artist
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Face to Face with Life’s Challenges: Ole-Jørgen Edna at TEDxBKK
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A Picture of Dorian Gray
The artist is the creator of beautiful things. To reveal art and conceal the artist is art’s aim.
The critic is he who can translate into another manner or a new material his impression of beautiful things.
The highest as the lowest form of criticism is a mode of autobiography.
Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope.
They are the elect to whom beautiful things mean only beauty.
No artist desires to prove anything. Even things that are true can be proved.
No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style.
No artist is ever morbid. The artist can express everything.
Thought and language are to the artist instruments of an art.
Vice and virtue are to the artist materials for an art.
From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the type.
All art is at once surface and symbol.
Those who go beneath the surface do so at their peril.
Those who read the symbol do so at their peril.
It is the spectator, and not life, that art really mirrors.
Diversity of opinion about a work of art shows that the work is new, complex, and vital.
When critics disagree, the artist is in accord with himself.
We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.
All art is quite useless.
— Oscar Wilde, from ‘A Picture of Dorian Gray’
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“I am not interested in the kind of expression that you have when you
paint a painting with brush strokes. It’s all right, but it’s already
done and I want to do something new. I didn’t want to get into something
which is played out and narrow. I want to do as I like, invent my own
interests. Of course, that doesn’t mean that people who, like Newman,
still paint are worn out. But I think that’s a particular kind of
experience involving a certain immediacy between you and the canvass,
you and the particular kind of experience of that particular moment. I
think what I’m trying to deal with is something more long range than
that in a way, more obscure perhaps, more involved with things that
happen over a longer time perhaps. At least it’s another area of
experience.”
Donald Judd, Untitled, 1968.