Quotes About Culture

I'm torn between wanting to connect with what I grew up with and what's available, living in Brooklyn. I don't have a grimy supermarket that decapitates frogs' heads nearby.

Loving the country, wanting to preserve the culture and identity - protecting the interests of the Americans in America, of the French in France, of the Israelis in Israel - seems to me perfectly legitimate.

The United States is definitely ahead in culture of innovation. If someone wants to accomplish great things, there is no better place than the U.S.

Like its politicians and its war, society has the teenagers it deserves.

We are Americans when we go to war, and when we return, we are Mexicans.

The Cold War, Bosnia and Ukraine remind us that peace is fragile. Iraq and Syria remind us that no society or culture is immune from conflict.

Cambodia is not only a country of war, but also a country of culture. It's in our DNA.

Having arrived in London to seek refuge during the civil war in Sudan, where I was born, the thing I'm most proud of is having totally evolved. I came here not knowing how to speak English, but I went to school and learned; I adapted to this new culture.

I think a lot of Americans have never been all that hungry. They've never had war on their shore, and they've never suffered the way other cultures have suffered. I'm not saying we should go suffer. Not at all. I'm saying we should be more aware of how other cultures exist.

In war, the first thing that goes, when you try to take over culture, is the statues. I think we all can recall statues with their heads cut off in museums.

I'm from downtown New Orleans. Downtown consists of the 7th ward, the 8th ward, the 9th ward.

We do need sculpture. People always say: 'Well, that sculpture could have paid for a cot in a maternity ward.' But if the world had been run on those lines, there'd only be about four books, and they'd be seed-drill manuals.

Growing up, I loved shopping from the streets of Delhi and love a mix and match of designer wear and high street in my wardrobe.

I am proud of being a Somali-American Muslim, and my wardrobe has been an important part of my religious and cultural upbringing.

When I do my own wardrobe, I try to wear a designer from each of the countries I'm visiting: Tom Ford for New York, Hugo Boss for Germany, Burberry for England.

Disco evolved into Chicago warehouse. Then there was techno; eventually, it evolved into EDM.

France, mother of arts, of warfare, and of laws.

I believe that Ryan Murphy is a genius. His instincts remind me of Andy Warhol. I recently went to the Warhol museum in Pittsburgh, and you can see a lot of echoes of Andy in Ryan's work. Like Andy, Ryan's finger is so on the pulse of culture that he's ahead of culture. Their aesthetic and their vision of the world are very similar.

I went to the big Picasso retrospective at the Tate in the sixties, and I think I went to an Andy Warhol retrospective at the Tate in the sixties, too. My mother was very good at taking me to things like that. We lived in Reading, but we went on these cultural trips to London.

'No Hands' art goes straight back to Warhol. He was the first to use elves.

After Andy Warhol died, it left a dark cloud over N.Y.C. nightlife.

Andy Warhol made fame more famous.

When I was growing up, all the art that touched me was lens-generated, like Gerhard Richter, or Polke, Rauschenberg, Warhol.

But what was interesting about what the Who did is that we took things which were happening in the pop genre and represent them to people so that they see them in a new way. I think the best example is Andy Warhol's work, the image of Marilyn Monroe or the Campbell's soup can.