I don't love the word luxury because it feels Bougy to me.
The reality of an actor's life is that we do not always have the luxury of choice. We take what comes to us.
I think the cynicism that you have when you've just gone through a break-up is a luxury that you allow yourself for a while.
Having a kid made me realize, "I have to take care of this kid, but I can't have the luxury of dropping everything in the world and spending every waking moment with him. I've got to work."
We consume luxury. We participate in the image industry in a meaningful way, and we have a look and a background that should be taken on its own terms.
The trouble with being a secular humanist is that we don't have a congregation. We don't meet so it's a very flimsy tribe, but there's a wonderful quotation from Nietzsche. Nietzsche said, Only a person of deep faith can afford the luxury of skepticism. Something perfectly is going on. I do not doubt it, but the explanations I hear do not satisfy me.
I never thought of serving as a conflict of interest, that would have been a luxury! I just needed something to survive. Initial needs have to be met first, and then later things like patriotism come in.
When I was on the U.S. men's indoor team, I was on the road 200 days of the year and sometimes in the worst conditions. We didn't have the food or luxuries we wanted. We didn't have a laundry service. So every night after the match, I soaped up my uniform in the shower. I learned to rely on outside things as little as possible, whether it was music or massage. I just got out of the habit of relying on outside things.
As I look back on it now, I'm thinking of one very vital factor, that one factor being that I was afforded the luxury - the luxurious opportunity - of finally being able to put something back. As a child growing up, it was his [Frank Sinatra] efforts that put a roof over my head, food in my stomach, clothes on my back, and that got me an education and sent me to the doctor when I was sick. All those things a child could benefit from parent. I did not want to be in a position where all I had ever done was take, take, take, frankly.
When I would create a dance, I wouldn't have the luxury that ballet people do when they take a piece of music and impose a dance upon it. What we did in motion pictures was have a song and within that song try to elaborate. My usual method was to do what a writer does: get a plot.
Men have come to such a pass that they frequently starve, not for want of necessaries, but for want of luxuries.
I just make what I'm making, and then one day I won't want to make it anymore. I think that's a luxury we should be able to have as people, especially as artists.
The one thing that we wanted to make sure in the pilot [of "Mary and Jane"] is that we could go everywhere. Part of the fun of them being a delivery service is that they go to different areas episode to episode. We do have an episode in the beach and there is an episode in the luxury rehab. It's all different kinds of things we are making fun of in LA.
Remember, don't waste time comparing your life to others who seem more fortunate. Being fortunate is based on how much peace you have, not how many luxuries or conveniences you have. Practice from the heart to make peace with what is.
Luxury is not a static concept, but it shapes and changes with society. Now somebody who might not have the time to come to one of our boutiques can shop online.
Is it not enough that we are torn from our country and friends, to toil for your luxury and lust of gain? Must every tender feeling be likewise sacrificed to your avarice?
I had no idea about where I was going. I had no sense of art as anything other than a problem to be fixed, you know, an itch to be scratched. I was in that studio trying my best to feel content with myself. I had, like, a stipend. I had a place to sleep. I had a studio to work in. I had nothing else to think about, you know. And that's - that was a huge luxury in New York City.
I think that gave rise to the type of practice that I - that I do now. I think it was informed by a very Marxist almost "use-value"-driven investigation of painting as agent. These are high-priced luxury goods for wealthy consumers, which are designed to deliver certain communicative effects.
So much of the hubris that surrounded conceptual art in the 1950s through '70s was that it had this arrogant presupposition that pointing in and of itself was a creative act. It never rigorously politically and socially analyzed the fact that the luxury to point is something that so many people throughout the world don't have.
It never really understood its own situational luxury. And I think that by and large the privilege of being Kehinde Wiley in the 21st century, making these high-priced luxury goods, traveling the world, pointing at these people, behooves me to have a point of view and to say something about it.
I think that luxury has nothing to do with money, and everything to do with beauty.
There's an instant access to luxury that I think women really appreciate.
I think that luxury is to be used when you are in your jeans and your T-shirt and you want to feel a little extra special, and you want to go and walk into a store and have somebody go, "Wow, what is that?" Maybe that's the one and only thing you give yourself that day, but I think women like to give that to themselves.
I come from a generation where you put the art out and had the luxury to sit back and watch the world deconstruct it, and that was valued. Unfortunately now the work lives in a weird context.
I often get the question from people, "well how can you sell luxury at that price?" What I'm explaining to everyone is I'm still paying the same factory cost as I paid when they were $800. I pay the same as my competitors who are in the luxury space pay, I just don't mark them up as much because I haven't put them in a wholesale channel. I don't have to put that extra margin on them.
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