Artwork Creativity Art Quotes

In time, all great masterpieces turn into shameless creatures who laugh at their creators.

I became an artist because I wanted to be an active participant in the conversation about art.

We create our own reality. The blessing (or problem) with this is that when one creates one's own reality, one must live it! Are you living a blessing or is it a curse?

In one of the Upanishads it says, when the glow of a sunset holds you and you say 'Aha,' that is the recognition of the divinity. And when you say 'Aha' to an art object, that is a recognition of divinity. And what divinity is it? It is your divinity, which is the only divinity there is. We are all phenomenal manifestations of a divine will to live, and that will and the consciousness of life is one in all of us, and that is what artwork expresses.

Let's always try to paint the truth ... our art must be made to mean something.

sacred knowledge of the cosmos seems to be hidden within our souls and is shown within our artwork and creative expressions.

The best art is not always the most popular art, and the most popular art is never truly the best art. The best art is that which is streamed through God. And the worst art is that which is void of God. The master artist of the universe is the Creator of All Things, and his reflection is in all of us. Only the artist who is aware that he is a reflection of that greatness, and that creativity is supreme love, is a true divine artist. Even if he is not the most popular artist, he will be very popular among the stars of His universe. That is the master artist, one who uses his talents to serve as a vehicle of God. In his work, you hear God's voice and see with His eyes.

We create art, and those artworks shape us into what we are. We, as human beings, are capable of creating art. Or, perhaps, because of these arts, we have the capacity to become humans humanely.

Remember that although technique is important, there are other issues in art making that should take precedence. When the strongest thing in an artwork is technique, the subject is vanity. Art must have a higher subject. Something else must rise to the top. A work of art is born in the desire for something—to explore something, be it formal (understanding light, color, or objects in space), political, or emotional. The creative act takes in everything about you—the images and creative means of who you are and where you come from, added to the world you see and hope for. The technique you learn should always be in the service of this.

It's a stupendous day for Dr. Seuss fans, with the announcement of a new, previously unpublished picture book, What Pet Should I Get? , to be released on July 28th.  When Dr. Seuss (aka Ted Geisel) passed away in 1991 he left behind pages of text and sketches for book ideas and projects he had worked on over the years but hadn't completed before his death. Where were these hidden gems, you might ask?  Locked away in a safe? Buried in the backyard? Hidden behind a secret wall in his hat closet?  No.  Like many utterly ordinary people, Seuss had a box in his office filled with a paper trail of ideas and bursts of creativity--only in this case, it was a veryspecial box of creative bits and pieces... Who knew, when his wife, Audrey Geisel, packed away that box shortly after Seuss' death, that when she opened it up over two decades later, she would discover the complete manuscript and illustrations for What Pet Should I Get? . I'm envisioning a ray of bright green and blue and red sunshine beaming down on that moment...  In point of fact, the brilliant colors of Seuss' stories came later in the evolution of his books, so color is being added to the black and white sketches of What Pet Should I Get? by Seuss' former art director, Cathy Goldsmith, who worked with him on the last book he published before his death, Oh, The Places You'll Go!   I can't even imagine the goosebumps Goldsmith must have felt to see and hold never-before-seen Seuss artwork... So while we have to wait until the sun is beating down and summer vacation is nearing an end before we can get our hands on a brand new Dr. Seuss story, can also look forward to hearing about what else was found in that treasure trove of Seussy goodness--two more stories are promised as a result of the findings.

A lot of people do not value art. Rather than admit they don’t understand it, they tend to trivialise it.

Ultimately, the meaning of the work is not determined by the artist but by the audience.

Artistic "style" that does not evolve as a result of a natural process is the embodiment of "fake it till you make it," referring to the way something APPEARS, not the way that it IS. It's a veneer, a hollow afterthought technique hung on the artwork to dress it up... I prefer to think in terms of the artist's VOICE. Voice is deeper, manifested from the very core of your being. You earn it through research, experimentation, and discovery. It is a synthesis of the experiences, intellectual concepts, and aesthetic interests you possess, executed in your distinctive way, in the formal, emotional and intellectual language of your chosen medium. When successful, the realization of your voice follows the gestalt principle. The combination of your ideas and the work's physical embodiment is greater than the sum of its parts and distinguishes your outcome from everyone else's.

Practicing art is a meditation; an artwork is an insight.

The most intensely value-laden artifacts of human creativity - works of art - are now the purist examples of that old capitalist alchemy: turning human value into exchange value. At a certain point, and that point has been passed, the art market will only be a mathematical exchange. Art is worth money, but what’s money worth? Money is the ultimate numbers game. What the furor over the art market brings tantalizingly close to the surface is the fact that it is not just the value of art that is dependant on a shared fantasy, it is also money itself. Warhol is not the name of an artist, it is the name of a currency. “Warhol” is a big number because its denomination (soup cans, Brillo box simulacrums, etc.) is presumed to be stable and growing. But it can inflate or deflate like any stock or bond or national currency. Jeff Koons is also a currency but less stable. The only thing that really changes hands are the numbers that are for some reason associated with these opaque talismans called “artworks.” The billionaire buyers of these works have been reduced to South sea natives who insist on the magical properties of certain queer objects - a cornhusk doll with pearls for eyes and a colourful ribbon about its head - but are unable to say why they are so important or why their world would collapse without them. Investors in the art market need to fear bot only the economic boogies of bubbles and ponzi schemes but also that dreaded moment when they look at one another in panic and say, “What were we thinking? What is this stuff? What could have possessed us to say that a glass balloon dog is worth thens of millions? Sell! Sell!

I think sometimes in artwork or writing or music, you discover something that just needs to be created. It’s not even something that you want to create... You’re just pulled into it like an instrument. Like you’re part of a bigger plan.

In this kind of personal artwork, jettison any idea that you can help yourself or others by interpreting, praising, or criticizing. These kinds of creative pieces and experiences are only for being with. The only helpful response is to nourish the imagination and your piece by associating other images to it and noticing what feelings it evokes in you.

A great gift for anyone who loves Fine Art! None of the images in this book was drawn by a “real” human being. They were all “drawn” by computer programs that rely on “artificial intelligence” to decide what to draw. In response to a text prompt, they may “look” at hundreds of thousands of images to determine the content they should draw and the style they should draw it in. The results are not only amazing (and occasionally hilarious) but also illustrate how art styles have changed over time and the limitlessness of human creativity.

Barring performance art, society tends to understand artwork as the static end product of a creative process. As terminal object, relic. As artefact. Objects to which we come in temporal reverse. I am most interested in artwork as creative process. In the dynamics that occur before, and up to, any final outcome.

Artists must be contending with something they do not understand, or they are not artists. Instead, they are posers, or romantics (often romantic failures), or narcissists, or actors (and not in the creative sense). They are likely, when genuine, to be idiosyncratically and peculiarly obsessed by their intuition—possessed by it, willing to pursue it even in the face of opposition and the overwhelming likelihood of rejection, criticism, and practical and financial failure. When they are successful they make the world more understandable (sometimes replacing something more “understood,” but now anachronistic, with something new and better). They move the unknown closer to the conscious, social, and articulated world. And then people gaze at those artworks, watch the dramas, and listen to the stories, and they start to become informed by them, but they do not know how or why. And people find great value in it—more value, perhaps, than in anything else. There is good reason that the most expensive artifacts in the world—those that are literally, or close to literally, priceless—are great works of art.

Your life is your work of art, it's an expression of your uniqueness. Sensuality enables artists to explore the depths of human experience, translating their internal landscapes into creative expressions that resonate with others. Each form of art captures the essence of emotion in unique ways, inviting audiences to engage with the artist's vision. In painting, colors and textures evoke feelings that can range from joy to despair. The choice of hues can create warmth or coldness, while the brushstrokes convey movement and energy, allowing viewers to feel the artist's heartbeat on the canvas. Each artwork becomes a window into the artist’s soul, reflecting their innermost thoughts and feelings. Music, too, is a deeply emotional medium. A melody can evoke nostalgia, while a rhythm can ignite a sense of urgency or joy. The interplay of notes and silence creates a dynamic landscape where emotions can flow freely. Lyrics can tell stories of love, loss, and hope, forging a connection that often feels personal and intimate. Writing gives voice to the complexities of emotion. Through prose and poetry, writers can articulate thoughts and feelings that may be difficult to express otherwise. Each word is carefully chosen to resonate with the reader, drawing them into a world where they can empathize with the characters and situations presented. The written word has the power to heal, inspire, and provoke thought, making it a vital form of artistic expression. Photography captures fleeting moments, freezing them in time while conveying emotions that may otherwise be lost. A single image can tell a powerful story, eliciting joy, sadness, or contemplation. The photographer's perspective shapes how we see the world, inviting us to experience beauty, vulnerability, and the raw essence of life through their lens. Dance is perhaps the most physical manifestation of sensuality in art. It encompasses a language of movement that transcends spoken words, allowing dancers to express emotions through their bodies. Each movement tells a story, whether it’s a graceful ballet or an energetic street dance, and the connection between performers and audience can be electric, creating an atmosphere of shared emotion and energy. In all these forms, the artist's sensuality serves as a conduit for emotional exploration and expression. It is through their vulnerability and authenticity that they invite others to feel, reflect, and connect, reminding us of the richness of the human experience. Art becomes a celebration of life, an exploration of emotions that binds us together in our shared humanity. Being an artist is immersing oneself completely in the experience of life...

I'd insist that we all out same canvases and paint together. You might not want to, but I'd assure you that we needn't be so worried about painting masterpieces. People are the masterpieces, and you are creative because you are God's best creation and HI fingerprints and brush strokes dance all inside of you. Then I'd hold up my written rules for paintbrush holders. Everyone must try. Give yourself permission to not be perfect. Refuse to be intimidated by the process. The most beauty will emerge from the paintbrushes held by those who are most free from fear. Smile. I already love what will soon come to life on your canvas. Then we'd paint. And you'd discover you actually like it. Your piece would turn out amazing, and together we'd think through the perfect place for you to hang it up in your house... We are slowly coming out of hiding. It feels good to be vulnerable with artwork and with each other.

A work of art is essentially the internal made external, resulting from a creative process operating under the impulse of feeling, and embodying the combined product of the poet's perceptions, thoughts, and feelings. The primary source and subject matter of a poem, therefore, are the attributes and actions of the poet's own mind; or of if aspects of the external world, then these only as they are converted from fact to poetry by the feelings and operations of the poet's mind.

What do you most get out of the artwork that you love the most? And answering my own question, I would hesitate to say that it is communing with someone else’s pain and frailty; it is the empathetic tear of another voice that is like yours but with more experience; it is your own adoration of a complex idea simply and acutely expressed. But chiefly it is that the work is located in the real.

One of the great moments in Artist's life is to watch her own oeuvre through a Gallery's door, to see all the Art-works hanging out together on a publicly accessible wall, to slow down and think about the creative process that continues to mystify us all.

The art of the 1960’s devalued the imaginative , bodily and expressive potentialities of the artists as a creative human subject. In focussing on the physical existence of the art-work in isolation, the late Modernism of the 1960’s produced work that was alienated from men and women; those damned ‘modular units’; mere things. The art of the 1970’s went further, abandoning tradition and stuff. Expression had been destroyed. Art revealed itself in the Conceptualism of the 1970’s as naked Ideology.

Making art provides uncomfortably accurate feedback about the gap that inevitably exists between what you intended to do, and what you did. In fact, if artmaking did not tell you (the maker) so enormously about yourself, then making art that matters to you would be impossible. To all viewers but yourself, what matter is the product: the experience of shaping that artwork. The viewers' concerns are not your concerns (although it's dangerously easy to adopt their attitudes.) Their job is whatever it is: to be moved by art, to be entertained by it, to make a killing off it, whatever. Your job is to learn to work on your work.

Imagination is in control when you begin making an object. The artwork’s potential is never higher than in that magic moment when the first brushstroke is applied, the first chord struck. But as the piece grows, technique and craft take over, and imagination becomes a less useful tool. A piece grows by becoming specific.

In fact there's generally no good reason why others *should* care about most of any one artist's work. The function of the overwhelming majority of your artwork is simply to teach you how to make the small fraction of your artwork that soars. One of the basic and difficult lessons every artist must learn is that even the failed pieces are essential...The point is that you learn how to make your work *by making your work,* and a great many of the pieces you make along the way will never stand out *as finished art.*

Making art provides uncomfortably accurate feedback about the gap that inevitably exists between what you intended to do, and what you did. In fact, if artmaking did not tell you (the maker) so enormously about yourself, then making art that matters to you would be impossible. To all viewers but yourself, what matter is the product: the finished artwork. To you, and you alone, what matters is the process: the experience of shaping that artwork. The viewers' concerns are not your concerns (although it's dangerously easy to adopt their attitudes.) Their job is whatever it is: to be moved by art, to be entertained by it, to make a killing off it, whatever. Your job is to learn to work on your work.

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Generative AI dissolves the traditional boundaries between artist, tool, and artwork, creating a fluid space where human intention and algorithmic serendipity intertwine to produce novel forms of creative expression.

The overall best is created when what is created is created just for the sheer fun of creating.

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