A Quote by Megyn Kelly
The viewer I picture in my mind when I do 'The Kelly File' is a woman who's had a long day, either with the kids or at work, or both.
Related Quotes
When the kids are down, I have a drink and watch 'The Kelly File.'
Fox News' Megyn Kelly was the first to air the video on her program, 'The Kelly File.'
As long as the "woman's work" that some men do is socially devalued, as long as it is defined as woman's work, as long as it's tacked onto a "regular" work day, men who share it are likely to develop the same jagged mouth and frazzled hair as the coffee-mug mom. The image of the new man is like the image of the supermom: it obscures the strain.
When a woman gets to 30, you ask her about having kids. I don't mind - all my friends are settled with kids, so I can understand people asking, and I even get it from relatives, but I'd be a fool to miss these work opportunities. And there's no time limit. One day I'll find my prince, but at the minute, I'm enjoying kissing a few frogs.
But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think-to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work.
I do what I can when I can. When my kids are at school, I have to work. But I try to take 15 minutes during the day and meditate. During the day, that's Mommy time.I have so much fun with my kids. We laugh all day long together. But don't get me wrong; they know Mom will lay down the law and must be respected.
I'm looking for a woman with the body of Kelly Brook and the mind of Stephen Fry.
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.
'The Lion' all began with a picture of a faun carrying an umbrella and parcels in a snowy wood. This picture had been in my mind since I was about sixteen. Then one day, when I was about forty, I said to myself, 'Let's try to make a story about it.'
A lot of the pieces I've done over the years have involved alterations of scale and the idea of the viewer's relationship to the object and how we see things by either enlarging or reducing objects, it causes the viewer to look at them again. It's hard to do because our culture is so bombarded by images and media. How do you make something fresh for a viewer? That's a real challenge.
The kids get a vote. That's very important when it comes to raising kids. And always keep the bigger picture in mind.
It is easy to make a picture of someone and call it a portrait. The difficulty lies in making a picture that makes the viewer care about a stranger.
Kelly, Kelly, Kelly. I love your voice man, you give me chills... Brilliant.
If you talk to a woman, she will give you at least five incidents in a day, 5-10 in a month, where she had to work harder to prove herself because she is a 'woman,' maybe at a male-dominated work place or when she has to come across as a smarter woman if she is good-looking.
Almost every evening, either I went to [Georges] Braque's studio or Braque came to mine. Each of us had to see what the other had done during the day. We criticized each other's work. A canvas wasn't finished unless both of us felt it was.
There are opposing forces in all living things. My work reflects this and stirs up a contrast of emotions in the viewer... perception versus annoyance. To the viewer who has reached that level of awareness, my work is no longer abstract, but very real.
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