Top 493 Sculpture Quotes & Sayings - Page 8

When people say "How do you write a book, how does it all happen?" I say, you line things up, and you line them up as actually as you possibly can, but sooner or later the book has got momentum and it's moving along under that momentum. It's like a sculpture, if you're working with the grain of the wood, the wood will start defining what shape it's going to become.

There is some confusion as to what magic actually is. I think this can be cleared up if you just look at the very earliest descriptions of magic. Magic in its earliest form is often referred to as “the art”. I believe this is completely literal. I believe that magic is art and that art, whether it be writing, music, sculpture, or any other form is literally magic.

Sculpture, for me, provides that environmental discipline where you actually move in and around it. And if you have a good collaboration with an architect, to combine those aspects of color - I'm talking about color becoming a form within the building - that is a very different approach. I love contemporary architecture, which makes collaboration more interesting-and you have to be able to collaborate. It's like making a film, in a way: Everyone is a part of the team.

The ultimate aim of all artistic activity is building! ... Architects, sculptors, painters, we must all get back to craft! ... The artist is a heightened manifestation of the craftsman. ... Let us form ... a new guild of craftsmen without the class divisions that set out to raise an arrogant barrier between craftsmen and artists! ... Let us together create the new building of the future which will be all in one: architecture and sculpture and painting.

It's not like since I make comics I only read comics and since I make movies I will only go out and watch movies. Any kind of artistic expression interests me; it goes from literature to music to sculpture, painting; whatever is extremely inspiring for me becomes a reference also for me.

I think circumstance plays a big part in terms of what I do. For example, if I wasn't ever able to show in an art gallery I probably wouldn't really make very much sculpture. But I've had the opportunity to show in big spaces, so I want to fill up that space in the same way you might want to fill up a page.

The Greeks had had vast experience in this world, their imagination had been fertile and they had created much...that, in these circumstances, they should fall in with a people imbued with a calm and sometimes stolid and bucolic certainty where its spiritual possessions were concerned, barbarians with no sculpture or breeding, necessarily tinged their contempt with impotent wrath. The inevitably logical result of this attitude on the part of the Greeks was the growth of anti-Semitism, of hatred of the Jews.

... photography is an imprint or transfer off the real; it is a photochemically processed trace causally connected to the thing in the world to which it refers in a manner parallel to fingerprints or footprints or the rings of water that cold glasses leave on tables. The photograph is thus generically distinct from painting or sculpture or drawing. On the family tree of images it is closer to palm prints, death masks, the Shroud of Turin, or the tracks of gulls on beaches.

Set in the remote and harsh high desert landscape of Idaho, Outpost is an artist live/work studio and sculpture garden for making and displaying art. An important aspect of the complex is the protected paradise garden, which is separated from the wild landscape by thick masonry walls. The materials used in the structure, including concrete block, car-decking, and plywood, require little to no maintenance, and are capable of withstanding the extreme weather that characterize the desert’s four seasons.

If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.

There is a Greco-Buddhist school of architecture and sculpture that you find everywhere in the world. It's fascinating, because Alexander died in 323 B.C. and Buddha existed around 500 B.C. But Alexander met Buddhist-type sages. And they had a different view of the world, as you know. They saw it in circular terms. They didn't need to conquer any land. And there are blond people who live in that region who are said to be descended from the soldiers who stayed. He left garrisons all over the world as he went.

The only hope I had was when (in his youth)I saw one day a photograph of a sculpture by Wilhelm Lehmbruck, a German sculptor of expressionistic style. This was perhaps the only example, Lehmbruck, between my sixteenth to nineteenth years in which I saw a possibility for art to be principally of interest to innovate some things, instead of writing a very boring, naturalistic repetition of what is already done by nature.

I love the idea of engaging the object, whether it be architecture or a piece of good graphic design, or a good painting, or piece of sculpture, or even a piece of industrial manufactured object. A piece of engineering can be quite beautiful, too, or a photomicrograph, or a cosmic photograph. We're physical beings and why deny that. So in that sense, it's very sensual to have an object that has the power to communicate some emotion or a state or give you some sense.

I encourage film students who are interested in cinematography to study sculpture, paintings, music, writing and other arts. Filmmaking consists of all the arts combined. Students are always asking me for advice, and I tell them that they have to be enthusiastic, because it's hard work. The only way to enjoy it is to be totally immersed. If you don't get involved on that level, it could be a very miserable job. I only have one regret about my career: I'm sorry that we are not making silent movies any more. That is the purest art form I can imagine.

Antique art has come down to us in a fragmentary condition, and we have virtuously adapted our taste to this necessity. Almost all our favorite specimens of Greek sculpture, from the sixth century onward, were originally parts of compositions, and if we were faced with the complete group in which the Charioteer of Delphi was once a subsidiary figure, we might well experience a moment of revulsion. We have come to think of the fragment as more vivid, more concentrated, and more authentic.

Man is certainly not creative, but his creativity should not be concerned with God. His creativity should be concerned with making a better world, a better society, better literature, better poetry, better paintings, better sculpture, better human beings.

When I put the camera back to my eye, I noticed a particular guardsman pointing at me. I said, "I'll get a picture of this," and his rifle went off. And almost simultaneously, as his rifle went off, a halo of dust came off a sculpture next to me, and the bullet lodged in a tree. I dropped my camera in the realization that it was live ammunition. I don't know what gave me the combination of innocence and stupidity... but I never took cover.

A statue lies hid in a block of marble, and the art of the statuary only clears away the superfluous matter and removes the rubbish. The figure is in the stone; the sculptor only finds it. What sculpture is to a block of marble, education is to a human soul. The philosopher, the saint, or the hero,--the wise, the good, or the great man,--very often lies hid and concealed in a plebeian, which a proper education might have disinterred, and have brought to light.

Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts. Only then will their work be imbued with the architectonic spirit which it has lost as salon art. Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith.

You should go to picture-galleries and museums of sculpture to be acted upon, and not to express or try to form your own perfectlyfutile opinion. It makes no difference to you or the world what you may think of any work of art. That is not the question; the point is how it affects you. The picture is the judge of your capacity, not you of its excellence; the world has long ago passed its judgment upon it, and now it is for the work to estimate you.

Everything that is of authentic value in life has arisen out of meditation. There is no other way. Meditation is the mother of art, music, poetry, dance, sculpture. All that is creative, all that is life-affirmative, is born out of meditation. All that is life-negative - hate, anger, jealousy, violence, war - is born out of the mind. Man has two possibilities: mind and meditation.

Perhaps the more "operatic" video pieces were a reaction to my knit sculpture, which kept me isolated for so long in the studio that the videos were a way for me to be social and flamboyant and to change my mind all the time. Because when I did the knit pieces, once I committed myself to a piece, I was locked into an idea, and the only thing that could really move was my mind. The early video pieces were a way for me to express what was going on in my mind.

When an actor is in the moment, he or she is engaged in listening for the next right thing creatively. When a painter is painting, he or she may begin with a plan, but that plan is soon surrendered to the painting's own plan. This is often expressed as 'The brush takes the next stroke.' In dance, in composition, in sculpture, the experience is the same: we are more the conduit than the creator of what we express

There are a lot of things that you see in the world ...We have a collection of gloves that have been run over by trucks that a friend named JP Williams collects. They are really beautiful. They look like sculpture. And he has a hundred pictures of them - we're making a book out of them. It's all that kind of ephemera, things that exist that no one really looks at unless it's put to them in a certain way.

The whole Mediterranean, the sculpture, the palm, the gold beads, the bearded heroes, the wine, the ideas, the ships, the moonlight, the winged gorgons, the bronze men, the philosophers - all of it seems to rise in the sour, pungent taste of these black olives between the teeth. A taste older than meat, older than wine. A taste as old as cold water.

What I love about Inuit carving is that it's so narrative, but it doesn't have the temporal dimension of an illustrated picture, where it feels like something happens before or after. Everything is happening in the sculpture, and you can hold the whole story in your hand. A lot of these sculptures are small enough that you can hide them in your hand completely so you're not looking at them, you're just feeling them. I

First of all, I love women. But I lust after beautiful women in the way that I lust after a beautiful piece of sculpture - this will probably get me in trouble - or a beautiful car. I believe everyone's on a sliding scale of sexuality. There are moments where I am sexually attracted to women. But it doesn't overpower my first impulse; my lust for them is the same as my lust for beauty in all things.

Sculpture is, in the twentieth century, a wide field of experience, with many facets of symbol and material and individual calligraphy. But in all these varied and exciting extensions of our experience we always come back tot the fact that we are human beings of such and such a size, biologically the same as primitive man, and that it is through drawing and observing, or observing and drawing, that we equate our bodies with our landscape.

Before I started working on a computer, writing a piece would be like making something up every day, taking the material and never quite knowing where you were going to go next with the material. With a computer it was less like painting and more like sculpture, where you start with a block of something and then start shaping it.

On the mission I brought a flag from China, I brought the stone sculpture from Hong Kong, and I brought a scroll from Taiwan. And what I wanted to do is, because as I was going up and I am this Chinese-American, I wanted to represent Chinese people from the major population centers around the world where there are a lot of Chinese people. And so, I wanted to bring something from each of those places and so it really wasn't a political thing and I hope people saw it that way. I was born here, I was raised in the U.S., and I'm an American first, but also very proud of my heritage.

I walked out of the theater and started crying. My wife asked me, 'Why are you crying?' I said, 'Because I can't do that.' I didn't know how he did it. I've never seen anything like that. It's like this feat, this Rodin sculpture to me. It's like hearing an opera singer and the tears go down your face because it's not human what they're doing. It's like sounds of heaven.

What I love about the sculpture is that it makes the bones that we are always walking and playing on manifest, like in a world that so often denies the reality of death and the reality that we are surrounded by and outnumbered by the dead. Here, is a very playful way of acknowledging that and acknowledging that and that always, whenever we play, whenever we live, we are living in both literal and metaphorical ways on the memory and bones of the dead.

Modernism was a big thing for me, coming from a father who was very interested in art, music and culture - and almost always Italian art, music and culture. One good thing about Italians is that culture is part of everyday life. But Modernism is a movement of the past. The idea of a Modernist building as a sculpture set on a pedestal of grass is a part of Modernism that I'm not so crazy about.

I got into architecture via fine arts, and I was a sculptor myself, and I have always involved artists in my projects. When I say 'involved,' I mean I always bring artists in at the beginning projects before they're built and say, 'Will you do a room? Will you do a sculpture floating in mid-air? Will you make a chimney? Will you do something?'

Yosemite Valley, to me, is always a sunrise, a glitter of green and golden wonder in a vast edifice of stone and space. I know of no sculpture, painting or music that exceeds the compelling spiritual command of the soaring shape of granite cliff and dome, of patina of light on rock and forest, and of the thunder and whispering of the falling, flowing waters. At first the colossal aspect may dominate; then we perceive and respond to the delicate and persuasive complex of nature.

There's a huge challenge around coral bleaching specifically, because when most people think about coral, they think about the beautiful, white sculpture sitting on their mantle. And it looks so pristine and clean and beautiful. It's not supposed to look like that when it's in the ocean. It has color, it has animal flesh living on it, it has plants living inside of that. They look very, very different when they're healthy in the ocean than they do when they're sitting in somebody's home.

When people go to museums and see a sculpture made out of marble, they appreciate it but it's very doubtful that they will go home and have a slab of marble they can chip away at, but people do have LEGO. I don't have any LEGO specially made for me, all of the shapes, sizes and colours I use are available in stores so that if someone is inspired to create on their own, they can go and buy the very same bricks.

There is a great deal of emotional satisfaction in the elegant demonstration, in the elegant ordering of facts into theories, and in the still more satisfactory, still more emotionally exciting discovery that the theory is not quite right and has to be worked over again, very much as any other work of art-a painting, a sculpture has to be worked over in the interests of aesthetic perfection. So there is no scientist who is not to some extent worthy of being described as artist or poet.

Sex divorced from love, instead of raising man by taking him away from himself, drags him down to the hall of mirrors where he is always confronted with self. Sex does not care about the person, but about the act. The fig leaf which once was put over the secret parts of man and woman in sculpture is now put over the face. The person does not matter.

When I moved into making sculpture, I could handle steel the way it had been handled in the technological revolution. I could use it the way bridge builders used it; I could use it the way they used it in industry and building and not the way it had been used in art.

Maybe an artist's position in society is different today because it's more individualistic. You're not a direct servant anymore to the patron-you're an indirect servant, or a servant with a choice, or maybe you could not even serve. It's the way you make something. You draw it, you carve it out. Later you build it up from a flat surface. There is no other way to do a sculpture - you either add or you subtract. If you don't enjoy making work, then it's bad... artwork is brutal for so many people... I like the idea of an artist as sombody who works.

All art involves conscious discipline. If one is going to paint, do sculpture, design a building or write a book, it will involve discipline in time and energy — or there would never be any production at all to be seen, felt or enjoyed by ourselves or others. To develop ‘Hidden Art’ will also, of course, take time and energy – and the balance of the use of time is a constant individual problem for all of us: what to do, and what to leave undone. One is always having to neglect one thing in order to give precedence to something else. The question is one of priorities

Just look at the back of Donald Trump's head, any angle. There's some angles that his chin is just, what do I mean? I mean he's sculpted out of some kind of pudding, I think. It looks like his face is sort of melting slowly. I should talk because my face is melting quickly. He's some kind of bizarre sculpture. There's no one really who looks like that.

Dressing well is a kind of good manners, if you ask me. When you're standing in a room, your effect is the same as a chair's effect, or a sculpture's. You're part of someone's view, you're part of that world, and so you should dress well. I find it's a show of respect to try to put on your best face and look as good as you can.

All you can usually say about a poem or a picture is, 'Look at it, listen to it.' Whether you listen to a piece of music or a poem, or look at a picture or a jug or a piece of sculpture, what matters about it is not what it has in common with others of its kind, but what is singularly its own.

Attempt to be creative for the joy it brings… Select something like music, dance, sculpture, or poetry. Being creative will help you enjoy life. It engenders a spirit of gratitude. It develops latent talent, sharpens your capacity to reason, to act, and to find purpose in life. It dispels loneliness and heartache. It gives a renewal, a spark of enthusiasm, and zest for life.

I almost feel like its an obligation to not further the status quo if you become somebody with influence and exposure. I dont want to paint the same painting again. I dont want to make the same sculpture again. Why shouldnt a big movie studio be able to make those small independent kinds of pictures? Why not change it up?

I believe that magic is art, and that art, whether that be music, writing, sculpture, or any other form, is literally magic. Art is, like magic, the science of manipulating symbols, words or images, to achieve changes in consciousness… Indeed to cast a spell is simply to spell, to manipulate words, to change peoples consciousness, and this is why I believe that an artist or writer is the closest thing in the contemporary world to a shaman.

The museum is full of interesting things. All kinds of paintings are there. And then paintings too thick to put in a frame, that they call sculpture. And then there are spectators. with their scorecards, rooting for culture. And spectators of the spectators, looking for love's introduction. And art students taking notes. And old women trying to remember the past. And old men with too much to forget. And tourists, thinking that a museum represents a city. And loafers so poor, they study their soberness here.

When a sculptor creates a sculpture, a writer writes a novel, or a painter paints a motif on a canvas, he needs talent and expertise. But to be successful in his endeavor, he also needs to have the passionate feeling that he wants, at all costs, to create a work of art which, in his head, constantly demands to be accomplished. The same also applies to developing board games or card games.

I am biased towards the belief that every painter must be grounded in strong and faultless drawing skills, and until one has not experimented with all styles of painting and has not comprehended their potentialities one's work is not complete. Even an abstract painter must know how to draw as well as a figurative artist. As for me, drawing has never created any problem, since I know how to draw anatomy correctly if I had to, I understand the function of muscle groups and sculpture.

Promenade was totally driven by the context. The internal relationships of measurement and placement related to the central axis of the site. The placement of the rectangular plates followed a strict logic in that the plates tilted away and towards the center line in an asymmetrical counterpoint. However, the perception of the sculpture contradicts the logic of its relation to the site. As you walk inbetween the plates you see fragments, you see the work in part, you cannot grasp the whole.

Photography is not easy. You know it takes a painter or a sculpture or a musician years to perfect their technique. Then they're free to make an expression in a matter of moments. It takes moments for a photographer to perfect his technique. And then it takes years for him to make it into something that is truly creative and worthwhile.

I like the little chess match of how people move through space. I'm not comparing myself to Michelangelo with this analogy, but he said when he sculpts it's like finding the sculpture within. It feels that way when you are with actors, too. There's a natural way to do this with a natural language that flows and feels like real people talking. And you've just got to find it. So I enjoy that part of the process.

Mathematics, rightly viewed, possesses not only truth, but supreme beauty a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the georgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as in poetry.

What I think about when I frequent the Museum of Natural History, the Metropolitan [Museum of Art], and I look at these artifacts that are taken out of context and how we're forced to view them as objects, as relics, as sculpture- static. But what's interesting is what it allows me to do in my head in terms of imagining what the possibilities are or imagining the role in which they played within a particular culture which I'm fascinated by.

Prose is an art form, movies and acting in general are art forms, so is music, painting, graphics, sculpture, and so on. Some might even consider classic games like chess to be an art form. Video games use elements of all of these to create something new. Why wouldn't video games be an art form?

That the Hindus, absorbed in the ideal, lacked in realistic observation is evident from this. Take painting and sculpture. What do you see in the Hindu paintings? All sorts of grotesque and unnatural figures. What do you see in a Hindu temple? A Chaturbhanga Narayana or some such thing. But take into consideration any Italian picture or Grecian statue-what a study of nature you find in them! A gentleman for twenty years sat burning a candle in his hand, in order to paint a lady carrying a candle in her hand.

At the dinner table when I was very little, I would hear people bickering... To escape the bickering, I started modelling the soft bread with my fingers. With the dough of the French bread %u2013 sometimes it was still warm %u2013 I would make little figures. And I would line them up on the table and this was really my first sculpture.

Most of the arts, as painting, sculpture, and music, have emotional appeal to the general public. This is because these arts can be experienced by some one or more of our senses. Such is not true of the art of mathematics; this art can be appreciated only by mathematicians, and to become a mathematician requires a long period of intensive training. The community of mathematicians is similar to an imaginary community of musical composers whose only satisfaction is obtained by the interchange among themselves of the musical scores they compose.