Top 1200 Narrative Art Quotes & Sayings

For queer people, the personal is very political, just to talk about it in a public space. It's very political just to come out and take up that space and be like, 'This is my narrative. It's not an outsider narrative, and it's not a fetish narrative; it's just my story, and it's worth being told and listened to.'

I would be very surprised if on another planet we discovered a species as intelligent as humans that didn't have narrative, or didn't have art in general.

The best way to truly understand narrative art is to experience it.

As you may know, my motto is: "All memory is fiction." It could just as easily be: "All fiction is memory." Unpacked, these two statements defy the ease of logic, but offer some really important truths about narrative art, at the very least, and about memory. So I would say that all art is personal.

I guess the wildcard here is Terrence Malick. He supervised me while I was writing the script for Beautiful Country, and he is a genius, although not always easy to follow. What I learned from him is that the narrative can be tracked through all kinds of scenes, that the strong narrative thread is not always the one that is most obvious. Creating narrative with Malick was a bit like chasing a butterfly through a jungle. This approach to narrative is fun and complicated, something that makes the process of writing constantly interesting to this writer.

Art, whatever form it takes, requires hard work, craftsmanship and creativity. As a writer, I know my grammar, cadence, the music of prose, and the art of the narrative.

I've been told by people I respect that flashbacks only work if they have their own narrative, but they can't be part of the present narrative.

I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.

Some people think or expect that you should make the same kinds of art forever because it creates a convenient narrative... I want my work to embody my inherent contradictions.

We have a whole industry which is gigantic: games. Games is very successful. It's its own art form, though, and it's not the same as a linear narrative.

We all have an ongoing narrative inside our heads, the narrative that is spoken aloud if a friend asks a question. That narrative feels deeply natural to me. We also hang on to scraps of dialogue. Our memories don’t usually serve us up whole scenes complete with dialogue. So I suppose I’m saying that I like to work from what a character is likely to remember, from a more interior place.

I read tons of books, listen to music non-stop, watch as many movies as possible, catch a play when I can, art shows, concerts, bar talks - I just try to engage in art, which to me is everywhere, as often as I can because narrative lives in it all.

The narrative of serial art works more like music than like literature.

Controlling the master narrative of Israel means vigilantly controlling the narrative about Palestine.

The point is that the reader's journey through our site is a narrative experience. Our job is to make the narrative satisfying.

The Democrats, because they are the media, still establish the narrative for Washington every day. And whatever that narrative is, the Republicans - for some reason (I think it's force of habit and years and years of conditioning) - still become subservient to whatever that narrative is.

It is neither Art for Art, nor Art against Art. I am for Art, but for Art that has nothing to do with Art. Art has everything to do with life, but it has nothing to do with Art.

Characters last. Beautiful writing lasts. A compelling narrative lasts. Art survives long after ideas go extinct.

The biggest misconception is that I'm only a documentary filmmaker, but in fact I have made many narrative shorts. My biggest inspirations are narrative films, and that's ultimately where I see myself going next.

I have taught the long poem off and on for years. The more book-length poems I read and studied and taught the more interested I was in the possibilities in writing a poetry that applied formal and substantive options of narrative and non-narrative, lyric and non-lyric. I found many pleasures in this kind of writing. The long poem is as old as the art form.

You can't but know that if you can capture the emotions of the audience as well as their minds, the play will work better, because it's a narrative art form.

To be ourselves we must have ourselves – possess, if need be re-possess, our life-stories. We must “recollect” ourselves, recollect the inner drama, the narrative, of ourselves. A man needs such a narrative, a continuous inner narrative, to maintain his identity, his self.

What sets 'Miss Peregrine's Home for Peculiar Children' apart is Riggs's use of 'found' photographs as a spark of inspiration for the narrative. 'Found' describes art created from common objects that are not normally considered art.

What fiction and art can do, particularly narrative art, is construct consciousness - in a sense, we have to do it for the first time, every time.

I don't think people want to look at problems. They want a continuous narrative, an optimistic narrative. A narrative that says there's a present and a future - and what was in the past no longer exists.

We are moving beyond the non-fiction novel to different kinds of narrative art, different forms of cognition. Loaded with moral and political point, narrative has been recalibrated to record, honour, and protest the latest historically specific instance of futility and mess.

You have to understand: the narrative that people have about business and capitalism is that they are fundamentally selfish, greedy, and exploitative. Of course, I don't agree with that narrative.

Narrative art, the novel, from Murasaki to Proust, has produced great works of poetry.

I write in reverse: Rather than come up with a narrative and write jokes for that narrative, I write jokes independently of the narrative, then I try to fit them in.

A turning point in the public's perception of the building art came with the publication of Frank Lloyd Wright's 'An Autobiography' of 1932, a picaresque narrative that captivated many who hadn't the slightest inkling of what architects actually did.

Some graphic narrative art presses against the panel: you wrestle with it at the level of the paper.

We are all at the center of our own narrative, but it's a narrative that changes every time we retell it.

There's some ambient music that doesn't do anything. I wouldn't say that that's narrative. It is narrative in that it creates a sort of world where nothing happens, where really nothing happens, so you become a different person after hearing eight minutes of exactly the same thing. Yes, I hear music all the time in which one idea is strung together to another idea, and I feel that such music is non-narrative.

In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don't know what we're seeing, we overreact.

We are narrative creatures, and we need narrative nourishment-nar rative catechisms.

Without sounding too pretentious, I was sort of a slave to the narrative. When the narrative cracks in, I have to go where it takes me. I had to go to the Bohemian Grove. It was the obvious end to the book.

I like to think traditional narrative can be subverted by an experiential narrative, by an immersion in the temporal event of the film and a a play with our expectations of that.

Our lives aren't prepackaged along narrative lines and, therefore, by its very nature, reality-based art - underprocessed, underproduced - splinters and explodes.

The continuous narrative of existence is a lie. There is no continuous narrative, there are lit-up moments, and the rest is dark.

As a writer, I had learned a lot on 'Margin Call' about embracing the weaknesses of a narrative and of a project. A story always has an inherent narrative weakness.

I'm interested in taking raw human emotions and then isolating them without any narrative structure. In order to achieve this, I try to break out of the narrative conventions that you'd see in a typical feature film.

Be it sculpture, poetry, or narrative fraught with terrible insight... art does endure. It troubles and pleases, inspires, and reminds us that humanity is ever capable of adding to the sum of the world's grave beauty.

Every work of history is a combination of argument and narrative. The longer I write, the more I emphasize the narrative, the story, and the less attention I give to the argument. Arguments come and go.

What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.

We know the seductive alchemy of art. To transform private anguish into a narrative of truth, if not beauty; to make sense where there was none; to bring order out of chaos - these are the promises art makes.

I think about art a lot only in two contexts. One is narrative... The other thing that I'm interested in, which is tangential, but not unrelated... All art to me is about problem solving.

I certainly believe you can write a narrative lyric or a lyrical narrative - why not a nyric or a larrative?

The poem is not only the point of origin for all the language and narrative arts, the poem returns us to the very social function of art as such.

I don't immerse myself in the media narrative every day. I establish my own media narrative, and that's what I live.

Not all Peter Greenaway's stuff is sequential, narrative story. Some of it is like an art installation and I'm not particularly interested in being in an art installation to be honest. I'm interested in the story.

You can have all the intentions you want and try and guide the narrative, but the narrative is irrelevant because it's how the public digests it that will be indicative of what the series will ultimately be.

I can't see much purpose in archaeology unless you can find out the narrative about that place, or even realise that nobody actually knows what the narrative was.

I think it's good practice, if you're a writer, or anyone who's shaping narrative, to be flexible and open with the direction of the narrative.

The narrative shouldn't stop for the song in a musical. The music has to continue the narrative of the storytelling.

The phantasmagoria, the actual experience that we try to understand and organize through narrative, varies from place to place. No single narrative serves the needs of everyone everywhere.

If there was no risk, it wouldn't be art. It wouldn't be worth making. There is risk even in a fairy tale. Fiction is closest to pure narrative, and pure narrative is simply the logic we try to impose on an ever-changing reality.

In Mexico, muralism is an important part of the artistic vocabulary, and it has a very different place than it does in the US. Here, you see mainly commercial signage and dead slick graphic works, or murals that are incredibly narrative and littered with too much content - bad political art. But in Mexicali, all kinds of artists work with mural art. In Mexicali, the social practice of art existed in a completely authentic and unselfconscious way.

Narrative stories are nothing but models of karma and causality - how one thing leads to another. And a lot of narrative fiction is about causality that we don't immediately understand.

I'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.

My idea in terms of managing a narrative, or in thinking in my creative life, is that you could easily argue that the past, the present and the future all occur simultaneously, and if you can postulate that, then you're not strictly bound to a linear narrative.