A Quote by Seth Godin
Art is not in the ...eye of the beholder. It's in the soul of the artist.
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Art is what we call...the thing an artist does. It's not the medium or the oil or the price or whether it hangs on a wall or you eat it. What matters, what makes it art, is that the person who made it overcame the resistance, ignored the voice of doubt and made something worth making. Something risky. Something human. Art is not in the ...eye of the beholder. It's in the soul of the artist.
The artist's mission is to make the soul perceptible. Our scientific, materialist culture trains us to develop the eyes of outer perception. Visionary art encourages the development of our inner sight. To find the visionary realm, we use the intuitive inner eye: The eye of contemplation; the eye of the soul. All the inspiring ideas we have as artists originate here.
Beauty is in the eye of the beholder and it may be necessary from time to time to give a stupid or misinformed beholder a black eye.
Beauty is in the eye of the beholder. Should the beholder have poor eyesight, he can ask the nearest person which girls look good. Beauty is in the hand of the beer holder. Beauty is in the heart of the beholder.
I guess art is in the eye of the beholder.
The painting is always conceived as the linear record of a rhythmic gesture: it is a graph of a dance executed by the hand. Not only the artist's eye and hand perform this dance, so does the eye of the beholder.
Art is in the eye of the beholder, and everyone will have their own interpretation.
The experience of beauty is in the eye of the beholder, as they say. The artist's relation to the object of beauty, how the art makes that happen, is a whole other subject. Beauty is an event. Beauty is something that happens. There is no such thing as a beautiful object or a beautiful woman.
Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.
In every art we are always obliged to return to the accepted means of expression, the conventional language of the art. What is a black-and-white drawing but a convention to which the beholder has become so accustomed that with his mind's eye he sees a complete equivalent in the translation from nature?
Art itself is essentially ethical; because every true work of art must have a beauty or grandeur of some kind, and beauty and grandeur cannot be comprehended by the beholder except through the moral sentiment. The eye is only a witness; it is not a judge. The mind judges what the eye reports to it; therefore, whatever elevates the moral sentiment to the contemplation of beauty and grandeur is in itself ethical.
Art is a window to The Infinite, and opening to the goddess, a portal through which you and I, with the help of the artist, may discover depths and heights of our soul undreamed of by the vulgar world. Art is the eye of the spirit, through which the sublime can reach down to us, and we up to it, and be transformed, transfigured in the process.
Burzum is not a political or religious band, or even an anti-religious band. Burzum is music - art if you like - and the interpretation of art lies in the eye of the beholder.
It’s like saying beauty is in the eye of the beholder: what appears to be beautiful today may not be judged beautiful in a few years. A perfect example is the Warhol ‘Marilyn’; in the 1960s it was deemed garish. Art needs to be socialised, and you need a lot of context to understand that, and that doesn’t mean having read a few art history books.
People often say that 'beauty is in the eye of the beholder,' and I say that the most liberating thing about beauty is realizing that you are the beholder. This empowers us to find beauty in places where others have not dared to look, including inside ourselves.
Art should exhilarate, and throw down the walls of circumstance on every side, awakening in the beholder the same sense of universal relation and power which the work evinced in the artist.
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