That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.
As the spiral of modern art history continues to wind down, we can see the increasing demand for tradition in the visual arts.
I think it's very, very important that people outside the capital cities, not just Sydney and Melbourne but also Brisbane Perth Adelaide and so on, have the greatest access to the best cultural experiences they can in both the performing arts and the visual arts.
If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
Sometimes listening to music can motivate you. It can. But if you're a musician, that isn't always the way to get new ideas because you don't want to take somebody else's ideas. You need to find your own. So if you go to different artistic mediums, whether it's dance or it's visual arts or films or books, stories, sometimes it gets you hearing things, hearing progressions that you wouldn't come up with if you were just listening to other music because you don't want to copy progressions you've just heard.
My bottom line is that I think Ridley Scott is one of the greatest visual artists of our time and I feel very privileged that he wants to work with me, so I go with that flow.
What I'm doing in writing has been thoroughly and exhaustively explored in other fields like visual art, music, and cinema, yet somehow it's never really been tested on the page.
I am a hobbyist photographer so I relate to the visual arts that way, but Im not a painter.
What quality is shared by all objects that provoke our aesthetic emotions? Only one answer seems possible— significant form. In each, lines and colors combined in a particular way; certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations of lines and colors, these aesthetically moving forms, I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art.
I was an artistic dilettante for a while, in photography and collage and the visual arts.
There is no society ever discovered in the remotest corner of the world that has not had something that we would consider the arts. Visual arts - decoration of surfaces and bodies - appears to be a human universal.
I believe education in music, theater, dance, and the visual arts... is part of a well-rounded education and can provide so much joy, now and in the future.
The literary artist lends verbal depth to the visual. The visual artist provides visible articulation for the literary.
I wanted to be a visual artist because I grew up around a lot of painters and photographers and had a very artistic upbringing. And I fantasized about being a drug-dealer when I was a kid. I thought it would be a good opportunity; I knew that the market would be strong. Is that bizarre?
As a gender variant visual artist I access 'technologies of gender' in order to amplify rather than erase the hermaphroditic traces of my body. I name myself. A gender abolitionist. A part time gender terrorist. An intentional mutation and intersex by design, (as opposed to diagnosis), in order to distinguish my journey from the thousands of intersex individuals who have had their 'ambiguous' bodies mutilated and disfigured in a misguided attempt at 'normalization'. I believe in crossing the line as many times as it takes to build a bridge we can all walk across.
To have my fan club. I am very proud of doing everything. I try to support my parents, friends and fans. I am also proud of my performing in the visual arts, and motion television.
I'm really inspired by the interplay of visual art and music, a total artistic environment where there's sound and visuals. When I think about that I get stimulated and excited. It's a feeling that you can't label with words.
There are many ways in which people are made aware of their power to believe in the supremacy of Divine guidance and power: through music or visual art, some event or experience decisively influencing their life, looking through a microscope or telescope, or just by looking at the miraculous manifestations or purposefulness of Nature.
It is my entire visual art practice: I eat, sleep, think, write about and do drawing.
Music has always been a part of me and art in general. I love visual art as well.
My exposure to visual art all my life was intensive.
I wasn't a big fan of social anthropology. And, luckily, that created room for me to work in visual arts because I sort of ignored my requirements. I think I was attracted to social anthropology because I liked to travel and was always interested in far-off places.
As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.
When I began making art, I just thought I liked it. As a woman who was placed in spaces with various conditions, conventions, and restrictions on self-expression, turning to art - whether visual art, writing novels, or writing articles - was to gain freedom from the space around me.
I'm really visually stimulated more than anything. I don't really listen to music. I'm more into watching telly or watching movies and visual art.
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