A Quote by Leonardo Drew
It should be not only a synergy, but a complicity between the viewer and the artist, and so I'm wide open to that.
Related Quotes
The planet has a kind of intelligence, it can actually open a channel of communication with an individual human being. The message that nature sends is, transform your language through a synergy between electronic culture and the psychedelic imagination, a synergy between dance and idea, a synergy between understanding and intuition, and dissolve the boundaries that your culture has sanctioned between you, to become part of this Gaian supermind
An exhibition is in many ways a series of conversations. Between the artist and viewer, curator and viewer, and between the works of art themselves. It clicks when an exhibition feels like it has answered some questions, and raised even more.
I'm a wide-open book. I talk to guys coming out in the draft every year. I'm a wide-open book. I'll give you my experiences. And I'll tell you what I went through. But I would never project on another player that you should do this or you should do that.
One reason for making and exhibiting a work is to induce a reaction or change in the viewer.... In this sense, the work as such is nonexistent except when it functions as a medium of change between the artist and viewer.
I feel like Barack Obama, kind of in a political sense, embodies that same kind of spirit as a Q-Tip or a Santogold or a Common. I feel like there is a synergy going on here in this country and abroad. I feel like the doors are open, and it's time to push them wide open.
The artist’s aim is not to instruct the viewer, but to give information, whether the viewer understands the information is incidental to the artist.
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.
I'm not really a flashy dunker or a show dunker unless somebody's in front of me. That's the only time I really get wide-eyed: when I can dunk on somebody. If it's a wide-open dunk, I've never been the type to dunk it real hard wide-open and scream.
If a door is shut, attempts should be made to open it; if it is ajar, it should be pushed until it is wide open. In neither case should the door be blown up at the expense of those inside.
The artist has to make the viewer understand that his world is too narrow, he has to open up to new perspectives.
As a wide receiver, you don't want to feel that the quarterback is only going to throw you the ball if you're wide open.
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
The thing about science fiction is that it's totally wide open. But it's wide open in a conditional way.
In the Classical tradition, deriving from ancient Greece and Rome, beauty was perceived as the means by which the artist captured the viewer's eye in order to engage the viewer with truth and so inspire goodness.
A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may never reach the viewer, or it may never leave the artist's mind.
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.
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