A Quote by Kehinde Wiley
There's nothing shocking inherently about that, given that so much of the way that artists are taught is by copying old master paintings.
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I don't think working in superheroes is slumming it. I'm proud of this form. I like this. There's nothing inherently masculine about power fantasies. There's nothing inherently masculine about superhero comics. There's nothing inherently masculine about mythology. About science fiction.
I suppose in the end what shift occurred - is that at Yale I began to become more materially and conceptually aware of the mechanisms that gave rise to those types of patterns and paintings. And so the copying that happened in the childhood was a much more conscious type of copying in later years.
As far as modern writing is concerned, it is rarely rewarding to translate it, although it might be easy. Translation is very much like copying paintings.
Paradise endangered: garden snakes and mice are appearing in the shadowy corners of Dutch Old Master paintings.
Theatre artists are essentially sort of charlatans and thieves, I mean that's the tradition that we come from, so I have absolutely no, I make no bones about the fact that I steal from here and I take from there, and we all do it, that's perfectly all right, that's the nothing, there's nothing new in the world, there's nothing actually new in the way that you do something, but the point is is how do you take something and use it to articulate what is essentially a core of any given theatrical production.
I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.
I taught principally German language and literature at Eton. But any master with private pupils must be prepared to teach anything they ask for. That can be as diverse as the early paintings of Salvador Dali or how bumblebees manage to fly.
Today's aikido is so dimensionless. It's hollow, empty on the inside. People try to reach the highest levels without even paying their dues. That's why it seems so much like a dance these days. You have to master the very basics solidly, with your body, and then proceed to develop to the higher levels.... Now we see nothing but copying or imitation without any grasp of the real thing.
It had also been my belief since I started writing fiction that science fiction is never really about the future. When science fiction is old, you can only read it as being pretty much about the moment in which it was written. But it seemed to me that the toolkit that science fiction had given me when I started working had become the toolkit of a kind of literary naturalism that could be applied to an inherently incredible present.
I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.
I always want to see films that are startling and amazing. Not just shocking. Shocking is easy to do. But startling in the way that makes you change how you think about things. Those are the movies I like the best.
What if at school you had to take an 'art class' in which you were only taught how to paint a fence? What if you were never shown the paintings of Leonardo da Vinci and Picasso? Would that make you appreciate art? Would you want to learn more about it? I doubt it..........but this is how math is taught and so in the eyes of most of us it becomes the equivalent of watching paint dry. While the paintings of the great masters are readily available, the math of the great masters is locked away.
It is true that globalization has fueled greater income inequality. But much of this increase should be welcomed, not condemned. There is nothing inherently bad about inequality. Whether it is bad depends on how it comes about and what it does.
The museum is full of interesting things. All kinds of paintings are there. And then paintings too thick to put in a frame, that they call sculpture. And then there are spectators. with their scorecards, rooting for culture. And spectators of the spectators, looking for love's introduction. And art students taking notes. And old women trying to remember the past. And old men with too much to forget. And tourists, thinking that a museum represents a city. And loafers so poor, they study their soberness here.
There is nothing in your background that inherently holds you back or means you can't achieve what others can achieve. You are the master of your own fate, and if you work hard, you can do what you want.
There are many people who reach their conclusions about life like schoolboys: they cheat their master by copying the answer out of a book without having worked the sum out for themselves.
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