Quotes About Art

Old typography or letter woodblocks that are hand-carved, cracked, and worn are especially beautiful. I love that aged, handmade effect, and that's why I don't muck around much with Photoshop.

Sometimes I get worried I'm getting too caught up in the nauseatingly oily smoothness of my own line, when all I'm trying to do is make it as clear as possible.

I think, a lot of time, when I'm making art, I'm trying to get into a state of childlike play, where I'm not self-conscious; I'm not worried about what the outcome is going to be. I'm just having fun.

It's harder to do anything in the public eye now, in terms of if you're worried about scrutiny or being judged negatively. It's not as much of a free ride. If you're someone who's making film or TV or music, or any kind of art form now, there's a billion outlets, and they all have an opinion.

I've never worried about being rich or famous - for me, it's all about the dancing.

I was worried in the '80s that the best abstract painting had become obsessed with materiality, and painterly gestures and materiality were up against the wall.

You get people talking about being worried about their art, and dances... their culture being wiped out or taken over, and yet these same people are taking advantage of their people to use them as cheap labour.

In abstract painting, I worried about the limited range of possibilities that, as time went on, became increasingly important to me. I wanted to express or deal with differences that an all-over paint and canvas 'presence' neutralized.

A mistake I've made is I have not worried sufficiently about the art world, really. I have not concerned myself with the other people in the art world. I've been a little too singular, and that's a mistake I've made. But everybody makes a mistake of some kind, and if that's my only mistake, I'm happy.

Contemporarily, we struggle with people worried about representation sometimes. It's a burden, as artists, that we take on that limits the work. It limits the characters people play. It limits the roles they want to do.

Singing a song like 'Your Love Is Killing Me,' people are worried about me. My mother called me, like, 'What's going on with you? Are you alright? I thought you were doing fine.' And I'm like, 'I am doing fine. It's just, this is what I do.'

When I was in art school, I worried that being a painter seemed like it could be an elusive dream, and fashion seemed so much more secure.

We've been worried for some time that one of the ways that North Korea can retaliate against further escalation of tensions is via cyber, and particularly attacks against our financial sector. This is something they have really perfected as an art against South Korea.

I used to get worried about writing a love song, because everyone else is doing them, and there are already enough of them out there. But I came to realize that there's a reason for that: Love is powerful, one of the most powerful emotions there is.

If the creative artist worries if he will still be free tomorrow, then he will not be free today.

I always think that art is one of the most wonderful exciting curious ways to learn. I have no worries or apologies about art being used as a teaching medium.

If I can transport audiences for the three or four hours they're at the opera, to make them forget all of their worries, the bills they have to pay and all that, then I've done my job. That, for me, is very gratifying.

The only time I feel complete expression is when I'm dancing. Then, I have no problems, no worries, no hang-ups. I feel I could do anything in the world.

I sometimes worry that all the beautiful things have been made.

The more technique you have, the less you have to worry about it. The more technique there is, the less there is.

My only worry is the painting I'm doing. Nothing else.

When you're heartbroken, you're at your most creative - you have to channel all your energies into something else to not think about it. Contentment is a creativity killer, but don't worry - I'm very capable of making myself discontented.

I no longer worry whether a painting is about something or not. I am only concerned with the expectation, from a flat surface, of an illusion.

If the work is pure then you have to think it could be understood. If it is not understood it doesn't mean that your work is not accessible. It doesn't worry me, but, of course, I would be pleased if people liked my work.