A Quote by Joseph Conrad
Any work that aspires, however humbly, to the condition of art should carry its justification in every line.
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If all art aspires to the condition of music, all the sciences aspire to the condition of mathematics.
All art constantly aspires towards the condition of music.
When I wrote 'The Rozabal Line,' I had no preconceived notions of what a commercial bestseller should be. I have always viewed 'The Rozabal Line' as my first love and probably my best work. The fact, however, is that it is my least read work.
All Party organizations should maintain implementing the Party's lines and policies as the major line of Party work, and carry every one of them to completion unconditionally.
The ultimate justification of the work of art is to help the spectator to become a work of art himself.
All art constantly aspires to the condition of music....In its ideal, consummate moments, the end is not distinct from the means, the form from the matter, the subject from the expression; they inhere in and completely saturate each other.
My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way.... People mistake the character of line for the character of art. But it's really the position of line that's important, or the position of anything, any contrast, not the character of it.
The first condition a community should set, if it aspires to be a nation, is to own the land whereon it lives, and supply its own needs.
As far as I'm concerned, there is no line between high art and pop art, and there should be no line.
art is the most general condition of the Past in the present. ... Perhaps no work of art is art. It can only become art, when it is part of the past. In this normative sense, a 'contemporary' work of art would be a contradiction - except so far as we can, in the present, assimilate the present to the past.
Ancient wisdom offers . . . a simple yet profound formula to guide everyone who leads, anyone who aspires to leadership: 'Do justly, love mercy, and walk humbly.'
Every great work of art should be considered like any work of nature. First of all from the point of view of its aesthetic reality and then not just from its development and the mastery of its creation but from the standpoint of what has moved and agitated its creator.
Yes, the highest things are beyond words. That is probably why all art aspires to the condition of wordlessness. When literature works on you, it does so in silence, in your dreams, in your wordless moments. Good words enter you and become moods, become the quiet fabric of your being. Like music, like painting, literature too wants to transcend its primary condition and become something higher. Art wants to move into silence, into the emotional and spiritual conditions of the world. Statues become melodies, melodies become yearnings, yearnings become actions.
What I want any genre to do, what I want any work of art to do, is to illuminate the human condition.
The worst thing someone gets is isolated. Isolation is the darkest part of any condition. You can live with almost any condition if you're living within a community of people who can share a common understanding. We create these communities from women who share common conditions, and those mothers carry each other through.
What is it about a work of art, even when it is bought and sold in the market, that makes us distinguish it from . . . pure commodities? A work of art is a gift, not a commodity. . . works of art exist simultaneously in two “economies”, a market economy and a gift economy. Only one of these is essential, however: a work of art can survive without the market, but where there is no gift, there is no art.
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