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I'll bet there are a lot of artists that nobody hears about who just make more money than anybody. The people that do all the sculptures and paintings for big building construction. We never hear about them, but they make more money than anybody.
In our own time it has been seen... that simple children, roughly brought up in the wilderness, have begun to draw by themselves, impelled by their own natural genius, instructed solely by the example of these beautiful paintings and sculptures of Nature.
All the sculptures of today, like those of the past, will end one day in pieces... So it is important to fashion ones work carefully in its smallest recess and charge every particle of matter with life.
Don't look for obscure formulas or mystery in my work. It is pure joy that I offer you. Look at my sculptures until you see them. Those closest to God have seen them.
Architects have to become designers of eco-systems. Not just designers of beautiful facades or beautiful sculptures, but systems of economy and ecology, where we channel the flow not only of people, but also the flow of resources through our cities and buildings.
We say to the British government: you have kept those sculptures for almost two centuries. You have cared for them as well as you could, for which we thank you. But now in the name of fairness and morality, please give them back.
In Rome, I particularly love the history, churches, sculptures and architecture and the fact that you can walk along a tiny cobbled street and turn the corner to find the Trevi Fountain. London is evocative of other eras and full of history.
The art of mastering life is the prerequisite for all further forms of expression, whether they are paintings, sculptures, tragedies, or musical compositions.
I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work.
People always say that my work is sensational or shocking but there are truly shocking things you could do, and my sculptures don't go anywhere near that.
I have been taking every step toward the future every day through making many paintings and sculptures with my deep emotion hidden in my life.
I've been making bronze sculptures for a long time. My sculptures are wholly unsuccessful and uncommercial. No one is even the remotest bit interested in them. So it's almost like my hobby.
My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings.
Sculptures created from found materials like ice and thorns, driftwood, and even bleached kangaroo bones all presuppose that artistic design will yield to the cycles of time and climate, whether over an hour or a decade.
Shape and color are my two strong things. And by doing this, drawing plants has always led me into my paintings and my sculptures.
Drawings, paintings, and sculptures. That's the three pillars of art academia.
Cars are the sculptures of our everyday lives.
Even though the museums guarding their precious property fence everything off, in my own studio, I made them so you and I could walk in and around, and among these sculptures.
Nobody complains that Bernini's sculptures are too darn real, right? Or that Norman Rockwell's paintings are too creepy. Well, robots can seem real and be loved, too. We're trying to make a new art medium out of robotics.
I left Kurdistan in April 2003 with the peshmerga, following their excited advance as Saddam's forces crumbled. First Kirkuk, then Mosul - where looters broke into the city museum and seized its Parthian sculptures - then Tikrit. I reported from Baghdad in month-long stints until the end of 2004.
I am finally getting the chance to build large structures and break preconceptions that my designs are just sculptures for people to be in. But my work always comes down to the human scale.
Art is an expression of who you are. Parts that I play are my sculptures.
There are two kinds of sculptures. There's the kind that subtracts: Michelangelo starts with a block of marble and chips away. And then there is the kind that adds, building with clay, piling it on. The way I write novels is to keep piling on and piling on and piling on.
Jonathan Safran Foer
In New York, I get a tremendous amount of ideas by looking at the paintings and the sculptures, adapting artistic endeavors to crafts. There is a lot of inspiration around us that we can see every day and turn into projects.
The relationship between art and a job is not quite linear, but I really love any and all manifestations of art, really respect any kind of artistic impulse, whether it's paintings and sculptures or really good filmmaking or music. I really see the relationships between these different mediums as very fluid.
Martin Luther King, Jr.
John F. Kennedy
C. S. Lewis
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