A Quote by Brigid Brophy
The popular distinction between 'constructive' and 'destructive' criticism is a sentimentality: the mind too weak to perceive in what respects the bad fails is not strong enough to appreciate in what the good succeeds. To be without discrimination is to be unable to praise. The critic who lets you know that he always looks for something to like in works he discusses is not telling you anything about the works or about art; he is saying 'see what a nice person I am.
Quote Topics
About
Always
Am
Anything
Appreciate
Art
Bad
Between
Constructive
Critic
Criticism
Destructive
Discrimination
Distinction
Enough
Fails
Good
Know
Lets
Like
Looks
Mind
Nice
Nice Person
Not Strong
Not Strong Enough
Perceive
Person
Popular
Praise
Respects
Saying
See
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Something
Strong
Strong Enough
Succeeds
Telling
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Criticism on my works is like this: you've worked hard all of your life, you went to Oxford, and you've done this and that, and you're an art critic. Your job is to unravel the "secret" or whatever, and you come across an entity like me. It's going to piss you off. Because there's no great secret, what you see is what you get, and anyone can understand what I'm doing. So, it's almost like I make this critic-person redundant, just by my attitude, and they resent me for that.
The subconscious mind makes no distinction between constructive and destructive thought impulses. It works with the material we feed it, through our thought impulses. The subconscious mind will translate into reality a thought driven by fear, just as readily as it will translate into reality a thought driven by courage or faith.
I love things that are brave enough to be nakedly about what our lives are actually built of, when you're wild about someone, or you love something, or you're a fool, or you embarrass yourself. And I don't think the answer is cynicism. Cynicism is not the cure for sentimentality. Cynicism is its own form of sentimentality. For example, I tried to watch Breaking Bad. After three episodes, I thought, I don't like this guy. I don't care about him. But you can see why people tell themselves that they think this is real. But real doesn't mean bad.
I always wanted praise and I always wanted attention; I won't lie to you. I was a jazz critic and that wasn't good enough for me. I wanted people to write about me, not me about them. So I thought, What could I do? I can't sing, I can't dance, I can't act or anything like that. OK, I can write.
I always wanted praise, and I always wanted attention; I won't lie to you. I was a jazz critic, and that wasn't good enough for me. I wanted people to write about me, not me about them. So I thought, 'What could I do? I can't sing, I can't dance, I can't act or anything like that. OK, I can write.'
Saying something is 'too bad' is easy. You say you disapprove, which makes you a nice person, and then you can go about your business and not be interested anymore. It's a lot worse than 'too bad.' It's against everything decent and natural.
Most of us want to have enough... good works to get into heaven, but enough bad works to be fun.
The writer works on the inside and the critic works on the outside. I don't know what it looks like on the outside, sometimes. It's not that I'm not interested-it's not where I live. I live inside the story.
Give a truly good person power, and they’re still a good person. Give a bad person power, and they’re still a bad person. The question is always about the person in between. The one that isn’t evil, or good, but just ordinary. You don’t always know what an ordinary person is like on the inside.
A crowd is the only way to know if something works. Telling a friend or two doesn't matter. A crowd is what tells you what works or doesn't, so I'd rather go in front of them cold and see.
O, this faith is a living, busy, active, powerful thing! It is impossible that it should not be ceaselessly doing that which is good. It does not even ask whether good works should be done; but before the question can be asked, it has done them, and it is constantly engaged in doing them. But he who does not do such works, is a man without faith. He gropes and casts about him to find faith and good works, not knowing what either of them is, and yet prattles and idly multiplies words about faith and good works.
Mutually Assured Destruction, MAD, works only as long as it works; it does not know what to do if deterrence fails, for it envisions no defensive capabilities. A deterrent works until it is needed; then one needs defenses.
Now I know that if I'm in a fight or a big argument with executives or the studio or whoever, and it's getting to a point where it's starting to get bad, I don't have to have the fear of, "Am I strong enough to see this through? Would I really make a stand here? Would I really quit over this issue?" And I know in my heart that there is a place where I would walk away. I don't have to make it about my ego. I don't have to make it about whether I'm being strong enough or tough enough.
Well you know I've been in that place too where you worry about what everybody thinks of you, am I popular, do people care, are they looking at me, all that stuff. That's a drag, man. Having to worry about fitting in, am I cool enough to ANYTHING.
I always look at magazines and wind up standing there like, "Whose house looks like this? Who lives this way?" I never can understand what the point of view is. The only thing you can really do, being a decorator, is put an educated client towards what it is they don't know about. The dialogue between a client and a decorator should be more about, "Let me help you get to the point where you can find a comfortable place to live and be exposed to things," the way that an art consultant exposes a person who wants to buy art to art, instead of inflicting good taste upon them.
There are good and bad critics like good or bad artists. A good critic says why they didn't like it. A bad critic gives it away that they don't like you as a person. I quite like that as well, because it means that I've won.
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