A Quote by David Mamet
Where in the wide history of the world do we find art created by the excessively wealthy, powerful, or educated?
Related Quotes
The most charming of theories holds that someone other than Shakespeare wrote Shakespeare's plays -- that he was of too low a state, and of insufficient education. But where in the wide history of the world do we find art created by the excessively wealthy, powerful, or educated?
I'm not really well educated - other than an art survey course at the High School of Art and Design in New York when I was, like, 15. I don't know the history of art, but I got over intimidation from the art world when I realized that I was allowed to feel whatever I want and like whatever I want.
Britain kept its position as the dominant world power well into the 20th century despite steady decline. By the end of World War II, dominance had shifted decisively into the hands of the upstart across the sea, the United States, by far the most powerful and wealthy society in world history.
And who will deny that a world in which the wealthy are powerful is still a better world than one in which only the already powerful can acquire wealth?
The history of art is not just the history of artists; it is also the history of the people who viewed art. And that wider perspective can help us see some of the reasons why the art of the ancient world should still matter to us.
Our world is not an optimal place, fine tuned by omnipotent forces of selection. It is a quirky mass of imperfections, working well enough (often admirably); a jury-rigged set of adaptations built of curious parts made available by past histories in different contexts. A world optimally adapted to current environments is a world without history, and a world without history might have been created as we find it. History matters; it confounds perfection and proves that current life transformed its own past.
Grigsby's marvelous exploration-a deep, wide, and beautiful inquiry into Sojourner Truth's use of technology-features more of her photographs than have ever been collected before. Among its many insights, I especially relished the analysis of Truth's illiteracy. Enduring Truths is art history with a wide-ranging concept of history left in. A terrific book, and one we've needed for a long time.
The nineteenth century was the last moment in history when a relatively educated layperson could follow what was going on in the world of science and invention to a wide degree. Also, there were no "professionals". This was a time when amateur explorers, naturalists and enthusiasts were are still making major contributions to progress.
I love art, and I love history, but it is living art and living history that I love. It is in the interest of living art and living history that I oppose so-called restoration. What history can there be in a building bedaubed with ornament, which cannot at the best be anything but a hopeless and lifeless imitation of the hope and vigor of the earlier world?
Crony capitalism is alive and well: the big are bigger, the wealthy are getting wealthier because, with a very large powerful complicated government, which is what we have and which Democrats want more of, only the big, the powerful, the wealthy and the well connected can survive.
Art history looks at art works and the people who have created them.
Art isn't only a painting. Art is anything that is creative, passionate and personal. Art is the unique work of a human being created to touch another. Art is created to have an impact, to change someone else.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
There are many Saudi women doctors, and there are many wealthy and powerful and well-educated Saudi women who circumvent the restrictions put upon them, quietly or otherwise.
If you look at the paintings that I love in art history, these are the paintings where great, powerful men are being celebrated on the big walls of museums throughout the world. What feels really strange is not to be able to see a reflection of myself in that world.
Art is the heart's explosion on the world. Music. Dance. Poetry. Art on cars, on walls, on our skins. There is probably no more powerful force for change in this uncertain and crisis-ridden world than young people and their art. It is the consciousness of the world breaking away from the strangle grip of an archaic social order.
Related Authors
Alan Bennett Quotes
English
Dramatist
Alexandre Dumas Quotes
French
Dramatist
Anton Chekhov Quotes
Russian
Dramatist
Edward Albee Quotes
American
Dramatist
Eugene Ionesco Quotes
French
Dramatist
Friedrich Schiller Quotes
German
Dramatist
Harold Pinter Quotes
English
Dramatist
Jean Racine Quotes
French
Dramatist
John Heywood Quotes
English
Dramatist
Jules Renard Quotes
French
Dramatist
Lillian Hellman Quotes
American
Dramatist
Pierre Corneille Quotes
French
Dramatist
Tennessee Williams Quotes
American
Dramatist
Tom Stoppard Quotes
English
Dramatist
W. S. Gilbert Quotes
English
Dramatist
Zora Neale Hurston Quotes
American
Dramatist