A Quote by Marshall McLuhan
It is possible to deal with the entire environment as a work of art.
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As information becomes our environment, it becomes mandatory to program the environment itself as a work of art.
It is possible to suffer and despair an entire lifetime and still not give up the art of laughter.
Every actor has to deal with what's on his plate, and I try to deal with doing the best work possible with the most challenging scripts. I don't base it on whether it's a feature film or a TV-movie or cable.
Separation, I think, in an early-stage company or a startup environment is not a good thing. You need to basically live and breathe the entire environment.
Unlike 'Deal or No Deal,' which is for the entire family, my standup is not for the entire family.
I know now that he who hopes to be universal in his art must plant in his own soil. Great art is like a tree, which grows in a particular place and has a trunk, leaves, blossoms, boughs, fruit, and roots of its own. The more native art is, the more it belongs to the entire world, because taste is rooted in nature. When art is true, it is one with nature. This is the secret of primitive art and also of the art of the mastersMichelangelo, Czanne, Seurat, and Renoir. The secret of my best work is that it is Mexican.
I wanted my art to deal with very formal concerns and to deal with very material concerns, and to deal with antecedents and art history, which for me go very far beyond just the influence of African-American artists.
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.
In a professional service environment, you often work on one engagement or deal after another, with one ending before the next begins.
The natural environment is not particularly hospitable to human life ... the key to having a good environment is improving it through work... . Energy is fundamentally an environmental improver and if we classify it that way it makes sense out of a lot of these controversies... . It's our obligation and our right to make [our environment] as good for human beings as possible. With that view, it's very easy for people to understand precisely the reason it's good to alter it - because it doesn't naturally come the way we need it to be.
If the response to 'Suite Francaise' is any indication, there's a great deal of curiosity about Nemirovsky, and the best way to deal with it is to produce another book. So much of her work has been unavailable, and we want to bring as much of it back into print as possible.
God is busy with the completion of your work, both outwardly and inwardly. He is fully occupied with you. Every human being is a work in progress that is slowly but inexplicably moving toward perfection. We are each an unfinished work of art both waiting and striving to be completed. God deals with each of us separately because humanity is a fine art of skilled penmanship where every single dot is equally important for the entire picture.
There is a good deal of art that in some traditions of conceptual work are anti-affect, in fact a very large chunk of mainstream art after 1950 took against affect art altogether because they said, "No, we hate affect art because this is how we get manipulated by totalitarianism and therefore artists shouldn't play that game." And a lot of artists agreed to play that game, which I personally believe is to the loss of art.
There are various art forms we may or may not have talent for, may or may not have time for, and we may or may not be able to express ourselves in, but we ought to consider this fact-that whether we choose to be an environment or not, we are. We produce an environment other people have to live in. We should be conscious of the fact that this environment which we produce by our very 'being' can affect the people who live with us or work with us.
There is a deep question whether the possible meanings that emerge from an effort to explain the experience of art may not mask the real meanings of a work of art.
But I think you have to - whatever the environment looks like, it does enter into people's art work one way or another; it's very remote or it isn't. It's remote in my work but it has to have a certain degree of ordinariness.
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