A Quote by Annabelle Selldorf

I'm inspired by looking at art, by looking at precedent. Looking is what you have to do if you want to make things, so you develop a critical eye. — © Annabelle Selldorf
I'm inspired by looking at art, by looking at precedent. Looking is what you have to do if you want to make things, so you develop a critical eye.
When I talk to a man, I can always tell what he's thinking by where he is looking. If he is looking at my eyes, he is looking for intelligence. If he is looking at my mouth, he is looking for wisdom. But if he is looking anywhere else except my chest he's looking for another man.
In my experience, people looking for progress aren't actually looking to move things forward. They're looking to be perceived in a certain way: as a forward thinker. It's about vanity rather than any altruistic motives for the art.
When someone is looking down, they're saying no. When they're looking up, they're looking to their brain for memory. When they look to the left, they're looking for a lie or something they memorized. When they look to the right, they're feeling sorry - they don't want to answer.
When I interview people that want to work with us, I often disregard their resume, because a piece of paper, it doesn't tell me really who they are. I'm looking for honesty, vulnerability. I'm looking for strength, I'm looking for weakness. I'm looking also for someone that wants to learn and is excited about learning.
I think good-looking people seldom make good television. And American television studios almost concede before they start: 'Well, it won't be good, but at least it'll be good-looking. We'll have nice-looking girls in tight shirts with F.B.I. badges and fit-looking guys with lots of hair gel vaulting over things.'
There are so many people who have a training in art history; and if you've spent time looking at old art, you become attuned to what art does through materiality and so you begin to look to that in contemporary art as well. And anyway, I do think that matching one's experience with what you're looking at and questioning what you're looking inevitably involves materiality, just like it involves the sense of place.
In my work, we're not looking at an icon, we're not looking at a sign, we're not looking at a representation. We're looking at something. I do have this feeling of trust that people can read it for themselves.
Tech is not looking for inclusion per se, but they're looking for assimilation. They're looking for Blacks and Latinos and women, but they are looking for these groups as versions of themselves.
You think you're looking at things all the time, but you're not looking at things, you're looking at what your brain is interpreting through light and color. And who knows what everybody else sees?
I think art is good at looking back and looking forward. I don't think art is good at looking head-on. At the end of the day, people are more important than paintings.
Fun drunks make a nice addition to any party. Not looking to fight. Not looking to score. Just looking to get drunk and laugh.
We've got a nation of people who have one eye looking out for the next speed camera, another looking for a speed limit sign and another looking at the speedometer - which is a bit of a shame, when you only have two eyes.
We want to make the insurgents come to us. Make them be the aggressors. What I want to do is get on the inside looking out - instead of being on the outside looking in.
I can't believe that 100% of the people who stand in art galleries looking at art are thinking, 'Well, here I am, looking at art.' They must be having some sort of other, unselfconscious experience.
With one eye you are looking at the outside world, while with the other you are looking within yourself.
On the Tube, you never see anyone looking you in your eye. They're all looking down at their screen.
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