A Quote by Budd Hopkins
My paintings and sculptures, at first glance, may appear to be purely aesthetic; closer up, they are not. They hold a feeling of tentativeness, combined with a sense of arrival.
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The Puritan, of course, is not entirely devoid of aesthetic feeling. He has a taste for good form; he responds to style; he is even capable of something approaching a purely aesthetic emotion. But he fears this aesthetic emotion as an insinuating distraction from his chief business in life: the sober consideration of the all-important problem of conduct. Art is a temptation, a seduction, a Lorelei, and the Good Man may safely have traffic with it when it is broken to moral uses--in other words, when its innocence is pumped out of it, and it is purged of gusto.
Novelists of a conservative or more purely aesthetic bent hold up better on the surface, but their novels go in and out of fashion according to relevance or irrelevance.
I think about my art works as paintings, because they refer to the history of painting. I also have to think about them as sculptures, because every part of the process is part of the project. They're sculptures because they play on the idea of what should be hanging in a gallery. In that sense they're also kind of ready-mades.
Those who are accustomed to judge by feeling do not understand the process of reasoning, because they want to comprehend at a glance and are not used to seeking for first principles. Those, on the other hand, who are accustomed to reason from first principles do not understand matters of feeling at all, because they look for first principles and are unable to comprehend at a glance.
At first glance it may appear too hard. Look again. Always look again.
Evidence that [feminine aesthetic preferences and ways of expressing oneself] may be hardwired comes from the fact that they typically appear early in childhood and often in contradiction to one's socialization. […] This indicates that some aspects of feminine verbal and aesthetic expression precede and/or supersede gender socialization.
At first glance, there's a lot of sex on the Internet. Or not at first glance: nobody can find anything on the Internet at first glance.
I didn't grow up in a naked household, but nudity was not a taboo thing. My mother was an artist and there were naked sculptures and paintings all over the place.
Indeed, many of life's most fun and pleasurable choices come with potential dangers. It's important for my son to grow up recognizing that what might appear exciting or inviting at first glance could also have eventual negative consequences.
Drawings, paintings, and sculptures. That's the three pillars of art academia.
Worship is a powerful witness to unbelievers-if God's presence is felt, and if the message is understandable. God's presence must be sensed in the service. More people are won to Christ by feeling God's presence than by all our apologetic arguments combined. Few people, if any, are converted to Christ on purely intellectual grounds. It is the sense of God's presence that melts the heart and explodes mental barriers.
The architect who first inspired me to follow this profession was Sir John Soane and his Regency home; well, his three homes, now a museum. The place is like an encyclopedia of paintings, antiquities, furniture, sculptures, and drawings.
My feeling is that the concept of creativeness and the concept of the healthy, self actualizing, fully human person seem to be coming closer and closer together, and may perhaps turn out to be the same thing
We, all of us in the First World, have participated in something of a binge, a half century of unbelievable prosperity and ease. We may have had some intuition that it was a binge and the earth couldn't support it, but aside from the easy things (biodegradable detergent, slightly smaller cars) we didn't do much. We didn't turn our lives around to prevent it. Our sadness is almost an aesthetic response - appropriate because we have marred a great, mad, profligate work of art, taken a hammer to the most perfectly proportioned of sculptures.
When I look back at my paintings, they don't give me a sense of where I was when I first met that guy. They don't give me a sense of what I felt like when I first saw that original source material. They give me a sense of the world that I'm trying to create. And we all just have to deal with that.
A New York audience generally likes decorative paintings, and decorative paintings go with the couch. If you change the couch, you change the painting. And when you're coming up, and the paintings aren't first-class decoration, you're at a disadvantage for publicity and sales.
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