Top 1200 Street Art Quotes & Sayings - Page 3

Becoming mature is not important for art. Technical perfection is not relevant to art. Precision in art is only achieved by total duty of loyalty. Love, lusciousness, birth and fertility are precise tools of art, like laws.

Prayer is a fine, delicate instrument. To use it right is a great art, a holy art. There is perhaps no greater art than the art of prayer. Yet the least gifted, the uneducated and the poor can cultivate the holy art of prayer.

In a cement park across the street is this giant sculpture. It is a giant umbrella frame lying on its side. It's green. Stand under it, during a rainstorm, you'll still get wet - that's why it's art.

I was street smart, but unfortunately the street was Rodeo Drive.

A street without trees is a street only for the sick-minded people whose god is nothing but money!

I am often reminded that the wellspring of Vermont liberty flows from Main Street, not State Street.

Wu-Block is more street. It's just street, that's all.

Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.

I do believe that we should substantially lower student debt in this country, which is crushing millions of people. We pay for it, in my view, by a tax on Wall Street speculation. The middle class bailed out Wall Street in their time of need. Now, it is Wall Street's time to help the middle class.

For me, the heyday was in 1959. It was before the Ferus Gallery moved across the street, in the days when Ed Kienholz and Walter Hopps ran it. At that time, art was taken very seriously in terms of being an artist, and not as a profession.

I'm actually a lowlife. On the street at fifteen and also in jail for the first time at that age, and off and on the street until my mid-twenties.

We're training Google Street View to recognize street numbers.

The accent in England can change literally from street to street, and people have this sort of feudal tribalism whereby you can identify somebody's provenance by their voice.

I'm a Banksy fan. I'm also a fan of Chris Hobe, Mister Totem, Drew Wootten, Mad Clout, Hense and Sever, in visual and street art. And Jonathan Mannion and Shane Nash in photography.

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.

Turning Wearily, as one would turn to nod goodbye to Rochefoucauld, If the street were time and he as the end of the street.

To understand Occupy Wall Street, you have to understand artists. Art is freedom - freedom of expression - and its message has resonated through society for centuries.

In my gap year between college and drama school, I taught art at a hospice and worked at a little coffee shop across the street from Shakespeare's Globe Theatre in London when everything around it was still a construction zone.

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.

Street hockey is great for kids. It's energetic, competitive, and skilful. And best of all, it keeps them off the street.

I like art with a sense of humor. I don't have a huge art education to understand everything. I don't think that means that art has to be watered down to the lowest common denominator, though. I don't think you have to go to college to be able appreciate great art, but I like art that doesn't take itself too seriously.

Mubarak would meet with me when I was at Central Command. He would lean and put his hand on my knee, as if a father figure, and say, 'General, don't ever forget the Arab Street. Listen to the Arab Street.' I'd like to go to him now and say, 'Mr. President, what about that Arab Street, what's that all about?'

Wall Street is in trouble because Main Street is broke.

Writing is like walking in a deserted street. Out of the dust in the street you make a mud pie.

I'm not averse to helping Wall Street when it helps Main Street.

I am not too interested in leaving the street people and joining the Establishment. I prefer street folks.

The art of investing is not about figuring out what has already happened. It’s about anticipating the futureand creating the future that others will read about in The Wall Street Journal.

The street and me is a love story. 1971 is a great date because, finally, fashion took to the street.

Although we work through financial markets, our goal is to help Main Street, not Wall Street.

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

People will stop me on the street, and they know - Jaguars. It's a certain street recognition we didn't have years ago.

I'm just a middle-class farm boy from Dodge City, Kansas. And I always thought that acting was art, writing was art, music was art, painting was art, and I've tried to keep that cultural vibe to my life.

Hong Kong is a nice playground for my street pieces as the architecture is very different from my home city. It's also a great opportunity to take place in a dynamic city of the global art scene.

Trees are contagious; as soon as one neighborhood or street is planted, citizen pressure builds up for action from the next street.

I don't want to sell to street art collectors, I want to sell to art collectors.

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.

I just want to put my stamp on all kinds of music. Everything I do is going to be gangsta rap, street-based, street-oriented.

If we're going to be an effective, efficient economy, we need to have all part of that engine running well, and that includes Wall Street and Main Street.

When shopping was still connected to the street it was also an intensification and articulation of the street. Now it has become utterly independent - contained, controlled, surveyed.

Same way we have enough money to bail out Wall Street, we need to put a down payment on Main Street.

I love jazz because it's so American; you know it's our Only Original Art Form. It just goes against the greed of corporate America and the Wall Street Banks that are destroying our economy.

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

I was looking at the work of the New York street artists and then discovering Basquiat and Haring after that and seeing how the contemporary art scene was, and then going back into Warhol and all that was happening in the 60s.

I love street, adore street. Life is about mixing things and to be divine in the streets. Voila!

On winning Literature Nobel Prize: I was actually in the street. Yes, I was in the street. It was my daughter who notified me.

I wasn't just playing football on the street. I grew up on the street.

If you can smell the street by looking at the photo, it's a street photograph

I live in Brooklyn, New York. It is a melting pot of cultures and people. I walk down the street, and there is art on the buildings and people congregating who have been neighbors for years and events and music and freedom.

Everything I do is going to be gangsta rap, street based, street oriented... I'm from Gary, Indiana, and everybody's damn near at the poverty level.

When he's late for dinner, I know he's either having an affair or is lying dead in the street. I always hope it's the street.

For me, if I was walking down the street and saw a politician, I'd cross the street and walk the other way intentionally, just to not have to talk to them.

The dirty little secret, folks, is Obama is not only for occupying Wall Street. He also wants to occupy Main Street.

There is no need for the street lights in the Street of Love; all is already bright in there!

Bullfighting can be an art Boxing can be an art Loving can be an art Opening a can of sardines can be an 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.

Main Street versus Wall Street was the 2008 economic mantra of Democrat Barack Obama.

I graduated in June 1948 and then went in the fall to the art school. I stayed with my cousins on Seventeenth Street in the beginning, and later had my own apartment very near there and was able to walk to the Art Institute on Elmwood Avenue. The school had a faculty of local artists - Jeanette and Robert Blair, James Vullo who were well known in the area. It was a school that I think thrived on returning GIs, as many schools did at that time. It was a very informal program - but it was professional.

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.

Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?

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.