A Quote by Jeff Koons
Whenever you finish an artwork and the viewer comes and views it, at that moment you've given up control.
Related Quotes
Whenever I work on an album and the time comes to do all the artwork, the only thing I think of is the LP artwork. When we worked on the 'Electric Trim' artwork, we spent weeks and weeks making the LP artwork great, and then the CD artwork came together in a day or two. The LP is what's important to me.
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.
The level of control, that's part of what's so appealing about filmmaking - you have so much control over what the reader, the viewer, is noticing from moment to moment. They can't do that boring boring boring thing as easily.
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 viewer brings something individual to the experience of any artwork.
Being in school, whenever I laughed or smiled, I would turn to find someone staring at me with this terrible hatred and disgust. I had to control everything - control my voice, control my facial expressions, control my hair and my clothes, and where I walked and where I sat - at every moment. I think that drove me to terrible anxiety.
The promise of any artwork is that it can hold us - viewer and maker - in a conflicted or contestable space, without real-world injury or loss.
The expectations of the viewer are what you're asking about. And the expectations of the viewer are manifold. However, they are very fixed, given who I am in the world. People have certain expectations of me as an artist.
I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact, it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath, there is a hidden theme.
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.
The question of painting is bound up with epistemology, with the engagement of the viewer, with what the viewer may learn.
I see no good reasons why the views given in this volume should shock the religious views of anyone.
Whenever I finish a book, I start with a blank slate and never have ideas lined up.
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 can tell you what I personally use a camera for. Basically, it is to record a moment. A moment that is vital to give the viewer a sensation of liveliness, sadness, joy and so on.
I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath there is a hidden theme. The result of each twist is that the judgment of the audience member is challenged.
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