A Quote by Paul Cezanne
Talks on art are almost useless. The work which goes to bring progress in one's own subject is sufficient compensation for the incomprehension of imbeciles.
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The Congress talks and talks and talks and talks, but doesn't act. I'm going to continue to work with my colleagues on the other side of the aisle to bring about comprehensive immigration reform.
There is a subtle and unmistakable touch of love and pride, beyond mere skill, almost an inspiration which gives to all work that finish which is almost art - which is art.
Oscar Wilde quite rightly said, 'All art is useless'. And that may sound as if that means it's something not worth supporting. But if you actually think about it, the things that matter in life are useless. Love is useless. Wine is useless. Art is the love and wine of life. It is the extra, without which life is not worth living.
In a play, certainly, the subject is of more importance than in any other work of art. Infelicity, triviality, vagueness of subject, may be outweighed in a poem, a novel, or a picture, by charm of manner, by ingenuity of execution; but in a drama the subject is of the essence of the work-it is the work. If it is feeble, the work can have no force; if it is shapeless, the work must be amorphous.
Dynamic ecstasy is absolute romanticism , absolute heroism . And here I return to my point. From my point of view, after the catastrophe which we feel and think is universal, a catastrophe resulting from an excess of useless dynamism of useless progress, of useless realism, of useless technology, after this an unattainable democracy is to be reached through the conception and realization of a new romanticism.
The universal nature has no external space; but the wondrous part of her art is that though she has circumscribed herself, everything which is within her which appears to decay and to grow old and to be useless she changes into herself, and again makes other new things from these very same, so that she requires neither substance from without nor wants a place into which she may cast that which decays. She is content then with her own space, and her own matter, and her own art.
But weightier still are the contentment which comes from work well done, the sense of the value of science for its own sake, insatiable curiosity, and, above all, the pleasure of masterly performance and of the chase. These are the effective forces which move the scientist. The first condition for the progress of science is to bring them into play.
I have always had a tendency to keep enlarging problems which I personally think is the way the world works... that seeing anything one dimensionally on the kinds of political, sort of big issues of human progress is going to be a distorted view of things, which is why over my career I have gone seemingly from subject to subject to subject.
What makes art Christian art? Is it simply Christian artists painting biblical subjects like Jeremiah? Or, by attaching a halo, does that suddenly make something Christian art? Must the artist’s subject be religious to be Christian? I don’t think so. There is a certain sense in which art is its own justification. If art is good art, if it is true art, if it is beautiful art, then it is bearing witness to the Author of the good, the true, and the beautiful
It is what makes conscious of the conditions and laws of observing which applied in this manner become a theme on its own. The activity of consciousness depending on the way the work itself proceeds, becomes the subject of my attention this way and it is precisely because of this voyeuristic attitude toward the own observation and experience of the subject that the conscious analytic dimension in the work shows.
It's hard to look at anything with an objective eye. I think people bring themselves into the equation when they watch a movie. They bring their own prejudices, their own biases, their own feelings toward the subject matter, the characters.
We can no longer contemplate the subject - self - of contemporary art; it has been woven into infinite relationships, replaced by social movements, national image, and financial capital. The disappearance of the construction of the self of contemporary art makes it impossible to exist in the form of a subject. The subject of contemporary art that I speak of is a kind of naming event predicated upon the multiplicity of the environment. It includes politics, should have its own way of thinking, and can be perceived.
It is not always easy to diagnose. The simplest form of stupidity - the mumbling, nose-picking, stolid incomprehension - can be detected by anyone. But the stupidity which disguises itself as thought, and which talks so glibly and eloquently, indeed never stops talking, in every walk of life is not so easy to identify, because it marches under a formidable name, which few dare attack. It is called Popular Opinion.
I work with men a lot, and there's a yin and a yang that goes on when you work one guy and one girl. And there's things that I bring that they don't bring and things they bring and I don't bring.
I mean, it’s true, nobody talks about them, but when you bring it up, the idea that you have to rent yourself to somebody and follow their orders, and that they own and you work there, and you built it but you don’t own it, that’s a highly unnatural notion. You don’t have to study any complicated theories to see that this is an attack on human dignity.
You don't think progress goes in a straight line, do you? Do you recognize that it is an ascending, accelerating, maybe even exponential curve? It takes hell's own time to get started, but when it goes it goes like a bomb.
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