Charles Bartlett Johnson Quotes
All art points to others with whom the writer argues about what is . . . He must have models with which to agree . . . or outright oppose . . . for Nature seems to remain silence.
Quotes to Explore
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The biggest thing is education for young chefs and how they should focus on one cuisine rather than trying to imitate too many. It's like art - you can see the cycles from many past artists and new artists being inspired by past artists.
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Silence is my dignity.
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I was a pretty pretentious kid. I was always making art.
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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.
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Mathematics is, as it were, a sensuous logic, and relates to philosophy as do the arts, music, and plastic art to poetry.
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I think that music is still art, even if it's commercialised.
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We all know that Art is not truth. Art is a lie that makes us realize the truth, at least the truth that is given to us to understand.
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Putting is not an art, it's a dreaded evil. No wise man ever said that.
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Art is the lie that enables us to realize the truth.
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I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. It's the most radical thing.
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The essence of all art is to have pleasure in giving pleasure.
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Be not affronted at a joke. If one throw salt at thee, thou wilt receive no harm, unless thou art raw.
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Japanese people accept that art and commerce will be blended; and, in fact, they are surprised by the rigid and pretentious Western hierarchy of 'high art.'
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We need a certain amount of energy to produce the sound. But then to sustain it, we have to give more energy, or otherwise, it goes and it dies in silence. And therefore, sound is absolutely, inextricably connected to time, the length of time.
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Real art must always involve some witchcraft.
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Abstract art as it is conceived at present is a game bequeathed to painting and sculpture by art history. One who accepts its premises must consent to limit his imagination to a depressing casuistry regarding the formal requirements of modernism.
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It is on some, but not all, of these misty autumn day-breaks that one may hear the chorus of the quail. The silence is suddenly broken by a dozen contralto voices, no longer able to restrain their praise of the day to come.
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'Summer of Love: Art of the Psychedelic Era,' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.
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The forties, seventies, and the nineties, when money was scarce, were great periods, when the art world retracted but it was also reborn.
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There's this shop in New York I go to; it has bones and fossils and insects that are like works of art. I have a few on my wall.
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I believe that those closest to the children should be making the decisions about how funds should be spent, what the curriculum should look like, and what's the best way to help our students.
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I have always said that I cannot allow the child within me to die. It's kept me alive.
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All art points to others with whom the writer argues about what is . . . He must have models with which to agree . . . or outright oppose . . . for Nature seems to remain silence.
