A Quote by Maurice Ravel
We should always remember that sensitiveness and emotion constitute the real content of a work of art
Related Quotes
We should always remember that sensitiveness and emotion constitute the real content of a work of art.
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.
In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.
Art should walk a tightrope. That's what art should be. Art should be dangerous. You can't be scared to say something with it. People love to talk about how comics are real art and real literature, so why not use these characters to talk about real things, even if it is dangerous?
Great art is always a balancing act. But all art has both - an emotional content and an intellectual content.
The more I drive myself into the depth of my inside, the more things come up to my vision, visibly or invisibly... I even do not know if I am seeing them with my eye or with my mind. I just need to copy them on my canvases. But this mental process is always overwhelming. I often have hard time to deal with my emotion on this state. You could call this depression on surface? But actually, so many 're-birth' and 'reform' are going on on my thoughts, inspiration, philosophy...etc in the underwater. I believe this struggle make my art real. My art always comes from my emotion.
I search for surprise in my architecture. A work of art should cause the emotion of newness.
Great emotion always tends to become rhythmic, and out of that tendency the forms of art have been evolved. Art becomes artificial only when the forms take precedence over the emotion.
I think really good drama comes down to real human emotion. That's what makes us all tick, and that's what I've always been drawn to when it comes to scripts is real human emotion and dealing with that.
I was always interested in drawing and creating, but it never really occurred to me that I could pursue art as my profession until my mid twenties. From all I had heard from other people, art was just something you do as a hobby in between your real work and real jobs.
In art the search for a content which is collectively understandable is false; the content will always be individual.
Interpretation, based on the highly dubious theory that a work of art is composed of items of content, violates art. It makes art into an article for use, for arrangement into a mental scheme of categories.
Art is revelation instead of information, expression instead of description, creation instead of imitation or repetition. Art is concerned with the HOW, not the WHAT; not with literal content, but with the performance of the factual content. The performance - how it is done - that is the content of art.
What I have in mind is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way that a bad emotion is still an emotion.
Art is craft: all art is always and essentially a work of craft: but in the true work of art, before the craft and after it, is some essential durable core of being, which is what the craft works on, and shows, and sets free. The statue in the stone. How does the artist find that, see it, before it's visible? That is a real question.
I perform in art time and in real time, and you can't tell the difference - no one knows how to separate a real act from an art act in my work. When I lived on the street for a year, people only knew that I was homeless. They didn't know that I was an artist doing a piece. I have to use real time in my work. I do, however, have to find a subtle way of documenting real time, in order for people to have a response. That means punching into a work clock every hour in the case of one piece.
Related Authors
Alexandre Desplat Quotes
French
Composer
Andrew Lloyd Webber Quotes
British
Composer
Anu Malik Quotes
Indian
Composer
Henry Mancini Quotes
American
Composer
Igor Stravinsky Quotes
Russian
Composer
John Cage Quotes
American
Composer
John Walter Bratton Quotes
American
Composer
Krzysztof Penderecki Quotes
Polish
Composer
Ludwig van Beethoven Quotes
German
Composer
Michael Giacchino Quotes
American
Composer
Pauline Oliveros Quotes
American
Composer
Ramin Djawadi Quotes
German
Composer
Richard Wagner Quotes
German
Composer
Ryuichi Sakamoto Quotes
Japanese
Composer
Stephen Hough Quotes
British
Composer
Stephen Sondheim Quotes
American
Composer