Art knows neither doctrine nor idea; its nature is to show.
I love art, but I'm not an academic; I just like what I like.
I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.
There's an audience for all kinds of great art.
Well, there's two things that happen when people experience something, whether it's a song, a television show, a film, a book or any piece of art. It connects them to a certain part of their life and whatever was going on at that time in their life.
I guess I'm part of the art house, but we really have to shake up our ideas, because we're kind of self-parodying ourselves. We go places commercial cinema doesn't go, but sometimes it's to our own detriment.
It's not a science when you are judging art, but we'd be remiss to say you can't look at something and say, 'This is more well done than that.'
As I've gotten less righteous, less pedagogic, I have become more loving of the artificiality, the art form, the imitation of life in film.
I have had this longstanding interest in going back to school to get a Ph.D. in art history. I was especially interested in exploring this idea of the ecstatic impulse in an artist.
The wonderful thing about theater as an art form is it's a purely empirical art form. It's all about what works. And every show, every production, is created anew right from the moment you go into the rehearsal hall.
The idea that one might use art for 'instrumental' reasons tends to set off alarm bells at the heart of the cultural elite, who contend that it's not a pill, that it shouldn't be asked to perform some specific function, especially something as egocentric as to 'cheer you up' or to 'make you a more empathetic person.'
Art is difficult. It's not entertainment.
I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.
If art means as much to you as it does to me, or even if you're just exploring the art world for the first time, I invite you to turn off the boob tube, pry the Wii controllers from your kids' hands, and drag them to a museum.
Well let's see; I'm not obsessed with... I like Walt Disney except that you know, except for the horrible fascism. I love the art of it. I like a lot of things I don't agree with and that's one of them.
The way I look at it is that once you create a piece of art, and it's out in the world, there's nothing you can do about it. People can use it the way they want to. There's nothing you can do about it. All you can hope for is that people that are using it are using it with the best intent.
In the 1970s when I started in the art world, no self-respecting artist would have stood in line to try to get on a television show. It never would have happened.
Borrowing something from one art form and relocating it in another always has a whiff of pretension about it, like in books if, instead of 'Chapter One,' you have 'First Movement.'
I think we're much smarter than we were. Everybody knows that abstract art can be art, and most people know that they may not like it, even if they understand there's another purpose to it.
The excellency of every art is its intensity, capable of making all disagreeable evaporate.
You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
There are beautiful examples of art done by chimpanzees in human care.
At that time, the academic orientation was rather technical contrary to that of the university, where art theory is very important. The teachers were renowned artists and among the best of that time.
Every work of art belongs to his time. I would not paint again the Mona Lisa in the third dimension.
I went to art high school and thought I'd be a painter. Unfortunately I didn't finish high school, but that's always been part of my work.
Sometimes, being different feels a lot like being alone. But with that being said, being true to that and being true to my standards and my way of doing things in my art and my music, everything that has made me feel very different... in the end, it has made me the happiest.
When I'm writing the text for a book like 'Little White Rabbit,' I read it aloud, alone, in my studio, again and again and again - because the rhythm has to be exactly right. After I get my manuscript to the point where I think it is perfect, I begin to think about what I want the art to look like.
I do have that mindset - that most good art comes from some turmoil, from someone trying to come to some equilibrium, or come up and get a breath.
I think art is a consolation regardless of its content. It has the power to move and make you feel like you're not.
I'm not the greatest driver. I don't know if I'll ever master the art.
You know, you become an artist, you become an observer, of life, and you digest life by making art about it.
I was raised in South Carolina; I wasn't aware of any art in South Carolina. There was a minor museum in Charleston, which had nothing of interest in it. It showed local artists, paintings of birds.
I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.
If the Frieze Art Fair catches on, I imagine at least two great things happening. First, we will once again have a huge art fair in town that isn't too annoying to go to. More importantly, Frieze may finally show New Yorkers that we can cross our own waters for visual culture. That would change everything.
The world is not kind to whistleblowers - a term of art with particular resonance in football, the most hierarchical and repressive of organized sports, a world of 'systems' and 'programs' and scripted plays, where reading a medical report requires a security clearance, and practice fields are patrolled like Guantanamo Bay.
The forties, seventies, and the nineties, when money was scarce, were great periods, when the art world retracted but it was also reborn.
