Contemporary movies just drive me crazy. The violence and the sentimentality and the spiritual materialism and Theism and the incredible indulgence in ignorance is so claustrophobic.
Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.
To be contemporary actually means to be an artist. [But] I do not feel contemporary in my work. I perceive my work as old-fashioned. It does not have a frame of actuality in our time or locality.
Southern writing is regional: it includes dialect, settings, and cultural traditions from that region. However the themes and story conflicts are universal. My challenge is to write regional fiction without falling into the trap of nostalgia. There are important issues facing the south that I believe should be raised in the stories to make them contemporary, believable, and relevant to today's readers.
Most contemporary philosophers are conservative and eager to keep their jobs.
Contemporary philosophers are facing problems that were unthinkable only one century ago, such as whether space and time are mutually Independent, whether there is objective chance or only uncertainty, whether physics can explain chemical change, whether our behavior is fully determined by our genomes, whether ideation can change the brain, or whether either the economy or ideas are the ultimate roots of the social.
I think I give far more space and play to avant-garde writing than any other contemporary textbook author. I want students to be able to decide for themselves which aesthetics are closest to their own. Still, while I try not to be a nostalgist myself, I suppose I am drawn to those poignant moments in our lives, rendered clearly and artfully.
If anxiety is the major force of our contemporary condition, a lot of poetry - including my own, mostly - sort of tries to escape that, fly off into magical thinking or bewilderment or whatever.
I have never understood, for instance, why some people see contemporary art as divided between 'painting' and 'conceptual art', as though this represented a genuine division.
Art is about asking questions and engaging a dialog. By challenging or investigating conventions contemporary art helps promote an on-going sense of discovery, contemplation, and understanding. I think these are all important things.
One of the things that you see ancient philosophers and contemporary scientists agree on is that strong relationships are a key to happiness, maybe the key to happiness. People who have more strong relationships in their lives just feel happier.
You really have to go searching desperately to find any contemporary examples of good, old-fashioned runaway inflation.
It horribly skews the meaning of the cross when contemporary prophets of self-esteem say that the cross is a witness to my infinite worth. The biblical perspective is that the cross in a witness to the infinite worth of God's glory, and a witness to the immensity of the sin of my pride.
Philip Larkin has a tough honesty and sense of humor that I find irresistible, as a contemporary poet.
I think that if the novel's task is to describe where we find ourselves and how we live now, the novelist must take a good, hard look at the most central facts of contemporary life - technology and science.
If you want to be a fiction writer, you need to start reading like a fiction writer. To do so, you need to learn about craft so that the next time you pick up a contemporary short story, you're reading it not as an abstraction floating in formaldehyde, existing simply for the theorist's dull scalpel to saw on, but as a concrete thing constructed out of words and shaped by syntax, brought to life by a writer who made several thousand choices, some large, some small, before letting that imperfect beauty, the story, walk on its own two feet.
I'd love to adapt more contemporary novels. But there isn't really enough story and character to make a really satisfying serial, so they tend to be single dramas.
When I was a teenager, I worked in New Orleans for a chef named Paul Prudhomme. That was a very important time in my life as a chef. I developed my palate and learned a lot. And here I am now. I specialize in modern Mexican and contemporary Latin cuisines.
Why do I feel so exercised about what we think of the people of the Middle Ages? ... I guess it's because so many of their voices are ringing vibrantly in my ears - Chaucer's, Boccaccio's, Henry Knighton's, Thomas Walsingham's. Froissart's, Jean Creton's... writers and contemporary historians of the period who seem to me just as individual, just as alive as we are today. We need to get to know these folk better in order to know who we are ourselves.
Beyond the mythology, Wonder Woman gets to play with several dichotomies. It's Amazon culture versus man's world; ancient mythological times versus the contemporary world; and, of course, all the male and female issues.
A lot of the ancient Norse myths and legends are the basis of a lot of the sci-fi, fantasy films out there. Telling these stories in a contemporary medium, it's all good.
One is never completely satisfied. But I can say that I'm not dissatisfied. I've been very fortunate. I've been given some gifts - to take advantage of the contemporary times when I made movies. Gifts to make audiences laugh.
Fashion has always been nourished by the past. At the end of the day, where the inspiration comes from doesn't matter. It's what you do with it. How you treat it, how you translate it into a contemporary wardrobe. You put it in a shaker.
The boundaries between contemporary art and cinema are so rigid. It's unbelievable. The film critics don't know my artwork and the art world doesn't know my films.
My influences were from Europe from between 1900 and 1945. My favorite artists were Egon Schiele or Edvard Munch. I wasn't interested in contemporary art at all.
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