Waldemar Januszczak Quotes
The thing about conceptual art is that it has no solid or finite meaning. So the work can exist simultaneously in many minds at once, and all those minds can see it differently. The artist offers the clues. The spectator offers the reading. You see what you want to see.
Quotes to Explore
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The best thing is to look natural, but it takes makeup to look natural.
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If I watch 'Gone With the Wind,' I always find it interesting. I think, 'What's going to happen next? What's that character going to do?' But you know, you never really need to watch the films you made again. They stay inside you, always with you.
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It's been tough for me being away from the game.
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Wal-mart... do they like make walls there?
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'Moby-Dick' has a remarkable way of resonating with whatever is going on in the world at that particular moment.
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We do take pride in how we look, but it's really just like, take a couple minutes, and you're ready to go.
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I don't have any ill will or ill thought towards anybody.
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When you're creating a fragrance, you're always thinking about what you want that first smell to be, that first reaction. It's a sensation, like a symphony with all of those layers and notes. I love the way it changes and the way it dries down. The fun thing about scent is that it's unique to everyone; pheromones take on a new scent.
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I have lots of memories of my father. He was an incredible father. We all loved him to death. He'd try to educate us as much as he could and was always looking out for us. He was very protective.
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We have rules that no longer are relevant to the world we're living in. Our regulatory system can't keep up.
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Who looks outside, dreams; who looks inside, awakes.
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We would be silly to say that race issues don't exist in 2014.
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God made us: invented us as a man invents an engine. A car is made to run on petrol, and it would not run properly on anything else. Now God designed the human machine to run on Himself.
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There are two primary ways in which mans relates himself to the world that surround him: manipulation and appreciation. In the first way he sees in what surrounds him things to be handled, forces to be managed, objects to be put to use. In the second way he sees in what surrounds him things to be acknowledged, understood, valued or admired.
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I've long believed that good food, good eating, is all about risk. Whether we're talking about unpasteurized Stilton, raw oysters or working for organized crime 'associates,' food, for me, has always been an adventure.
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Sometimes they seem like living shapes, - The people of the sky, - Guests in white raiment coming down From heaven, which is close by; I call them by familiar names, As one by one draws nigh.
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I would be remiss not to take advantage of this platform that I have, because I don't want any other woman or girl feeling like the way that I felt: that I didn't belong, that I would never succeed in the medium that I'm choosing to pursue because my hair isn't straight or my skin isn't light or my eyes aren't bright.
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I am not a food critic. Or a chef. Or even a professional writer. What I am schooled in the art of, however, is enjoying myself.
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If you're going to write a book that might, in its very best accidental career, sell 30,000 copies, you've got to have a day job.
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The problem is Silicon Valley, which is an amazing ecosystem, also ends up being an amazing bubble, with white guys talking to white guys about white-guy problems. So it's great, but you kind of miss a lot of things around you.
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The Devil turns his back to a door that is shut.
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Just charge me with the usual.
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The thing about conceptual art is that it has no solid or finite meaning. So the work can exist simultaneously in many minds at once, and all those minds can see it differently. The artist offers the clues. The spectator offers the reading. You see what you want to see.
