A Quote by Ekta Kapoor
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.
Related Quotes
As a businessman, my dharma is to cater to every taste of my viewer.
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.
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.
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.
As the character changes in the movie, it rubs off on the viewer, so the viewer also goes through that change.
I have realized that the taste of the viewer can constantly change. So you need to sniff out the need for change. Constantly restructuring your own business to cater to changing taste is imperative.
If to the viewer's eyes, my world appears less beautiful than his, I'm to be pitied and the viewer praised.
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.
My camera, my intentions stopped no man from falling. Nor did they aid him after he had fallen. It could be said that photographs be damned for they bind no wounds. Yet, I reasoned, if my photographs could cause compassionate horror within the viewer, they might also prod the conscience of that viewer into taking action.
I am very conscious of the viewer because that's where the art takes place. My work really strives to put the viewer in a certain kind of emotional state.
But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think-to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work.
The question of painting is bound up with epistemology, with the engagement of the viewer, with what the viewer may learn.
What intrigues me is making images that confound and confuse the viewer but that the viewer knows, or suspects, really happened.
A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may never reach the viewer, or it may never leave the artist's mind.
Art is the space between the viewer and the rectangle that hangs on the wall. Unless something of the person that created the work is there, there's nothing for the viewer to take away.
I'm not presumptuous enough to feel that people are going to feel what I have in mind, so I tell a story, you know, let them read something, that doesn't change, that as I have said it, you know, so that's the way I feel about the viewer, the viewer has a mind of their own and eyes of their own and they're going to see it their way, I just hope they look.
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