A Quote by John Updike
A photograph presents itself not only as a visual representation, but as evidence, more convincing than a painting because of the unimpeachable mechanical means whereby it was made. We do not trust the artist's flattering hand; but we do trust film, and shadows, and light.
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Do not hate or fear the artist in yourselves... Honor and love him...do not try to possess him. Trust him as nobly as you trust tomorrow. Only the artist in yourself is more truthful than the night.
Being vulnerable is allowing yourself to trust. That's hard for a lot of people to do. They feel a lot more secure if they kind of put walls around themselves. Then they don't have to trust anybody but themselves. But to allow you to trust not only yourself but trust others means - is what's required to be vulnerable, and to have that kind of trust takes courage.
When the trust is high, you get the trust dividend. Investors invest in brands people trust. Consumers buy more from companies they trust, they spend more with companies they trust, they recommend companies they trust, and they give companies they trust the benefit of the doubt when things go wrong.
The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world - in other words - expressing the energy , the motion and the other inner forces ... the modern artist is working with space and time , and expressing his feelings rather than illustrating.
Nothing is as fast as the speed of trust. Nothing is as fulfilling as a relationship of trust. Nothing is as inspiring as an offering of trust. Nothing is as profitable as the economics of trust. Nothing has more influence than a reputation of trust.
I tried to find a language for the film - not just telling stories. I picked the Picasso painting because it said more than I could explain. I need images, I need representation which deals in other means than reality. We have to use reality but get out of it. That's what I try to do all the time.
If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world - in other words - expressing the energy, the motion, and other inner forces.
I became a Republican because I trust people more than I trust government.
I trust in the ebb and flow of the universe. I trust that life's bigger than what I can see. I trust that there is a divine order beyond my control. And I trust that no matter what happens, I will be all right.
If you ask people to remember a painting and a photograph, their description of the photograph is far more accurate than that of the painting. Strangely enough, there is a physical element intertwined with the painting. It shakes loose an emotional element within the viewer.
I don’t trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting a long time ago. I prefer forms of art that are more market-resistant, more idea-based, more - for lack of a better word - risky.
While a painting, even one that meets photographic standards of resemblance, is never more than the stating of an interpretation, a photograph is never less than the registering of an emanation (light waves reflected by objects) — a material vestige of its subject in a way that no painting can be.
America is a country in which 75 percent of the people believe there's widespread corruption. We have got to go back to re-establishing a sense of trust. That has to be an assignment Trump takes personally. And that has to be more than trust me because trust me never works in the long run as a model. It's just - it's not possible.
An eyewitness account is evidence that an artist has proposed a work of art. But documentary evidence (i.e. a photograph) is more conclusive.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
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