Top 1200 Performance Art Quotes & Sayings - Page 5

Some people don't think that what I do is art - but for me art exists by definition. The beautiful and most liberating thing about being an artist is the ability to say that what I make is art. Art exists because the author says so.

The performance group The Ant Farm redoing JFK's assassination in Dallas was an event that struck a chord with me, especially when one of the members said they'd only intended to do it once, but the Dallas audience insisted they repeat the performance.

Art makes better humans, art is necessary in understanding the world and art makes people happy. Undeniably, art is not optional.

I love art, I love music. I can listen to Stockhausen and a very experimental, avant-garde approach, and I can listen to Beethoven and have a more classical, traditional approach. Why not be able to do that with film performance?

I suffered a lot from social anxiety, and being on set was really scary to me. That fear can cause limits in your art and your performance because you're not going all in because there is this little thing in your head.

I think the actors in 'Greystoke' were amazing. They had a really good performance coach called Peter Elliott who's, of his time, one of the greatest simian performance coaches for actors.

One of my aims was to be paid as well as a plumber. Plumber was better-paid than any performance artist who was always doing this for free. It is so important to make a good living from art. You know, John Cage, until he was 60, he couldn't pay electricity.

To me, music is art and fashion is art, but fame? Fame isn't art, but the person you become when you're famous - your alter ego - that's art.

PROMOTE A REVOLUTIONARY FLOOD AND TIDE IN ART. Promote living art, anti-art, promote NON ART REALITY to be fully grasped by all peoples, not only critics, dilettantes and professionals.

Even though a screenplay is performed only once, unlike other forms of drama, it's still a performance in itself, and unless it's a great performance, odds are that actors will not come, and a movie will never be made.

My go-go dancing was not your typical go-go dancing: I really was doing performance art. I would do dramatic, elaborate lyricals across the bar. I learned a lot, actually, as an artist during that time.

There are three forms of visual art: Painting is art to look at, sculpture is art you can walk around, and architecture is art you can walk through

History has a way of coming back to you. In the case of Janis Joplin appearing at the festival in 1968, her performance affected the life of a Bostonian who is now a member of the Newport Festivals Foundation Board of Directors. Ward Mooney was so affected and emotionally involved in Janis’ performance at Newport, that when he heard the festival was going nonprofit, he knew wanted to become a part. Janis was beautiful, gracious and respectful, and the power of her Newport performance continues to live on.

It was more freeing, mainly because he's so free anyway. He just is in his performance. So to mimic someone doing a free performance, well, that's pretty freeing within itself.

I offer my performance as prayer for someone I've worked with as an actor or someone who has died. The image that comes into my head as I walk to the stage, I offer that performance up for that person.

Public art is a unique type of art. It's very different to gallery art because it is something that we pass by every day and it inevitably creates a lot of discussion in a way that gallery art does not.

There's so much art and it's gotten so flashy. In the global marketplace, having art that's shiny and has neon lights is almost what you need for anyone to notice it in an art fair situation - and art fairs seem to be more and more the only thing there is.

Opportunity does not need to be exactly equal. It needs only to exist. For the talented and motivated, that will be enough...The vital thing is not to maximize everyone's performance, but to ensure maximal performance from the most talented, the ones who can make a difference.

It's always about wanting to one-up myself from the day before. There's never an absolute 100% perfect performance, but going out and striving for that perfect performance is what keeps me going.

I have studied the art of the masters and the art of the moderns, avoiding any preconceived system and without prejudice. I have no more wanted to imitate the former than to copy the latter; nor have I thought of achieving the idle aim of art for art's sake.

The most important thing about Jazz at Lincoln Center is the fact that it's the first time that perhaps the most important art form in American culture has a place to really exhibit itself and dedicated to its own particular conditions of performance.

I'm afraid we get a great deal of our exposure to art through magazines and through slides and I think this is dreadful, this is anti-art because art is direct experience with something in the world and photography is just a rumor, a kind of pornography of art.

Theodore Roosevelt is of singular interest, because he was, in many evident ways, a self-created figure. He transformed his life into performance art. He intended his life to be an example for others to learn from or even emulate.

Art makes people do a double take and then, if they're looking at the picture, maybe they'll read the text under it that says, "Come to Union Square, For Anti-War Meeting Friday." I've been operating that way ever since - that art is a means to an end rather than simply an end in itself. 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.

I fell in love with art and music and dance and acting and how all those things can cultivate something really special and unique - depending on the performance and the show. That really kind of helped me develop my love of theater.

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.

The most important thing about Jazz at Lincoln Center is the fact that its the first time that perhaps the most important art form in American culture has a place to really exhibit itself and dedicated to its own particular conditions of performance.

Art isn't only a painting. Art is anything that is creative, passionate and personal. Art is the unique work of a human being created to touch another. Art is created to have an impact, to change someone else.

Much like teaching art to young art students age 10 to 15 or so on, you have to break it down into bite-sized pieces, essential components. You have to - you know, at this point I'm so used to operating within given assumptions about art. But when you're explaining art to art students or people who are new to this experience, you have to really go back to the fundamentals.

art is the most general condition of the Past in the present. ... Perhaps no work of art is art. It can only become art, when it is part of the past. In this normative sense, a 'contemporary' work of art would be a contradiction - except so far as we can, in the present, assimilate the present to the past.

It had been drilled into us that when an audience pays to see a performance, it is entitled to the best performance you can give.Nothing in your personal life must interfere, neither fatigue, illness, nor anxiety--not even joy.

The best way to improve mental performance, is to improve physical performance

Any artist, the work you do, if it's a painting or if it's a performance, you hope it translates to a common denominator with the people that they see something in their own life in there. Or they see something in somebody else's life. That's what's fun about sharing art.

Defining art is huge; I feel like it's such a subjective thing. It's more like what's not art. You know what I mean? I think there can be an art in the way people live their lives, and art can be a gift someone gives to somebody.

Yes, process and preparations are the most important for me as a player. If preparations are not great, that tends to affect performance. When preparations are perfect you are not searching for results but only counting on performance.

The hardest thing for me was probably the different roles in the Performance Center because when you go to the Performance Center and become a WWE Superstar, you're on a different schedule. But in the indies or in Mexico, you have your time.

Art is not chaste. Those ill prepared should be allowed no contact with art. Art is dangerous. If it is chaste, it is not art.

In this crazy mirror of terror and art a pseudo-quotation made up of obscure Shakespeareanisms (Chapter Three) somehow produces, despite its lack of literal meaning, the blurred diminutive image of the acrobatic performance that so gloriously supplies the bravura ending for the next chapter.

To be honest, if people thought my performance in 'The Office' was the same as my performance in 'The Hobbit,' it would tell me everything I needed to know about what they know about acting.

I think that a lot of artists have succeeded in making what I might call "curator's art." Everybody's being accepted, and I always want to say, "Really? That's what you've come for? To make art that looks a lot like somebody else's art?" If I am thinking of somebody else's art in front of your art, that's a problem.

Most people move actually into high performance in a crisis because that creates the kind of focus that creates high performance.

I like money but I love performance art and it goes hand in hand. I'm not the 'Titanic,' I'm 'The Rocky Horror Picture Show.' I'm not a blockbuster, I'm a cult classic. I think my strong but cult-like fanbase expects me to challenge norms.

Performance is there, and if you are not there in that moment it happened, it just stays in the memory. It's so immaterial and something this immaterial is very difficult to collect. Its difficult to buy, its how we can buy immaterial art.

After high school I went to the San Francisco Art Institute, and I began a formalized art education where we went through the history of art but we also went through the art of my contemporaries.

No expectations, no tension between goals and performance, no outrage, resolve or intention, no action, no results. There's only one way to get a government - and a nation - to stop drifting to low performance. That's to wake up and insist on higher standards.

The one object of fifty years of abstract art is to present art-as-art and as nothing else, to make it into the one thing it is only, separating and defining it more and more, making it purer and emptier, more absolute and more exclusive - non-objective, non-representational, non-figurative, non-imagist, non-expressionist, non-subjective. the only and one way to say what abstract art or art-as-art is, is to say what it is not.

In film or on stage, in reflecting life through art, an actor has a second take or another day with his or her performance if something goes wrong. Bullfighters are spies crossing into enemy lines. Any mistake, no matter how minor or trivial, is potentially fatal.

Herzog and Malick both have this very unique naturalist intentionality to their process. It's about creating the mood, creating the focus and having discipline, but not prescribing what the performance was supposed to be. Neither of them are really directing their actors into a performance.

Art isn't only a painting. Art is anything that's creative, passionate, and personal. And great art resonates with the viewer, not only with the creator... Art is a personal gift that changes the recipient. The medium doesn't matter. The intent does. Art is a personal act of courage, something one human does that creates change in another.

There was a strong focus on performance and respect for people. And one of the points that my father always made was that with all the challenges and obstacles and barriers, the one thing you can control is your performance. And that is one thing I have tried to adhere to throughout my career.

I found it amazing people can think that art must be connected to religion. Religion may give art themes, but there would still be art without religion. Bach is not proof that art exists.

It was at a performance art space that's no longer around, Gusto House... All of these great performers from all over the country lived on the Lower East Side, and they would take somebody's living room that opened right onto the street, open the door and charge tickets and put up chairs.

I don't mind being sexy, but on my terms. To this day, I love sexuality. I love the art of sexuality. I love Lady Gaga and the performance of sexuality. The mysterious, the artistic and the slightly perverse. I'm interested in all that.

Art is personal, originating from dreams, ideas, neuroses; art is shared, harkening back to the humans around the fire; art imbues pleasure and power by enabling people to know reality...Art is a necessity because it is a way of knowing...Is the need for truth physiological? Art exists out of time...images may be different bu there is always a repetition- a thread.

When things get tough, this is what you should do: Make good art. I'm serious. Husband runs off with a politician -- make good art. Leg crushed and then eaten by a mutated boa constrictor -- make good art. IRS on your trail -- make good art. Cat exploded -- make good art. Someone on the Internet thinks what you're doing is stupid or evil or it's all been done before -- make good art.

Maybe this is a utopian view of art but I do believe that art can function as a vehicle, that it isn't just a cultural pursuit, something that happens in art galleries. Unless art is linked to experience and the fear and joy of that, it becomes mere icing on the cake.

My metaphor for translation has always been that translation is really a performance art. You take the original and try to perform it, really, in a different medium. Part of that is about interpretation and what you think the author's voice really is.

This is something you learn as soon as you walk through the doors at Old Trafford: that you're never better than your last performance. You always have to improve on your last performance.

I think what made it difficult for people to get, and still makes it difficult for people to get, is the theatrical nature of the work and the fact that, my music doesn't exist without the performance-art element.

I think if I let the team's performance dictate how I behave or how I perceive my performance, or whether or not there's value, or whether or not anyone even cares, it's a dangerous and slippery slope.