A Quote by Jonathan Ive
That's an interesting thing about an object. One object speaks volumes about the company that produced it and its values and priorities.
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By the artist's seizing any one object from nature, that object no longer is part of nature. One can go so far as to say that theartist creates the object in that very moment by emphasizing its significant, characteristic, and interesting aspects or, rather, by adding the higher values.
Nothing is more maddening than being questioned by the object of one's interest about the object of hers, should that object not be you.
Any object not interesting in itself may become interesting through becoming associated with an object in which an interest already exists. The two associated objects grow, as it were, together; the interesting portion sheds its quality over the whole; and thus things not interesting in their own right borrow an interest which becomes as real and as strong as that of any natively interesting thing.
Any object not interesting in itself may become interesting through becoming associated with an object in which an interest already exists.
Fear, as opposed to anxiety, has a definite object, which can be faced, analyzed, attacked, endured... anxiety has no object, or rather, in a paradoxical phrase, its object is the negation of every object.
Go to the object. Leave your subjective preoccupation with yourself. Do not impose yourself on the object. Become one with the object. Plunge deep enough into the object to see something like a hidden glimmering there.
People shouldn't really have to think about an object when they are using it. Not having to think about it makes the relationship between a person and an object run more smoothly.
Hyperrealism is more about objectifying... how an object can be portrayed when it is seen through a camera's lens... all my paintings are about an object being viewed through human eyes.
When you're the object of everyone's affection, make no mistake about it: you are an object. People don't have any interest in loving you for you. Their love for you is for who they think you are.
Focus on an object of some type, hopefully an object that's beautiful or powerful. You could find a pretty colored stone that you just feel good about.
Knowing record labels and knowing the kinds of things they would object to-they just object to everything that's interesting.
"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words.
It's silly to have as one's sole object in life just making money, accumulating wealth. I work because I enjoy what I'm doing, and the fact that I make money at it - big money - is a fine-and-dandy side fact. Money gives me just one big thing that's really important, and that's the freedom of not having to worry about money. I'm concerned about values - moral, ethical, human values - my own, other people's, the country's, the world's values. Having money now gives me the freedom to worry about the things that really matter.
Object in/ and space - the first impulse may be to give the object - a position - to place the object. (The object had a position to begin with.) Next - to change the position of the object. - Rauschenberg's early sculptures - A board with some rocks on it. The rocks can be anywhere on the board. - Cage's Japanese rock garden - The rocks can be anywhere (within the garden).
Place an object within your view, hopefully at about eye level. You might have to look down a little bit. Some people have a meditation table on which they put an object of concentration on.
The question so often asked of modern painting, "What is it?", contains more than the dull skepticism of the man who is not going to have the wool pulled over his eyes. It speaks of a fundamental placement in relation to the work, that of a voyager in the world coming upon a strange object. The reader reconstitutes the work by his active participation, by approaching the object, tapping it, shaking it, holding it to his ear to hear the roaring within. It is characteristic of the object that it does not declare itself all at once, in a rush of pleasant naïveté.
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