I really became convinced I wanted to tell the story of the real-life model for the Degas sculpture 'Little Dancer Aged 14,' which was unveiled in 1881, the Belle Epoque.
Perhaps the more "operatic" video pieces were a reaction to my knit sculpture, which kept me isolated for so long in the studio that the videos were a way for me to be social and flamboyant and to change my mind all the time. Because when I did the knit pieces, once I committed myself to a piece, I was locked into an idea, and the only thing that could really move was my mind. The early video pieces were a way for me to express what was going on in my mind.
Man is certainly not creative, but his creativity should not be concerned with God. His creativity should be concerned with making a better world, a better society, better literature, better poetry, better paintings, better sculpture, better human beings.
I really do think of them as post-minimalist sculptures, inspired in large part by some very early spacecraft that NASA built.
If we now seek the spiritual significance of the technique of Michelangelo we shall find that his sculpture expressed restless energy.
Man is really not freeing many aspects. He is dependent on his social circumstances, but he is free in his thinking, and here is the point of origin of sculpture. For me the formation of the thought is already sculpture. The thought is sculpture.
I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work.
I think I love and reverence all arts equally, only putting my own just above the others; because in it I recognize the union and culmination of my own. To me it seems as if when God conceived the world, that was Poetry; He formed it, and that was Sculpture; He colored it, and that was Painting; He peopled it with living beings, and that was the grand, divine, eternal Drama.
If Michaelangelo made a marble sculpture of a defensive end it would look like Mario Williams.
[The internet] ought to be like clay, rather than a sculpture that you observe from a distance.
There could be a powerful international women's rights movement if only philanthropists would donate as much to real women as to paintings and sculptures of women.
Homage to Michael Snow's environmental sculpture 'Blind.' The film proposes analogies, in imitation of 3 historic montage styles, for three perceptual modes mimed by that work.
Ah, to build, to build! That is the noblest art of all the arts. Painting and sculpture are but images, Are merely shadows cast by outward things On stone or canvas, having in themselves No separate existence. Architecture, Existing in itself, and not in seeming A something it is not, surpasses them As substance shadow.
My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings. All my works in pastels are the products of obsessional neurosis and are therefore inextricably connected to my disease. I create pieces even when I don’t see hallucinations, though.
I find drawing a useful outlet for ideas for which there is not time enough to realize as sculpture... And I sometimes draw just for its own enjoyment.
As we manipulate everyday words, we forget that they are fragments of ancient and eternal stories, that we are building our houses with broken pieces of sculptures and ruined statues of gods as the barbarians did.
You don't really see a muscle as a part of you, in a way. You see it as a thing. You look at it as a thing and you say well this thing has to be built a little longer, the bicep has to be longer; or the tricep has to be thicker here in the elbow area. And you look at it and it doesn't even seem to belong to you. Like a sculpture. Then after looking at it a sculptor goes in with his thing and works a little bit, and you do maybe then some extra forced reps to get this lower part out. You form it. Just like a sculpture.
Writing nonfiction is more like sculpture, a matter of shaping the research into the finished thing.
I hope, too, that my book will illuminate my belief that love of art - be it poetry, storytelling, painting, sculpture, or music - enables people to transcend any barrier man has yet devised.
The whole Mediterranean, the sculpture, the palm, the gold beads, the bearded heroes, the wine, the ideas, the ships, the moonlight, the winged gorgons, the bronze men, the philosophers - all of it seems to rise in the sour, pungent taste of these black olives between the teeth. A taste older than meat, older than wine. A taste as old as cold water.
Modern language must be older than the cave paintings and cave engravings and cave sculptures and dance steps in the soft clay in the caves in Western Europe, in the Aurignacian Period some 35,000 years ago, or earlier. I can't believe they did all those things and didn't also have a modern language.
The science of design, or of line-drawing, if you like to use this term, is the source and very essence of painting, sculpture, architecture... Sometimes... it seems to me that... all the works of the human brain and hand are either design itself or a branch of that art.
No one can teach that which is inside another, each person must find it on his own and find a way to express it.
My work is immaterial. It's not painting, it's not sculpture, it's emotions. I'm giving you something to experience yourself.
There are things that music can do that language could never do, that painting could never do, or sculpture. Music is capable of going directly to the source of the mystery. It doesn't have to explain it. It can simply celebrate it.
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