A Quote by Robert Barry
The idea of, say, the compressed space between the floor and the object hanging over it and then the long space between the object and the ceiling was a kind of interesting idea for me - the idea of compressing and expanding. That was an idea that I worked with, which you could only do sculpturally. You can't really do with a painting on the wall.
Related Quotes
I had always spoken about the space between the art object and the person looking at it as this dynamic space, which I referred to over and over. So the idea of the space between two things was sort of interesting to me.
I've always seen process of crafting as part of the thinking process. It really forms the gestation of the work. I'll get an idea; I want to express this idea, sometimes I'll start it, but during the process of making the object - if it's an object or a painting - it changes. It never goes in a linear progression from A to Zed. It's always this kind of circuitous, stumbling, groping in the dark kind of process of evolving.
The really good idea is always traceable back quite a long way, often to a not very good idea which sparked off another idea that was only slightly better, which somebody else misunderstood in such a way that they then said something which was really rather interesting.
The only difference between the failure of a great idea and the success of a medocre idea was the way in which the idea was communicated.
If I do something for a public space, it's not something that I have in my head and go, "Oh that's a good location. I should put it here." That for me never exists. When I see the site, then I have an idea that is new and I would never do unless it's there. It's the space or the people there, which will give me the idea.
The idea is distributed in space. It isn't only in one part; one part can't express the idea any longer, only the union of parts can completely express the idea. The idea found it necessary to be presented by several parts. After that, there was a rapid flowering of polyphony.
At first I had some idea that the absence of color made the work more physical. Early on I was very involved with the notion of the painting as an object and tended to attack that idea from different directions.
An idea built the wall of separation between the sexes, and an idea will crumble it to dust.
When you say what is the difference between me and my stage name the idea is that as a musician you always think of yourself as inhabiting a certain cultural space in the kind of a cultural landscape, so when I say cultural space what I mean to imply there is that you exist within certain parameters of how people think of culture.
If you think my idea is awful, you should say as much. But there is a difference between attacking an idea and attacking the person behind that idea.
When I was younger, I remember there was a really famous book, and it was called 'The People Could Fly.' And so this idea of, kind of like, black characters kind of jumping into space and kind of the challenge that they presented to gravity I thought was really interesting.
A text makes the word more specific. It really kind of defines it within the context in which it is being used. If it is just taken out of a context and presented as a sort of object, which is what - you know, which is a contemporary art idea, you know. It is like an old surrealist idea or an old cubist idea to take something out of context and put it in a completely different context. And it sort of gives it a different meaning and creates another world, another kind of world in which we enter.
Sadness is a very interesting idea, this idea of sadness being some kind of default setting that artists will go into. And then I started thinking about this idea of sadness and happiness, and the idea that sadness is very loud, and happiness is quiet.
A CAUSE is an object precedent and contiguous to another, and so united with it that the idea of the one determines the mind to form the idea of the other, and the impression of the one to form a more lively idea of the other.
First of all, directing is an idea that you have of a total flow of images that are going on, which are incidentally actors, words, and objects in space. It's an idea you have of yourself, like the idea you have of your own personality which finds its best representation in the world in terms of specific flows of imaginary images. That's what directing is.
The space between the idea of something and its reality is always wide and deep and dark. The longer they are kept apart—idea of thing, reality of thing—the wider the width, the deeper the depth, the thicker and darker the darkness.
Related Authors
Ai Weiwei Quotes
Chinese
Artist
Andy Warhol Quotes
American
Artist
Claude Monet Quotes
French
Artist
David Hockney Quotes
English
Artist
Gerhard Richter Quotes
German
Artist
Henri Matisse Quotes
French
Artist
Kehinde Wiley Quotes
American
Artist
Leonardo da Vinci Quotes
Italian
Artist
Marcel Duchamp Quotes
French
Artist
Marina Abramovic Quotes
Serbian
Artist
Maurice Sendak Quotes
American
Artist
Michelangelo Quotes
Italian
Artist
Paul Cezanne Quotes
French
Artist
Robert Genn Quotes
Canadian
Artist
Robert Henri Quotes
American
Artist
Yoko Ono Quotes
American
Artist