Quotes About Art

I would simply ask why so many critics, so many writers, so many philosophers take such satisfaction in professing that the experience of a work of art is ineffable, that it escapes by definition all rational understanding; why are they so eager to concede without a struggle the defeat of knowledge; and where does their irrepressible need to belittle rational understanding come from, this rage to affirm the irreducibility of the work of art, or, to use a more suitable word, its transcendence.

The downfall of the industry seems to actually be good for art. I think the industry will find their way once the focus shifts from its greed-based origins, downsizes, and begins to support creative visions that speak to our times and shifting ideals.

There are many documentary filmmakers who have a tough time because they don't really get what they need to do what they want. There are so many people with good visions that should be encouraged and helped. And they will deliver, I'm sure.

I like to feel that all my best photographs had strong personal visions and that a photograph that doesn't have a personal vision or doesn't communicate emotion fails.

'Painting like a child' isn't a negative for me... it's something only great artists can really achieve. The childlike quality of some of Picasso's drawings is precisely what makes them so masterful and extraordinary; the ability to express complete visions, feelings and portraits through a continuous line.

I want to work with people who have new visions of cinema.

A visit to Marrakesh was a great shock to me. This city taught me color.

I do try to get to a new part of London every week, visit a museum once or twice a week if possible.

The muses visit when I'm lonely.

If you bury me in a grave, don't ever come visit - because you won't find me there. You'll find me in the books that I've read, the music I've listened to, and the art I've created.

Art is often defined as a famous masterpiece in a gallery, and we are meant to visit the work and view it to appreciate it. But that is not all there is.

There was, when I came to New York in the 1970s, no more profound or moving experience than MoMA, an almost perfect piece of 20th Century modernist expression, existing in an extraordinary balance - modestly, functionally, elegantly - with the extraordinary art it held. This place changed my life. I was transformed by every visit.

I visit a lot of art galleries. I live in Dublin and there's a very good gallery called the Kevin Kavanagh gallery.

I had never really thought about acting as art. You know, growing up in Youngstown, the Rust Belt of the world, it was always just a form of entertainment. Finally seeing it as an art form, I fell in love with it. So I moved out to California, never having visited before.

My education in the arts began at the Cleveland Museum of Art. As a Cleveland child, I visited the museum's halls and corridors, gallery spaces and shows, over and over. For me, the Cleveland Museum was a school of my very own - the place where my eyes opened, my tastes developed, my ideas about beauty and creativity grew.

Art is really about perception, and mine have been changed through visiting other realities.

When I left art school and went in search of work, visiting publishers and showing them my drawings and illustrations, I was met with a polite and sometimes enthusiastic response but no commissions.

My mum was ill when I was originally making 'Edward Scissorhands' in 2005. I was virtually visiting her every night after rehearsals, and she never got to see it.

The people of Texas are rightly proud of their own, just like the French and the Italians, but visiting artists have often been given a shot in the history of art.

I am equally fascinated and awed by visiting an Alexander McQueen show as I am looking under a microscope.

I do feel Scottish in some way. Maybe it's to do with visiting my grandparents here every summer as a child, but I am aware of my Scottish ancestry. It's there all right, but it would be pushing it to label me a Scottish painter. Or, indeed, an anywhere painter.

During my time at high school and university in Kreuzlingen and St. Gallen, I traveled around Europe looking at art, visiting artists, studios, galleries and museums.

In 1983, I was working at an art gallery in Los Angeles and going to film school at Los Angeles City College. At that time, Jean-Michel Basquiat was a young painter and was visiting L.A. for his first show at the Larry Gagosian Gallery.

Theatre remains my first and last love and even when I am noot doing plays, I am associated with it in some way. For instance, I go to Mumbai University as a visiting faculty and talk about the medium.