A Quote by Rudolf Arnheim

Now the work of art also represents a state of final equilibrium, of accomplished order and maximum relative entropy, and there are those who resent it. But art is not meant to stop the stream of life. Within a narrow span of duration and space the work of art concentrates a view of the human condition; and sometimes it marks the steps of progression, just as a man climbing the dark stairs of a medieval tower assures himself by the changing sights glimpsed through its narrow windows that he is getting somewhere after all.
I always felt that my work hadn't much to do with art; my admirations for other art had very little room to show themselves in my work because I hoped that if I concentrated enough the intensity of scrutiny alone would force life into the pictures. I ignored the fact that art, after all, derives from art. Now I realize that this is the case.
art is the most general condition of the Past in the present. ... Perhaps no work of art is art. It can only become art, when it is part of the past. In this normative sense, a 'contemporary' work of art would be a contradiction - except so far as we can, in the present, assimilate the present to the past.
After high school I went to the San Francisco Art Institute, and I began a formalized art education where we went through the history of art but we also went through the art of my contemporaries.
Ledger art represents a spirit which has lasted through the hardships and turmoil. It is my goal and ambition that this style of pictograph art continues to pay tribute to the perseverance of my ancestors who adapted and created works of art during a period of life changing turmoil and injustice.
Every work of art causes the receiver to enter into a certain kind of relationship both with him who produced the art, and with all those who, simultaneously, previously, or subsequently, receive the same artistic impression. Art is a human activity- that one man consciously by means of certain external signs, hands on to others feelings he has lived through, and that others are touched by these feelings and also experience them.
All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself.
And I do think that good art - the art that tends to last - is that art that hits human beings on several different levels at once because everybody's different. Some people approach art through their emotions, others through their head, and the art that can appeal to all of those levels is more likely to reach more people. Having more people see the work doesn't necessarily mean better art but it stands a better chance of lasting.
They say that art should stand the test of time. Life lasts a limited amount of time. Mountains and trees and earth will outlive human beings, but we don't know if they will be here always. Art does outlast the life span of its maker. Art should communicate to an increasing circle of strangers-people who do not know the artist, but come to know the work, and through the work, come to know something about the humanity of the artist that rings with their own humanity.
I expect to see the coming decades transform the planet into an art form; the new man, linked in a cosmic harmony that transcends time and space, will sensuously caress and mold and pattern every facet of the terrestrial artifact as if it were a work of art, and man himself will become an organic art form.
Art matters. It is not simply a leisure activity for the privileged or a hobby for the eccentric. It is a practical good for the world. The work of the artist is an expression of hope - it is homage to the value of human life, and it is vital to society. Art is a sacred expression of human creativity that shares the same ontological ground as all human work. Art, along with all work is the ordering of creation toward the intention of the creator.
Fine art, that exists for itself alone, is art in a final state of impotence. If nobody, including the artist, acknowledges art as a means of knowing the world, then art is relegated to a kind of rumpus room of the mind and the irresponsibility of the artist and the irrelevance of art to actual living becomes part and parcel of the practice of art.
Art can no longer be art today if it does not reach into the heart of our present culture and work transformatively within it that is, an art which cannot mould society โ€” and through this naturally operate upon the core questions of our society โ€” is not art.
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.
To approach a city, or even a city neighborhood, as if it were a larger architectural problem, capable of being given order by converting it into a disciplined work of art, is to make the mistake of attempting to substitute art for life. The results of such profound confusion between art and life are neither life nor art. They are taxidermy.
We have built for this world a family mansion, and the next a family tomb. The best works of art are the expression of man's struggle to free himself from this condition, but the effect of our art is merely to make this low state comfortable and that higher state to be forgotten.
I love to work, and to make all kinds of work. But if I work on a fashion story then I work for somebody. If I work for me, for an art project, then I'm not that nervous. It doesn't matter when the photo is done. And if I work on a fashion shoot, then I have access to all these things that I can use later for my art - a still life here or there. I can do all of this while the model is changing.
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