A Quote by Lynda Resnick
Your kids might feel more apt to try some art of their own after viewing contemporary works that are far less intimidating than those of the Old Masters.
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Our task is not to find the maximum amount of content in a work of art, mush less to squeeze more content out of the work than is already there. Our task is to cut back on content so we can see the thing at all. The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us.
Obviously my own work comes from a conceptual art tradition, but I love the graffiti artists, and I feel spiritually closer to them than to most contemporary art; they make the city a free space of diverse voices and we shouldn't get all cynical about them just because Banksy made some money. I collaborate sometimes with Krae, who is an old school east London graffiti writer.
There are some pretty obvious ways of benchmarking creativity. One way is to perform what I call a creativity audit, which is to look at your capabilities and look at your performance and examine the percentage of revenue that comes from products that are less than five years old, less than three years old and that are current with the present accounting period. You can then compare those figures to those of your competition along the same axes.
A lot of us have all sorts of ideas, and we select some rather than others and give expression to those... and some works of art are more successful than others. Some languish in obscurity and are never heard of again, while others form the foundation of a whole school of art.
Make your own worlds. Make your own laws. Make your own creations, your own star systems. Don't feel answerable to anyone, or as though you have to create after some preordained model. You don't have to write like myself, or King or Anne Rice: be yourself. Nothing is more wonderful than discovering a new voice, particularly if it happens to be your own.
Contemporary art and manga - what is the same about them? Nothing, right? The manga industry has a lot of talented people, but contemporary art works on more of a solitary model. No one embarks on collaboration in contemporary art in order to make money. But in the manga world, everyone is invested in collaboration. The most important point is that the manga industry constantly encourages new creations and creators.
I modeled my work after contemporary masters of art house cinema but felt my voice was missing.
Some venues are more intimidating than others, but as professional players you enjoy the intimidating places more than the other kind.
Try to find your individuality, your integrity, and make the effort of not compromising. Because the more you compromise, the less you are an individual. You are only a cog in the wheel, just a part in the vast mechanism, just a small part of the mob - not an individual in your own beauty, in your own right. I am absolutely against compromise. Death is far more beautiful than a life of compromise.
A sustainable economy represents nothing less than a higher social order one as concerned with future generations as with our own, and more focused on the health of the planet and the poor than on material acquisitions and military might. While it is a fundamentally new endeavor, with many uncertainties, it is far less risky than continuing with business as usual.
How does it feel? Really, I don't know because I never try to feel more or less than any player in Leverkusen or Mexico. I don't feel like I'm more famous than other players; I'm just one more footballer who wants to achieve their dreams and to try to help their team as much as they can to do that.
If everyone in your class has heroes, and they can relate to them in textbooks and literature, and then you don't see any of your heritage there, you feel less than. And I always wanted to be able to make Latin kids like myself feel more than.
The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.
The wearing of costly array is directly opposite to being adorned with good works. Nothing can be more evident than this; for the more you lay out on your own apparel, the less you have left to clothe the naked, to feed the hungry, to lodge the stranger, to relieve those that are sick and in prison.
Those who have resources within themselves, who can dare to live alone, want friends the least, but, at the same time, best know how to prize them the most. But no company is far preferable to bad, because we are more apt to catch the vices of others than their virtues, as disease is far more contagious than health.
I think I give far more space and play to avant-garde writing than any other contemporary textbook author. I want students to be able to decide for themselves which aesthetics are closest to their own. Still, while I try not to be a nostalgist myself, I suppose I am drawn to those poignant moments in our lives, rendered clearly and artfully.
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