Quotes About Art

I wanted so badly to study ballet, but it was really all about wearing the tutu.

I never thought of myself in comedy at all... I loved going to the theatre and seeing people wearing beautiful clothes come down the staircase and start to dance.

I love wearing drag.

Drawing must seek interest, not admiration. Because admiration wears quickly.

Clothes are only completed when somebody actually wears them. If they were art, they could be more abstract. As long as something is new and has never been seen before, I don't mind if people call it art. Wear them if you dare.

What I like doing is imagery that can be interpreted in any particular way by the person who wears it.

Technique! The very word is like a shriek of outraged Art. It is the idiot name given to effort by those who are too weak, too weary, or too dull to play the game. The mighty have no theory of technique.

I have seen many storms in my life. Most storms have caught me by surprise, so I had to learn very quickly to look further and understand that I am not capable of controlling the weather, to exercise the art of patience and to respect the fury of nature.

I like the south of Spain, notably for the Moorish influence and the weather.

In bad weather, I spent hours drawing action figures on paper, coloring them, backing them on cardboard, then cutting them out and creating whole stories around their lives.

I recognize that it is through the engagement with my craft - by recognizing an idea and drawing it out, building physical models, collaborating with experts, constructing the sculptures at urban scale, and maintaining them through years of weather and interaction with the public - that a new art for cities has become real.

I can make a song up about anything: garbage, the weather, things in the news.

If I were to make an uneducated guess about L.A.'s relationship with folk and psychedelia, I would say it must be the weather.

My dad listened to a load of jazz - Mahavishnu, Weather Report, Herbie Hancock.

It's kind of a language I've developed over time that's basically breaking up the face into components and planes. Inside each plane, I draw gradation marks, and when planes come together, they form sinews, a hairlike weave that's like a landscape of the face.

When you make a movie, you do it so piecemeal. You're doing it, not only scene by scene, out of order, but shot by shot, line by line. And there's this idea that the director has the whole thing in his or her head and they're going to somehow weave it all together in the end.

I didn't see spaces where female artists could exist and exhibit their work. So I created a platform for this - one that allowed our works to be seen, but to also weave a community of women that could lean on and work with one another.

The art of the bird is to conceal its nest both as to position and as to material, but now and then it is betrayed into weaving into its structure showy and bizarre bits of this or that, which give its secret away and which seem to violate all the traditions of its kind.

The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider's web.

I think newspapers shouldn't try to compete directly with the Web, and should do what they can do better, which may be long-form journalism and using photos and art, and making connections with large-form graphics and really enhancing the tactile experience of paper.

People can put their best poems straight onto the web.

Unlike with any other art form, filmmakers have this unique web of festivals. There are hundreds. It is a democratic system in which you submit films, and if they are good enough, they play. The only barrier to entry is the submission fee.

We live in this thought web; we identify things and put them away and distance ourselves from them. But to be completely present? That is source, that is art, that is spirituality. And meditation is a way to defy fear and experience that source.

The Web meant that I didn't have to schlep a whole bunch of stuff to a museum and fight with all their constraints and make something that, in the end, only 150 people would actually get out to see. Instead, I could put something together in my lab and make it accessible to the world.