A Quote by James Turrell

Art history is littered with work that involves light. — © James Turrell
Art history is littered with work that involves light.
There are so many people who have a training in art history; and if you've spent time looking at old art, you become attuned to what art does through materiality and so you begin to look to that in contemporary art as well. And anyway, I do think that matching one's experience with what you're looking at and questioning what you're looking inevitably involves materiality, just like it involves the sense of place.
To be reverent is not just to be quiet. It involves an awareness of what is taking place. It involves a divine desire to learn and to be receptive to the promptings of the Spirit. It involves a striving to seek added light and knowledge.
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?
In Mexico, muralism is an important part of the artistic vocabulary, and it has a very different place than it does in the US. Here, you see mainly commercial signage and dead slick graphic works, or murals that are incredibly narrative and littered with too much content - bad political art. But in Mexicali, all kinds of artists work with mural art. In Mexicali, the social practice of art existed in a completely authentic and unselfconscious way.
If you labor heavily upon a work of art, then part of what you are saying is, 'This is a heavy work of art.' If you happen to be trying to say something about lightness, then the art should be light as well.
The beautification of the world is not a work of nature, but a work of art, then it involves an artist.
Art is the suitcase of history, carrying the essentials. Art is the life buoy of history. Art is seed, art is memory, art is vaccine.
I believe that a work of art, like metaphors in language, can ask the most serious, difficult questions in a way which really makes the readers answer for themselves; that the work of art far more than an essay or a tract involves the reader, challenges him directly and brings him into the argument.
I think comedy as an art involves the audience as a participant as much as is involves the artist.
History may clarify our understanding of the supreme work of art, but can never account for it completely; for the Time of art is not the same as the Time of history.
You can't really appreciate a work of art until you can understand how difficult it was to create. And that's probably true of any work of art - a rock, a tree, a bird, a fish, a sunrise made of light and air.
History is littered with dead good men
Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to; art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language.
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.
Art gives life to what history killed. Art gives voice to what history denied, silenced, or persecuted. Art brings truth to the lies of history.
This is an issue that has an exceedingly high number of threads in it. It involves race, it involves culture, it involves crime, it involves justice.
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