A Quote by Barnett Newman

A painter is a choreographer of space. — © Barnett Newman
A painter is a choreographer of space.
An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.
The peculiarity of sculpture is that it creates a three-dimensional object in space. Painting may strive to give on a two-dimensional plane, the illusion of space, but it is space itself as a perceived quantity that becomes the peculiar concern of the sculptor. We may say that for the painter space is a luxury; for the sculptor it is a necessity.
You are not a female or a male - you are a dancer. And when I started going into choreography I became part of a team of people making movies. I wasn't a woman choreographer. I was a choreographer.
It's probably what I'm most interested in as a choreographer: how I can alter and shift and develop the structure of a piece and of the space.
A young choreographer often gets hung up on thinking they have to have all the answers. As a choreographer ages, they realize that they're more of a steward to movement. We mold movement and curate and form it into plausible and understandable stories.
I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.
Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.
When I became a choreographer, I was not assisting any choreographer. I was assisting the director Mansoor Ali Khan for 'Jo Jeeta Wohi Sikandar.' I was the fourth assistant director.
Growing up, my mom was a painter, my best friend was a painter, my husband is a painter. For a long time I knew artists, and I didn't know any writers.
I get into the studio and I try to make visible what's in the choreographer's mind. Sometimes a choreographer wants you to have an idea, and sometimes you are the idea.
A good choreographer is one that's going to collaborate, teach, guide - everything. The wonderful thing on 'Brotherhood of the Wolf' was that we had Philip Kwok - he choreographed John Woo's 'Hard Boiled,' and in the '70s, he was a martial arts actor, stunt man, fighter, choreographer in Hong Kong.
It's an incredible dilemma to be an artist of color and to always be in denial about that, saying, 'I'm a choreographer first and then I'm black,' when in fact, that's not the case. I'm black first and then I'm also a choreographer.
I work as a dancer, but I also work as a choreographer with couples that have a lot of tension between them, and as dancer and as a choreographer, being in this situation is very difficult. You see the energy doesn't flow, and it's very tense.
If I stretch my arms and wonder where my fingers are - that is all the space I need as a painter.
The student's ambition should be to become a painter's painter, rather than a popular painter. The approbation of fellow artists based on sympathy and understanding is manifestly better than the fickle or fast homage of the greater public.
Paint records the most delicate gesture and the most tense. It tells whether the painter sat or stood or crouched in front of the canvas. Paint is a cast made of the painter's movements, a portrait of the painter's body and thoughts.
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