Perfect typography is certainly the most elusive of all arts. Sculpture in stone alone comes near it in obstinacy.
You know, I sometimes think, how is anyone ever gonna come up with a book, or a painting, or a symphony, or a sculpture that can compete with a great city. You can't. Because you look around and every street, every boulevard, is its own special art form and when you think that in the cold, violent, meaningless universe that Paris exists, these lights. I mean come on, there's nothing happening on Jupiter or Neptune, but from way out in space you can see these lights, the cafés, people drinking and singing. For all we know, Paris is the hottest spot in the universe.
The Greeks had had vast experience in this world, their imagination had been fertile and they had created much...that, in these circumstances, they should fall in with a people imbued with a calm and sometimes stolid and bucolic certainty where its spiritual possessions were concerned, barbarians with no sculpture or breeding, necessarily tinged their contempt with impotent wrath. The inevitably logical result of this attitude on the part of the Greeks was the growth of anti-Semitism, of hatred of the Jews.
In our own time it has been seen... that simple children, roughly brought up in the wilderness, have begun to draw by themselves, impelled by their own natural genius, instructed solely by the example of these beautiful paintings and sculptures of Nature.
When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.
With Gnaw I was thinking about traditional sculpture, about carving. I was also interested in figurative sculpture. I put those two ideas together and decided that rather than describing the body, I would use the body, my body, as a tool for making art.
When a finished work of 20th century sculpture is placed in an 18th century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us
I'm putting my consciousness towards trying to teach people through pictures and sculptures that there's something better in the world. That's what the world needs more of.
In Utero is a testament to the artistic vision of Kurt Cobain. It's kind of a weird record, and it's strangely beautiful at the same time. And if you look at Kurt's paintings and his drawings - he even did a sculpture for me - it's a rising, tortured-spirit person. It's kind of weird. It's done well, but it's like what Dave was saying about having your own sound. Kurt was a great songwriter. He knew he had a good ear for a hook [and was] a great singer, great guitar player, and In Utero is a good representation of what he liked in art and how he expressed himself.
All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know.
But I don't think that sculpture belongs in everyday life like a table does, or like a chair.
A mobile is an abstract sculpture made chiefly out of sheet metal, steel rods, wire and wood. Some or all of these elements move, propelled by electric motors, wind, water or by hand.
Where did I learn to understand sculpture? In the woods by looking at the trees, along roads by observing the formation of clouds, in the studio by studying the model, everywhere except in the schools.
There is a primacy of each individual object. And we'll see! That's the whole point of making sculpture, to present a question in a physical form to people.
If you were going to make sculptures of them, the swivel poems would be disparate objects all attached with hinges and the prose poems would be small sheep wrapped in extra wool.
I didn't grow up in a naked household, but nudity was not a taboo thing. My mother was an artist and there were naked sculptures and paintings all over the place.
I wish I could play music. I think I get as closeas possible with the editing of the films. Over the years musichas been an even more important influence than-or as important as-film.There's no doubt about it. Painting, movement, dance, sculpture-it'sall in cinema.
I have never, not once, gone on television and not received some email or tweet or comment about my hair. Without fail. Isn't that absurd? All it does is make me want to shape my bangs into a sort of middle finger-like sculpture.
When I was about fifteen, I went to work at Yosemite National Park. It changed me forever. Nature had carved its own sculpture, and I was part of it, not the other way around.
In my sculpture, it's not an image I am seeking, it's not an idea. My goal is to re-live a past emotion. My art is an exorcism, and beauty is something I never talk about.
In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.
Three things are needed for success in painting and sculpture: to see beauty when young and accustom oneself to it, to work hard, and to obtain good advice.
I came to painting through sculpture, to images through objects. I think that images sit in the middle, somewhere between objects and words.
The main source of my income is through the commissions of the large-scale works and big sculptures, the projects.
I was studying sculpture and painting and was working on a degree so I could become a teacher. I really liked teaching, and it was something I was pursuing when I got out of school.
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