A Quote by Rachel Kushner

Making art was really about the problem of the soul, of losing it. It was a technique for inhabiting the world. For not dissolving into it. — © Rachel Kushner
Making art was really about the problem of the soul, of losing it. It was a technique for inhabiting the world. For not dissolving into it.
When we even use the term 'specialized world,' we already have a problem! We're making art; they are making art... these worlds are not far apart from each other. For instance, pieces of art that hang on a wall can be seen in museums or can be used in a variety of commercial ways. That art is everywhere, so the message is that it's a part of everyday life.
To me, success is making a positive difference through art - making art that affects the world and that changes the way people feel about themselves and the world.
I've studied a technique called the Sanford Miesner technique, that teaches you how to focus. It's mainly about daydreaming. And the technique's really about imaginary circumstances. Using your imagination to sort of daydream about stuff. It makes you emotional in a scene.
I cannot, as you [Edward Weston] once proposed to me - solve the problem of life by losing myself in the problem of art ... in my case, life is always struggling to predominate and art naturally suffers.
To the question, ‘Is the cinema an art?’ my answer is, ‘what does it matter?’... You can make films or you can cultivate a garden. Both have as much claim to being called an art as a poem by Verlaine or a painting by Delacroix… Art is ‘making.’ The art of poetry is the art of making poetry. The art of love is the art of making love... My father never talked to me about art. He could not bear the word.
I cannot solve the problem of life by losing myself in the problem of art.
I think that a lot of artists have succeeded in making what I might call "curator's art." Everybody's being accepted, and I always want to say, "Really? That's what you've come for? To make art that looks a lot like somebody else's art?" If I am thinking of somebody else's art in front of your art, that's a problem.
For the problem of decision-making in our complicated world is not how to get the problem simple enough so that we can all understand it; the problem is how to get our thinking about the problem as complex as humanly possible--and thus approach (we can never match) the complexity of the real world around us.
Expression is never considered a given, and it is in fact maybe not what's most interesting about making art. Making art, since 1960 or something, is many things: it's a way of doing philosophy, it's a way of opening a dialogue, it's a way of putting a fact or a question out into the world, or a way of drawing people into new relationships, or a way of interrogating history. It's all these other sorts of strategies or techniques or processes that are really interesting and really valuable.
Decorating is not about making stage sets, it's not about making pretty pictures for the magazines, it's really about creating a quality of life, a beauty that nourishes the soul.
Everytime he brushes me with his fingers, time seems to tether for a second, like it is in danger of dissolving. The whole world is dissolving, I decide, except for us. Us.
Death is the moment of form dissolving. When that dissolving is not resisted, an opening appears into the dimension of the sacred, into the One formless, unmanifested Life. This is why death is such an incredible opportunity. There is no transformation of human consciousness without the dissolving that death brings.
In virtual reality, it's more about capturing and creating worlds that people are inhabiting. You really are a creator in the way the audience lives within the world that you are building.
'Iron Chef America' is so real. Imagine putting on television the whole process of making that food, the technique. It's all about technique. It doesn't even matter if you show the faces sometimes.
Making art in America is about saving one's soul.
If you don't care about losing, you will focus on technique.
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