Secrets can actually be quite important. A work of art that reveals its meaning or its power too quickly is uninteresting. It might not even be a good work of art.
A work of art comes out of a state of deep stillness.
If art doesn't require an audience, can an intimate conversation be a work of art? Can a thought be a work of art? Maybe. I don't know. These questions are completely hypothetical for me, because I love interacting with audiences. I want my poems to be heard.
I was poorer than anyone I'd ever met. But it was a great time to be a young artist - I remember it as a period of exceptional creative freedom and adventure, when one was regularly presented with works of art unlike anything one had ever seen before.
I'd love to live nonbiologically and move about at the speed of light and be in communication with a million people at once and create works of art that are grand and sophisticated and very human at the same time so all these types of things.
Every work of art has its necessity; find out your very own. Ask yourself if you would do it if nobody would ever see it, if you would never be compensated for it, if nobody ever wanted it. If you come to a clear ‘yes’ in spite of it, then go ahead and don’t doubt it anymore.
Awareness of approach to death can be a beautiful thing, a frame into which we can put the work of art that is our life, our personal masterpiece.
There's something about being able to literally consume a work of art - then to divide all that pleasure of it - because it's a memory. A great wine for me is a memory, it's an extraordinary experience.
Everyone reads a different book. That's what's interesting. Everyone sees a different film, as well. We bring our past lives to whatever work of art we're experiencing at that moment, and that's what makes it interesting. It's not mathematics. There are different answers for different people.
Around the time of the Terran Caesar Augustus, a Martian artist had been composing a work of art. It could have been called a poem, a musical opus, or a philosophical treatise; it was a series of emotions arranged in tragic, logical necessity. Since it could be experienced by a human only in the sense in which a man blind from birth might have a sunset explained to him, it does not matter which category it be assigned.
The moment when one first meets a great work of art has an impact that can never again be recaptured.
Once there was a race, quite unlike the human race - quite. I have no way of describing to you what they looked like or how they lived, but they had one characteristic you can understand: they were creative. The creating and enjoying of works of art was their occupation and their reason for being.
Any work of art dignifies life.
A work of art has no importance whatever to society. It is only important to the individual, and only the individual reader is important to me. I don't give a damn for the group, the community, the masses, and so forth.
A movie is just like a work of art or a book or a piece of music. The intent of its maker is one thing, but its interpretation by an audience is something else. I don't stop at what the filmmaker wanted to do.
I think people have come to expect that in artistic representation; that every work of art should be a work of extravagant hope.
I'm interested in the limits of personality, in the possibility of change, and the saving power of art. Do powerful works of art raise our consciousness to such a degree that we refrain from sliding into moral hazard? Do we take note? Or are we doomed to repetition?
I have tried to write songs quickly that get scrapped. I've also taken a long time on songs that get scrapped because you can over-think something, and you've squeezed the life out of it. As opposed to work of art, it looks like a really great work of craftsmanship.
There's a certain pressure you put on yourself to use the comics page to full advantage that can focus your mind to a pinpoint, and when the juices are flowing, that's incredibly exciting. When you've managed to fit a complex set of actions or a complicated emotional passage into a single page there's the sense of satisfaction that I suspect a sculptor gets from chipping away at a piece of stone and ending up with a fully-realized work of art.
When I started to take literature and poetry classes, I just started to get inspired by these new incredible works of art that I had never seen or heard of before. I wrote a lot of bad high-school poetry, just like pretty much everyone did, I think, at some point. For me, the inspiration never really stopped.
Being unique seems more desirable than ever. People are exhausted by clichés, by platitudes, by mass-produced realities, by what's been done and done and done. The role of a true artist is to present their own unique vision, and so it has always made sense to me that works of art should be radical.
Translated books rarely get reviewed in the press. Books or poems or works of art that don't seem to have a corresponding style or figure or theme, obviously they're hard to digest.
But all categories of art, idealistic or realistic, surrealistic or constructivist (a new form of idealism) must satisfy a simple test (or they are in no sense works of art): they must persist as objects of contemplation.
Society takes what it wants. The artist himself does not count, because there is no actual existence for the work of art. The work of art is always based on the two poles of the onlooker and the maker, and the spark that comes from the bipolar action gives birth to something - like electricity. But the onlooker has the last word, and it is always posterity that makes the masterpiece. The artist should not concern himself with this, because it has nothing to do with him.
The romantics really did want to romanticise the world itself, and that meant re-creating the state, society and even nature so that it became a work of art.
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