Quotes About Contemporary

It is not hard to understand modern art. If it hangs on a wall it's a painting, and if you can walk around it it's a sculpture.

I have never been one to look beyond today.

I try to write about how we live today, how we use language, technology, our bodies.

Color-blocking two bold shades feels so modern.

I was very much into buying contemporary art, but I've just decided I want to get rid of it all. Not that it's not great art, but all of a sudden my mood has changed, and I want to go back to seventeenth- and eighteenth-century masters.

I've always loved the blues, ever since I was a kid. It has a depth to it that a lot of contemporary music doesn't have. It has pain and suffering in it, but funny stories, too. And it is built on storytelling, which is something I really love.

I love and collect contemporary art and go to all the art fairs. I love Damien Hirst and Matthew Barney. I grew up in Italy and had a humanistic education in philosophy and literature - things I love and appreciate. People are richer and more complex than just their day-to-day professional pursuits might suggest.

When fashion sweeps in, artists follow suit. I think this is the malady of contemporary art.

My own interest in art was because of my mother. My father didn't like contemporary art, so he didn't give her large sums to spend. So, she began buying prints and drawings. During my school days, I remember sitting in on many of the early meetings.

I realized with Broadway everything written for black people is usually written in the past, and I'm kind of a contemporary guy. I don't think you want to see me in 'Raisin in the Sun'.

Not counting the brand of Sunni Islam practised by the so-called Islamic State, there is probably no religion in the world that comes in for more flak than Scientology.

no contemporary painting could have any serious standing without a critical theory certifying and explaining it. Twenty-five years from

the criterion a wealthy character sets for buying art is "that a picture should repel his sense and intelligence. Only then could he be sure of having bought a valuable modern work.

identification is always an ambivalent process. Identifying with a gender under contemporary regimes of power involves identifying with a set of norms that are and are not realizable, and whose power and status precede the identifications by which they are insistently approximated.

I question this stereotype of the technologically tethered worker with no control over his time. Instead, the use of information and communication technology (ICT) for both work-related and personal matters is shown to have positive, as well as negative, implications for men and women workers. The contemporary office has by my account morphed into a ubiquitous technoscape, and this has reconfigured the very nature of working time.

The conclusion affirmed by the narrative is that wherever YHWH governs as an alternative to Pharaoh, there the restfulness of YHWH effectively counters the restless anxiety of Pharaoh. In our own contemporary context of the rat race of anxiety, the celebration of Sabbath is an act of both resistance and alternative. It is resistance because it is a visible insistence that our lives are not defined by the production and consumption of commodity goods.

The contemporary American church is so largely enculturated to the American ethos of consumerism that it has little power to believe or to act.

In our own contemporary context of the rat race of anxiety, the celebration of Sabbath is an act of both resistance and alternative. It is resistance because it is a visible insistence that our lives are not defined by the production and consumption of commodity goods.

How Do I Decide? A Contemporary Jewish Approach to What's Right and Wrong, Rabbi Roland B. Gittlesohn's

We live in a world of media overload and data smog, where everything distracts us from everything else. Yet underlying this noisy assault, our culture offers us nothing transcendent. No deeper meaning, no abiding hope. In my crisis, every facet of the contemporary world seemed part of a diabolical mechanism carefully designed to keep people from wondering about the real purpose of their endless frantic activity.

No, it's interesting to remake a film for the contemporary audience today. I think it's a good idea it needs to respect the original idea. Don't just take the title and change everything else.

A theatre, a literature, an artistic expression that does not speak for its own time has no relevance.

The sweep of the hierarchy's betrayals, in scope and depth, is staggeringly new. And to gauge the likelihood of that hierarchy's facing the truth of what it has done and what it has become, consider this: The two contemporary maestros of denial, Pope Paul VI and Pope John Paul II, have, in the very years of the scandal they enabled, been named as saints of the Catholic Church.

Those without the resources to wrest a share of the available and inadequate supply of horses and fodder suddenly found that they and their property were no longer safe. To put their dilemma in contemporary terms, it was as if you were forced to arm yourself today with a new type of weapon, but the cost of doing so was $100,000. If you could not pay that price, you would be at the mercy of those who could.