Quotes About Interpretation

A doll with skin like that isn't going to mess it up with a revolver shot. [...] Revolvers are meant for crocodile-skins like ours.

Dans mes mains, par exemple, il y a quelque chose de neuf, une certaine façon de prendre ma pipe ou ma fourchette. Ou bien c'est la fourchette qui a, maintenant, une certaine façon de se faire prendre, je ne sais pas.

Giacometti knows that space is a cancer on being, and eats everything; to sculpt, for him, is to take the fat off space, he compresses space, so as to drain off its exteriority.

Pour que l'événement le plus banal devienne une aventure, il faut et il suffit qu'on se mette à le raconter.

Gesti, gesti, piccole distruzioni, che cosa significano, io ho creduto che questa fosse la libertà.

They explain the new by the old—and the old they explain by the older still, like those historians who turn a Lenin into a Russian Robespierre, and a Robespierre into a French Cromwell: when all is said and done, they have never understood anything at all.

U mojim rukama, na primer, ima ne?eg novog, izvestan na?in na koji uzimam lulu ili viljušku. Ili pak sad viljuška ima izvestan na?in na koji se da uzeti, ne znam.

The existentialist cannot accept that man can be helped by any sign on earth, for he will interpret the sign as he chooses.

A work of art is only a page torn from a life. It expresses this life, of course, but it could have very well not expressed it. No matter, for everything has the same value, whether it be writing The Possessed or drinking a cup of coffee.

Otodidakt konuÅŸmak istiyor gibi. Bak??? çok acayip; görmek için deÄŸil bu bak??, ruhça anlaÅŸmay? saÄŸlamak için. Otodidakt'?n ruhu, belli belirsiz göründüÄŸü o ulu kör gözlerine yükselmiÅŸ. Benimki de öyle yaps?n, gelip burnunu camlara yap??t?rs?n; ikisi de kibarca k?r?t?p dursunlar. Ruhça anlaÅŸma istemiyorum, daha bu kadar düÅŸmedim.Geri çekiliyorum.

The true work of a critic is not to make his hearer believe him, but agree with him.

Much of my work in this period was concerned with exploring the logic of economic models, but also with attempting to reconcile the models with everyday observation.

I enjoy adapting my own work, or anybody's work. I like to adapt books.

Representational painters: place your works in a larger context. Give your work not only breadth but breath. Do not 'copy' what you see outwardly but give it 'spirit.

I think of my work as very polarizing; either people really do like it and are touched by it or they really don't get it at all. It's not accessible to all people at the same level.

State what you actually see in someone's work first: objects/space/color/directional flow - then content. Interpret.

In my work, I want to create an understanding, not about what a painting looks like but about what a painting says.

A realization and a dissection of the canon gave rise to the work. But there's also a sneaking suspicion of the canon.

When you work on a text of a lesser quality, as the interpreter or the delivery person, you are obliged to try to fill it out as you see so many people do in lesser work.

It is possible to deal with the entire environment as a work of art.

A writer never reads his work. For him, it is the unreadable, a secret, and he cannot remain face to face with it. A secret, because he is separated from it.

Adam does most of the work when it comes to videos and he basically does the same as I do with the lyrics. The videos are his visual interpretations of our music.

Whenever a great painter... does a work which appears to be false and lying, that falsity is very true.

The way an actor is trained doesn't ultimately have much bearing on my work. I'm interested in the actor as artist.