you will never finish counting.
The role of the artist, like that of the scholar, consists of seizing current truths often repeated to him, but which will take on new meaning for him and which he will make his own when he has grasped their deepest significance.
Enduring and forgiving are two different things. You must not forgive the cruelty of this world. It's our duty as human beings to be angry at injustice. But we must also endure it. Because someone must sever this chain of hatred.
I've always enjoyed feeling a connection to the avant-garde, such as Dada and surrealism and pop art. The only thing the artist can do is be honest with themselves and make the art they want to make. That's what I've always done.
My first interest in graffitti came when I was in grammar school, around '87 or '88 I was about twelve years old. I did not know much about writing, I just knew that I liked to write my name everywhere I could in my neighborhood.
Polaroid, you know, goes against everything that photography is now. You can't make multiples. Only one exists. I love that. By the way, while we've been talking I've now seen a total of three people I know walking on 8th street.
I often feel I am being burned at the stake just because I have always refused to give up that wonderful strange power I have inside me that becomes manifested when I am in harmonious communication with some other inspired being.
I've met and sketched most of the great athletes from the past five decades and their movement, grace and energy have kept me captivated over the years. That's what the ancient Greeks first saw and that's what caught my interest.
I say we don't need art in nature, because it's so perfect without us. We need it in the cities. But the cities have absolutely lost their own center. They think having ten cars and a big bridge is the way to happiness. It's not.
The progression of a painter’s work…will be toward clarity; toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer…to achieve this clarity is, inevitably, to be understood.
I wasn't an academic looking in books for ideas. But I educated myself about historical work that was similar to mine, to provide a frame of reference that wasn't the usual frame of reference of the New York art world and Europe.
I was treated better than others, simply because there was so much public attention. In my case, they did adhere to the eight-hour workday required by law. The other women were often forced to slave away for up to 16 hours a day.
One of the reasons I love using LEGO bricks is because it makes the art very relatable and accessible; folks can connect with the art almost on a different level because they have played with it or their kids have played with it.
A child came up to me and asked 'am I dreaming?' I had a similar experience coming to the Art Gallery of South Australia when I was a child. My mum had done a workshop here and it stayed with me. It's an important formative time.
I am a messenger who will bring back word from the men who are fighting (WWI) to those who want the war to go on forever. Feeble, inarticulate will be my message, but it will have a bitter truth and may it burn their lousy souls.
Speaking, when you have something to say, is like looking. But who looks? If people could see properly, and see whole, they would all be painters. And it's because people have no idea how to look that they hardly ever understand.
There has never been a painting that was more beautiful than nature. The model does not unfold herself to you, you must rise to her. She should be the inspiration for your painting. No man has ever over-appreciated a human being.
All the people in the late '80s and early '90s were really hell-bent on doing something for themselves, and they wouldn't take no for an answer. There was a lot of determination, and I was definitely part of that way of thinking.
Creating artworks, writing and publishing novels, poetry, music, or conducting art-historical research requires support. So does everything else in the world, from physics to fish and wildlife management to human-rights advocacy.
I'm not particularly invested in, nor do I really care about, photography in a general sense. It's a medium that's relatively ubiquitous, readily accessible, and that I have some facility with, so it makes sense for me to use it.
I really like the story of Bardock, Goku's father. It's quite dramatic and the kind of story I absolutely wouldn't draw if it were me. It was like watching a different kind of 'Dragon Ball' in a good way, so I thought it was nice.
What does the artist do? He draws connections. He ties the invisible threads between things. He dives into history, be it the history of mankind, the geological history of the Earth or the beginning and end of the manifest cosmos.
I value above all the ability of art to move me emotionally and psychically, without answers. I make art that makes me question, that derives its power from being vulnerable to interpretation, that is intuitive, that is beautiful.
The different aspects of my activity, whether it's writing criticism, or doing visual work that incorporates writing, or teaching, or curating, is all of a single cloth, and I don't make any separation in terms of those practices.
To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach.
I think abstraction is a very rich area. And it is upsetting that people seem to have some fear of it. I'm constantly making these statements about how you should just look at it and react to it on your own; just relax and let go.
I always knew I wanted to be somebody. I think that's where it begins. People decide, "I want to be somebody. I want to make a contribution. I want to leave my mark here." Then different factors contribute to how you will do that.
They are more like artistic names. Bá is a nickname. It's short for Gá. When I learned to spell letters and words, instead of calling him Gabriel [Ba], I called him Babio. People call him Gá and I call him Bá. So Bá is a nickname.
The unexplainable thing in nature that makes me feel the world is big fat beyond my understanding – to understand maybe by trying to put it into form. To find the feeling of infinity on the horizon line or just over the next hill.
Many times, working is kind of like channeling, and I really don't know what's going to fall on the page. I just did this image of a fat girl and put her on a tiny mountain peak of grass that she's walking over. It just amused me.
In lang, lang days o' simmer, When the clear and cloudless sky Refuses ae weep drap o' rain To Nature parched and dry, The genial night, wi' balmy breath, Gars verdue, spring anew, An' ilka blade o' grass Keps its ain drap o' dew.
Popular culture isn't a freeze-frame; it is images zapping by in rapid-fire succession, which is why collage is such an effective way of representing contemporary life. The blur between images creates a kind of motion in the mind.
A simple idea. And the man that worked on it, Mike Gabriel, doubled the value. Beautiful job. I should say triple. We have others like that, but, unfortunately, shorts, which are my favorite approach, are economically of no value.