Top 1200 Street Art Quotes & Sayings - Page 7

Art used to be painting, sculpture, music, etc, but now, all technology has become art. Of course, this form of art is still very primitive, but it is slowly replacing reality.

I grew up on a street that's similar to the ones you used to see in Coronation Street on TV. We had an outside toilet at the bottom of the yard and I had to share a bedroom until my older sisters left home.

There's no making art for art's sake. You've got to make the best art you can.

There must always be two kinds of art: escape-art, for man needs escape as he needs food and deep sleep, and parable-art, that art which shall teach man to unlearn hatred and learn love.

Art is an affirmation of life, a rebuttal of death. And here we blunder into paradox again, for during the creation of any form of art, art which affirms the value and the holiness of life, the artist must die. To serve a work of art, great or small, is to die, to die to self.

A standard line, promoted by people like Clement Greenberg,.. is that politics contaminates art, and Manet is often cited as an example of art for art's sake.

I believe that street photography is central to the issue of photography—that it is purely photographic, whereas the other genres, such as landscape and portrait photography, are a little more applied, more mixed in the with the history of painting and other art forms.

Living together is an art. It's a patient art, it's a beautiful art, it's fascinating.

Mexico scares me. There's no law, there's wild dogs and people driving their ATVs down the street. I like to know I can walk down the street and not be arrested for something dumb and have to pay to get my way out.

There are those on Wall Street and in the plutocracy who feel that Geithner is a hero who deftly steered the country from economic ruin. To many ordinary Americans, however, he is considered a Wall Street puppet and a servant of the so-called banksters.

If art is any good, it has so much of a longer trajectory than one night. Contemporary art is separate from art openings. In the end, it depends on the strength of ideas in each piece.

Art is about emotion; if art needs to be explained it is no longer art.

Art, like real estate, is half science, half gut. We go to a lot of art fairs. We have two full-time art experts who help me make all the decisions about how to build the corporate and personal collection and what we put in our developments. We don't let interior designers pick art for us.

If being an anti-art artist is difficult, being an anti-art art historian is a hard position indeed. His doctrinal revolutionism brings forth nothing new in art but reenacts upheavals on the symbolic plane of language. It provides the consoling belief that overthrows are occurring as in the past, that barriers to creation are being surmounted, and that art is pursuing a radical purpose, even if it is only the purpose of doing away with itself.

In my first book, 'Ghosts Of Manhattan,' the setting was Wall Street, and I explored the predictable nature of a bond trader inside the compensation scheme at Bear Stearns and the government regulations of Wall Street. That was about money.

If art is singular expression, then by nature, the best art is controversial. But when art stirs debate for reasons besides its artistic integrity, that's when things get bent.

I always felt that my work hadn't much to do with art; my admirations for other art had very little room to show themselves in my work because I hoped that if I concentrated enough the intensity of scrutiny alone would force life into the pictures. I ignored the fact that art, after all, derives from art. Now I realize that this is the case.

If you like what Wall Street did for the housing market, you'll love what Wall Street is doing for commodities. Goldman's ability to influence any portion of the price for a key component of the industrial economy is simply unacceptable.

I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures and uncertain ending - an art (and a politics) in which optimism is kept in check, and nihilism at bay.

I don't believe too much in originality... you learn art from other art and then looking into somebody's face or landscape is the point of departure to do your work of art.

Real art, like the wife of an affectionate husband, needs no ornaments. But counterfeit art, like a prostitute, must always be decked out. The cause of production of real art is the artist's inner need to express a feeling that has accumulated...The cause of counterfeit art, as of prostitution, is gain. The consequence of true art is the introduction of a new feeling into the intercourse of life... The consequences of counterfeit art are the perversion of man, pleasure which never satisfies, and the weakening of man's spiritual strength.

Some critics claim to know what art has to be and do, and consider it their task to steer art along the path they have chosen. Others receive art gladly, and try to distinguish degrees of excellence.

Art is not entertainment. Art is not luxury goods. Art is culture. It is you and me.

I know now that he who hopes to be universal in his art must plant in his own soil. Great art is like a tree, which grows in a particular place and has a trunk, leaves, blossoms, boughs, fruit, and roots of its own. The more native art is, the more it belongs to the entire world, because taste is rooted in nature. When art is true, it is one with nature. This is the secret of primitive art and also of the art of the mastersMichelangelo, Czanne, Seurat, and Renoir. The secret of my best work is that it is Mexican.

How beautiful it is to see that young people are 'street preachers,' joyfully bringing Jesus to every street, every town square and every corner of the earth!

A standard line, promoted by people like Clement Greenberg, is that politics contaminates art, and Manet is often cited as an example of art for art's sake.

Art is not cozy and it is not mocked. Art tells the only truth that ultimately matters. It is the light by which human things can be mended. And after art there is, let me assure you all, nothing.

The detective novel is the art-for-art's-sake of our yawning Philistinism, the classic example of a specialized form of art removed from contact with the life it pretends to build on.

Art can heal it if art is allowed to exist. And if art is slowly wiped off the face of the planet, then what tools do we have to reach people, to appeal to them and all of their senses?

There are some disabling myths about what art is, how to do it, what is good art, and what art is for, that have gagged generations, depriving them of significant and natural means of expression. This is a terrible loss and an unnecessary one.

I worked in an art gallery for a few years, doing administrative assistance stuff, and it exposed me to what the whole world of art dealers and the art market was about.

Whatever you love most, you fear you might lose, you know it can change. Why do you look from left to right when you cross the street? Because you don’t want to get run over. But, you still cross the street.

In Fleet Street, in Fleet Street, the People are so fleet, They barely touch the cobble-stones with their nimble feet!

When you talk about state of the art, that doesn't mean a damn thing. Think about it. State of the art. "This is the state of the art brush from Winsor-Newton." Yeah, but the state of the art sucks rubber donkey lungs.

We can't suddenly quit a job and then race to find a form of art that will pay off before the next mortgage payment is due. Creating art is a habit, one that we practice daily or hourly until we get good at it … Art isn’t about the rush of victory that comes from being picked. Nor does it involve compliance. Art in the post-industrial age is a lifelong habit, a stepwise process that incrementally allows us to create more art.

I was asked in 1969 by Lucy Lippard to define art. I think at the time I said that art was a matter of life and death, meaning just the breathing and living and thinking experience-that's what art is.

I did not go to art school thinking that I was an artist; I went there mainly doing stage sets for bands. I considered my work more as an applied art for musicians, not as art in and for itself.

Often, when art from the canon is brought in to fine art classes, it is used as a prop to inspire art-making projects but more rarely as something to study in-depth for itself.

A lack of street footballers dulls the imagination, dulls that natural thinking outside the box. You need that on the street when you're 9 and have to beat a 14-year-old on the dribble. Or if you get knocked out and have to sit on the side and come on.

The art world is never going to be popular like the NFL, but more people are buying art and I think that's cushioning, to a great extent, our art-market cycles.

I've always been interested in art and making things, but I chose not to go to art school because I thought I needed to do something else. Art was a tough way to make a living.

There's obviously always danger in making music or art for art's sake. Even as Christians we can be guilty of that, being more about the art than the Artist who gave us this gift.

For photography to be an art involves reformulating notions of art, rejecting both material and formal purism and also the separation of art from commerce as distinct semiotic practices that never interlock.

I'm going to start these art museums that are basically converted homes, and I have one for modern art, and I have one for 19th century European art, and one for French impressionism. I've got Japanese.

I realized that I needed to be anonymous on the street and somebody else on the stage. I had tried to put my street self on the stage, but what they want is an actor on stage.

To tell you the truth, I am rather perplexed by the concept of 'art'. What one person considers to be 'art' is often not 'art' to another. 'Beautiful' and 'ugly' are old-fashioned concepts that are seldom applied these days; perhaps justifiably, who knows? Something repulsive, which gives you a moral hangover, and hurts your ears or eyes, may well be art. Only 'kitsch' is not art - we're all agreed about that. Indeed, but what is 'kitsch'? If only I knew!

Every shop in every High Street in Europe is filled with basically the same stuff. There's a street in every city of the world that has a Gap and Benneton's, and the upscale versions of those.

I have been performing in the street for more than 50 years: magic for basically 60 years, and the high wire 45 years. The beauty of it is that it's never the same. It's never easy. And yet, part of my art is to make it look easy.

Either all things proceed from one intelligent source and come together as in one body, and the part ought not to find fault with what is done for the benefit of the whole; or there are only atoms, and nothing else than a mixture and dispersion. Why, then, art thou disturbed? Say to this ruling faculty, Art thou dead, art thou corrupted, art thou playing the hypocrite, art thou become a beast, dost thou herd and feed with the rest?

This kind of painting with its large frames is a bourgeois drawing-room art. It is an art dealer's art-and that came in after the civil wars following the French Revolution.

What Wall Street is, they're market makers. Wall Street's business model is making money on velocity of money. They're a click industry. That's what Wall Street is. They make a lot of money when there's a lot of turnover. And they make a lot of money when that velocity is fast.

I believe Picasso's success is just one small part of the broader modern phenomenon of artists themselves rejecting serious art- perhaps partly because serious art takes so much time and energy and talent to produce-in favor of what I call `impulse art': art work that is quick and easy, at least by comparison.

What is it about a work of art, even when it is bought and sold in the market, that makes us distinguish it from . . . pure commodities? A work of art is a gift, not a commodity. . . works of art exist simultaneously in two “economies”, a market economy and a gift economy. Only one of these is essential, however: a work of art can survive without the market, but where there is no gift, there is no art.

It's a mistake to think that there's a difference between someone on the street and someone not on the street.

If an artist does not have an erotic involvement with everything that he sees, he may as well give up. To be a human being may a very messy thing, but to be an artist is something else entirely, because art is religion, art is sex, art is society. Art is everything.

I was a child of a single mother/art teacher, and a father who was an architect, so I've always been around the combination of art, fine art, and architecture my entire life.

I learned more from my mother than from all the art historians and curators who have informed me about technical aspects of art history and art appreciation over the years.

We don't hear our president [Barack Obama] talking about the need for high-quality jobs for everybody, giving it priority, not just giving a speech in Detroit. That's fine, but speaking to Tim Geithner, speaking to Larry Summers. When are you going to make jobs, jobs, jobs a priority rather than Wall Street, Wall Street, Wall Street a priority? That's what I'm concerned about.

It appears that Wall Street is not acting as a force for economic expansion, providing access to capital for companies that make things. Rather, it seems, Wall Street is using government bailouts to lever up.

Block by block, street by street, our city has the resources, the activism, and the ideas to meet these challenges if we act boldly and reshape what's possible. After all, Boston was founded on a revolutionary promise: that things don't have to be as they always have been.