A Quote by Sol LeWitt
Minimal art went nowhere.
Related Quotes
In trying to be perfect, He perfected the art of anonymity, Became imperceptible And arrived nowhere from nowhere.
For him it was a dark passage which led to nowhere, then to nowhere, then again to nowhere, once again to nowhere, always and forever to nowhere, heavy on the elbows in the earth to nowhere, dark, never any end to nowhere, hung on all time always to unknowing nowhere, this time and again for always to nowhere, now not to be borne once again always and to nowhere, now beyond all bearing up, up, up and into nowhere, suddenly, scaldingly, holdingly all nowhere gone and time absolutely still and they were both there, time having stopped and he felt the earth move out and away from under them.
The thought of building a life around minimal morality or minimal significance—a life defined by the question, “What is permissible?”—felt almost disgusting to me. I didn’t want a minimal life. I didn’t want to live on the outskirts of reality. I wanted to understand the main thing about life and pursue it.
I was really into what is called "minimal synth" - music made strictly on analog synths, and also cold wave, basically a more synth-based version of European post-punk, at that point. So, I decided my own show Minimal Wave was a good way to combine the minimal electronics aspect with the "wave," where guitars come into play.
People tend to view land art as something that happened at a certain historical moment - like minimal art, which I was also very much involved with. But it still goes on. It's very much alive.
I take a lot of satisfaction in trying to make my land as self-contained as possible, its own little mini environment. Minimal outputs; minimal inputs.
I am good at just looking in the kitchen and getting stuff on the table and keeping the mess minimal. There's an art to the drudgery.
Antarctic symphony has a geometric relationship to the landscape. It's saying that this landscape and the minimal kind of, you know I'm talking like seeing ice, is visually kind of eerily minimal.
As readers can probably tell from my books, I love the outdoors. I love to hike, kayak, and swim. I also love to read (which is probably not a surprise) and I love the theater and art museums. I especially love all the instruments of art: inks, pens, paintbrushes, watercolors and oils, fine papers and canvases, and although I love to mess around with these tools and objects, I have minimal artistic skills.
The more minimal the art, the more maximum the explanation.
Experimental science is a craft and an art, and part of the art is knowing when to end a fruitless experiment. There is a danger of becoming obsessed with a fruitless experiment even if it goes nowhere.
It is a sinful abomination for one part of the world's Christians to grow richer year by year while our brothers and sisters ache and suffer for lack of minimal health care, minimal education, and even—in some cases—enough food to escape starvation.
Art is nowhere near as dangerous as it should be.
I think barefaced, minimal makeup happens mostly on editorial shoots. And I've taken a swing at minimal makeup here and there, but I think a lot of what drag celebrates is the opposite of that. I think the inauthenticity and the hyperfemininity is part of why it's so celebrated.
I explain the law of compensation like this: 'Returns are minimal in spite of massive effort at the start, yet returns can be massive with minimal effort over time.
I explain the law of compensation like this: ‘Returns are minimal in spite of massive effort at the start, yet returns can be massive with minimal effort over time’.
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