Top 1200 Commercial Art Quotes & Sayings - Page 3

I think that the first part of the art is making the art, but when art really becomes art is when it belongs to somebody else.

It was never my goal to capitalize on punk. I could never make it as a commercial artist. I didn't back then and I still don't have the temperament and don't care for drawing or painting or making art for any other purposes other my own.

There is in fact no such thing as art for art's sake, art that stands above classes, art that is detached from or independent of politics. Proletarian literature and art are part of the whole proletarian revolutionary cause.

When we got married, we knew our honeymoon was going to be public, anyway, so we decided to use it to make a statement. We sat in bed and talked to reporters for seven days. It was hilarious. In effect, we were doing a commercial for peace on the front page of the papers instead of a commercial for war.

Nothing is quite honest that is not commercial, but not everything commercial is honest.

You either have commercial pressure or ideological pressure. I prefer commercial pressure; otherwise, you can be at the mercy of one or two idiots.

As the art of reading (after a certain stage in one's education) isthe art of skipping, so the art of being wise is the art of knowing what to overlook.

During this period, Japan's peaceful commercial relations were successively obstructed, primarily by the American rupture of commercial relations, and this was a grave threat to the survival of Japan.

Back in third grade, they used to say, 'Take whatever talent you have and think of something you can do with it.' I liked to draw, but what could I do with it? Maybe I could be an art dealer - nah, can't see myself doing that. Maybe I could do commercial arts?

'Commercial' is not the word that has to be said only by CEOs. It has to be something that is maybe the essence of design, because design has some sort of art in it and creation, but it's also some object that you have to use. There is also this pragmatic end to it.

Behind the criticism of fashion as an artistic medium is a highly ideological prejudice: against markets, against consumers, against the dynamism of Western commercial society. The debate is not about art but about culture and economics.

I didn't get played on radio or TV for 3 years. They all told me the same thing: it was too urban. They don't see grime music as commercial music, but all music is commercial; it's how you make it. That's what I'm trying to say.

God does not ask for 'religious' art or 'Catholic' art. The art he wants for himself is Art, with all its teeth

With 'Acoustic Soul,' I saw my music as sparse. But I didn't do that because I was making a commitment to be commercial. That's what made 'Acoustic Soul' so difficult to produce. It took 2 1/2 years because I couldn't figure out what I wanted and still be commercial.

I don't have the education of an art historian. I've certainly read about art and look at art and have educated myself to some extent. But I'm not a skilled or thorough art historian and I wouldn't call myself an art critic.

What makes art Christian art? Is it simply Christian artists painting biblical subjects like Jeremiah? Or, by attaching a halo, does that suddenly make something Christian art? Must the artist’s subject be religious to be Christian? I don’t think so. There is a certain sense in which art is its own justification. If art is good art, if it is true art, if it is beautiful art, then it is bearing witness to the Author of the good, the true, and the beautiful

Compared with now when almost everyone knows what graphic design is and has some sort of access to the tools to make it, back then, it was really esoteric, you had to quantify it as being 'like commercial art', as one still does in certain circles. It was a strange thing to want to do for a living.

Although I do not care for the slogan "art for art's sake", there can be no question that what makes a work of fiction safe from larvae and rust is not its social importance but its art, only its art.

But if anyone supposes that there was no commercial fraud in the Middle Ages, let him study the commercial legislation of England for that period, and his mind will be satisfied, if he has a mind to be satisfied and not only a fancy to run away with him.

I love games. I honestly can't imagine working with any other medium. I guess it would be akin to an artist who's doing commercial art and then goes into education, but it really frees you up to do all other kinds of creative stuff.

Great art - or good art - is when you look at it, experience it and it stays in your mind. I don't think conceptual art and traditional art are all that different.

Films and things like that are really my first love and, so when we get to make videos it's just as important as the song. To me it's not a commercial, for me it's a whole work of art on it's own so, we plan on working on a movie and things like that in the future so.

In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.

Art is difficult. It's not entertainment. There are only a few people who can say something about art - it's very restricted. When I see a new artist I give myself a lot of time to reflect and decide whether it's art or not. Buying art is not understanding art.

The commercial space industry owes a huge debt to Patti Grace Smith. There might not be a commercial spaceflight industry were it not for Patti's leadership.

I was a complete anomaly in this business. I didn't fit into the Hema Malini-Zeenat Aman commercial cinema mould, neither the Shabana Azmi-Smita Patil art cinema mould.

In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.

There is no such thing as abstract art, or else all art is abstract, which amounts to the same thing. Abstract art no more exists than does curved art yellow art or green art.

In many ways, I am very happy about the whole Linux commercial market because the commercial market is doing all these things that I have absolutely zero interest in doing myself.

How content-driven cinema worked so well... Yeah, the shift is definitely happening... It is such a good change, and it is the kind of change I would like to see so that we just go to watch a film and not put them into brackets - that this is an art film or commercial movie.

I'm hopeful that commercial space exploration will takeoff. To really fuel the spaceflight revolution will require an investment of hundreds of billions of dollars a year, and I think that's only going to happen in the commercial sector - if there are large profits to be made.

Art is the suitcase of history, carrying the essentials. Art is the life buoy of history. Art is seed, art is memory, art is vaccine.

Your attitude is more important than the events happening around you. Artists develop a syndrome taught in art schools. It is a malady titled, 'Artistic Temperament'... rudeness, excuses, slovenliness, laziness, clutter, addictions, non-commercial attitudes, un-professionalism... and a good reason for failure.

It is my first preference to do films with social significance. Art cinema has given me credibility and status as an actor, but commercial cinema has given me a comfortable living.

The tragic effects of terrorism have forced the new-construction industry to re-evaluate traditional methods of fire protection in commercial infrastructures. That includes everything from building codes, to structural design issues and the less durable fireproofing materials currently specified for commercial steel structures.

When I started to write music that was completely divorced from any sort of idea of commercial success, the real me started to come out. Normally, a musician in a session for a pop record would have to discard a lot of ideas because they won't fit, because they're not commercial.

I have always made commercial music. The people who vote for the Grammy nominees are mostly in their 40s and have other jobs or are musicians themselves. They like music that they can relate to - they like commercial music.

Art experts are unfailingly opposed to Art for the simple reason that they are interested in Art - but Art is not interested in Art. Art is interested in life.

Art is freedom. If we don't have that element, we don't feel human anymore. Art is not decoration or a function. Before all that, art is art. This connection to meaning - our inner, intuitive knowledge - is something.

Art is the distortion of an unendurable reality... Art is correction, modification of a situation; art is communication, connection... Art is social, self-sufficient, and total.

Coming out of Dallas and doing commercial work in Dallas - if you had improv background in Dallas, then you were instantly shot to the top of the list of commercial bookings because they loved improvisers because you could elevate the material.

I think bad movies are made around the world, not just in Hollywood. There are as many bad art films in the whole world as there are bad commercial films.

I would describe Hyperledger as a tremendous opportunity for collaboration for firms that range from gigantic commercial concerns all the way to the smallest, newest startups. It's a community of great intellectual depth and great commercial breadth, and as such, I think the opportunity to be part of that is a unique and enriching experience.

Playing live is a lost art, and you don't see a lot of bands that go out and play the way the older bands do. It's a celebration, and a lot of people treat it like a commercial or a distraction.

The tradition of portrait painting, to embellish or idealize the subject, remains the aim of everyday and of commercial photography, but it has had a much more limited career in photography considered as art. Generally speaking, the honors have gone to the Cordelias.

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.

As in biomedical science, pioneering industrial inventions have not been mothered by necessity. Rather, inventions for which there was no commercial use only later became the commercial airplanes, xerography and lasers on which modern society depends.

Warhol and other Pop artists had brought the art religion of art for art's sake to an end. If art was only business, then rock expressed that transcendental, religious yearning for communal, nonmarket esthetic feeling that official art denied. For a time during the seventies, rock culture became the religion of the avant-garde art world.

I've just done a commercial in the U.S. in which I talk about stocks, shares and bonds. Everyone is amazed. They ask me: 'You really know about that stuff or did you just learn it for the commercial?' I tell them I wouldn't do it unless I understood and had an interest.

I grew up listening to country music. I got into traditional stuff later, but I listened to the commercial stuff of the '90s, especially the women who were so strong, like Mary Chapin Carpenter and Kathy Mattea. It's a great art form.

The strategic stimulus to economic development in Schumpeter's analysis is innovation, defined as the commercial or industrial application of something new---a new product, process or method of production, a new market or source of supply, a new form of commercial, business or financial organization.

A commercial civilization is money-oriented, profit-oriented. Commercial values always tend to wrench a society free of tradition.Economics from education to public service is being reorganized on the self-destructive basis of self-interest.

All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art.

You see I don't like to be really too commercial about things but in this business you've just got to be commercial otherwise the films don't make money and you don't make films and as a long as a commodity is selling it's silly to kill it dead.

Mars is really different, into art. Lydia Lunch is more energy. James Chance is more commercial in a different way, in funk and jazz. They were all doing original things, trying to create their own sound and music. I think they're all great.

We took a very interesting journey from being really extreme art house filmmakers. But we find that working in commercial filmmaking and creating a brand on that high level affords us a lot of interesting opportunities.

This one commercial said, "Forget everything you know about slipcovers." So I did, and it was a load off of my mind. Then the commercial tried to sell slipcovers, but I didn't know what they were!

It really doesn't matter whether it's an ensemble cast or it's a lead or what is perceived as a commercial or non-commercial or an offbeat film. None of that would matter, what really matters is the story and who's telling the story.

I guess I'm part of the art house, but we really have to shake up our ideas, because we're kind of self-parodying ourselves. We go places commercial cinema doesn't go, but sometimes it's to our own detriment.

Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.