A Quote by Brooke Baldwin
It matters that we have balance and facts and push people when they need to be pushed so that we can give the accurate, fair, balanced piece to the viewer, and then it's up to the viewer to be the judge.
Related Quotes
I cater to a viewer because that viewer's taste matters more than anyone else's, and I will keep him first in mind and then, if it also appeals to the critics, so be it.
I don't need to control the mind of my viewer. Now this might sound contradictory because I want to make these installations set up an environment that will produce a certain kind of experience in the viewer, but beyond a certain point, I take hands off and leave it up to chance and personal experience. So maybe it's a marriage of control and no control we're talking about where the artist produces the artifact or the environment and then walks away from it, and the second half of the equation is the viewer and their personal history and how they feel about what they're experiencing.
I want art to affect the viewer and for the viewer to take it away to enhance, embrace, and elevate life. That's the spiritual aspect. Painting is a spiritual practice, but sometimes it is hard to give up control!
The question of painting is bound up with epistemology, with the engagement of the viewer, with what the viewer may learn.
I think if you're a regular viewer of Fox News, you're among the most cynical people on planet Earth. I cannot think of a more cynical slogan than 'Fair and Balanced.'
What I never wanted in art - and why I probably didn't belong in art - was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don't know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
The artist’s aim is not to instruct the viewer, but to give information, whether the viewer understands the information is incidental to the artist.
A lot of the pieces I've done over the years have involved alterations of scale and the idea of the viewer's relationship to the object and how we see things by either enlarging or reducing objects, it causes the viewer to look at them again. It's hard to do because our culture is so bombarded by images and media. How do you make something fresh for a viewer? That's a real challenge.
If to the viewer's eyes, my world appears less beautiful than his, I'm to be pitied and the viewer praised.
As the character changes in the movie, it rubs off on the viewer, so the viewer also goes through that change.
What intrigues me is making images that confound and confuse the viewer but that the viewer knows, or suspects, really happened.
Art is completely subjective. It's up to the viewer to judge whether or not it has merit.
If you give an answer to your viewer, your film will simply finish in the movie theatre. But when you pose questions, your film actually begins after people watch it. In fact, your film will continue inside the viewer.
There are opposing forces in all living things. My work reflects this and stirs up a contrast of emotions in the viewer... perception versus annoyance. To the viewer who has reached that level of awareness, my work is no longer abstract, but very real.
Art objects are inanimate sad bits of matter hanging in the dark when no one is looking. The artist only does half the work; the viewer has to come up with the rest, and it is by empowering the viewer that the miracle of art gains its force.
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