A Quote by Ken Danby

Art is completely subjective. It's up to the viewer to judge whether or not it has merit. — © Ken Danby
Art is completely subjective. It's up to the viewer to judge whether or not it has merit.
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.
Art objects are inanimate sad bits of matter hanging in the dark when no one is looking. The artist only does half the work; the viewer has to come up with the rest, and it is by empowering the viewer that the miracle of art gains its force.
What I never wanted in art - and why I probably didn't belong in art - was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don't know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.
My popularity has to do with the divorce between modern art, where everything is obscure, and the viewer who often feels he needs a professor to tell them whether it's good or not. I believe a painting has to talk directly to the viewer, with composition, color and design, without a professor to explain it.
I didn’t want a completely passive viewer. Art means too much to me. To be able to articulate something visually is really an important thing. I wanted to make work where the viewer wouldn’t walk away; he would giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful
Since I have difficulty defining merit and what merit alone means - and in any context, whether it's judicial or otherwise - I accept that different experiences in and of itself, bring merit to the system.
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!
Art is a subjective thing, and it should be a subjective thing. And the difficulty of subjectivity is that it becomes hugely problematized when you start applying large sums of money to art objects. That's where it all starts to get a bit sticky.
An artist can have an intention, but the viewer has their own subjective experience.
I think all art is subjective - that whoever's watching it or listening to it will decide whether it's good or bad.
Only by spiritual practice can we break through our karma and the effects of the causes we have made. Only then can we escape from them. It matters not whether you have acquired any merit. Merit is merit. Karma is karma. Nonetheless, if one practices the Quan Yin Method, one can be liberated regardless of having any merit or not. It is so logical, so scientific.
Art is the space between the viewer and the rectangle that hangs on the wall. Unless something of the person that created the work is there, there's nothing for the viewer to take away.
I am very conscious of the viewer because that's where the art takes place. My work really strives to put the viewer in a certain kind of emotional state.
My definition [of genius] would be about being completely involved in your art form. So that's outside of sciences. Within the arts it's about taking people on a journey, being able to involve me completely-whether you're singing a song, whether it's in the theater, whether you're dancing-if you can make me forget I'm sitting in a seat, that's my definition of genius.
There is some confusion as to what magic actually is. I think this can be cleared up if you just look at the very earliest descriptions of magic. Magic in its earliest form is often referred to as “the art”. I believe this is completely literal. I believe that magic is art and that art, whether it be writing, music, sculpture, or any other form is literally magic.
The question of painting is bound up with epistemology, with the engagement of the viewer, with what the viewer may learn.
This site uses cookies to ensure you get the best experience. More info...
Got it!