Alain Badiou Quotes

Contemporary art for me is a real driver; it propels us into the future. And at the same time, it's what connects us to the past, from a perspective of artistic evolution in which the succession of eras and styles gives meaning to creation.

Every school boy and school girl who has arrived at the age of reflection ought to know something about the history of the art of printing.

Beauty ...is of the great facts in the world like sunlight, or springtime, or the reflection in dark water of that silver shell we call the moon.

For he, indeed, who looks into the face of a friend beholds, as it were, a copy of himself.

Especially for people of our generation, who really celebrated certain attitudes - the outsider, the loner - it can have a real impact on the art when they realize, I have friends, I'm married, or I have kids. That's certainly happened to me.

If all the thought which had been expended on the construction of engines of agony and death - the modes of aggression and defence, the raising of armies, and the acquirement of those arts of tyranny and falsehood without which mixed multitudes could neither be led nor governed - had been employed to promote the true welfare and extend the real empire of man, how different would have been the present situation of human society!

What the art historians had forgotten is that in Chinese, Japanese, Persian, and Indian art, they never painted shadows. Why did they paint shadows in European art? Shadows are because of optics. Optics need shadows and strong light. Strong light makes the deepest shadows. It took me a few years to realize fully that the art historians didn't grasp that. There are a lot of interesting new things, ideas, pictures.

I sense a real difference in my work from the time I was younger and single and more involved in the world of music and going out to bars and all that. There were points at which I was trying to use my art to reflect positively on myself, to almost be flirtatious through the work.

Poetry, with all its obscurity, has a more general as well as a more powerful dominion over the passions than the art of painting.

As far as I can see, the history of experimental art in the twentieth century is intimately bound up with the experience of intoxification.

Photographs trade simultaneously on the prestige of art and the magic of the real.

poetry had everything to teach me about life.

In this state one enriches everything out of one's own fullness: whatever one sees, whatever wills is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power—until they are reflections of his perfection. This having to transform into perfection is—art.

It is only the fundamental conceptions of psychology which are of real value to a teacher.

Constant work, constant writing and constant revision. The real writer learns nothing from life. He is more like an oyster or a sponge. What he takes in he takes in normally the way any person takes in experience. But it is what is done with it in his mind, if he is a real writer, that makes his art.

It became a question of taste. I have a certain taste in art history. And that - I had a huge library of art history books in my studio. And I would simply have the models go through those books with me, and we began a conversation about, like, what painting means, why we do it, why people care about it why or how it can mean or make sense today.

Pictures are the idea in visual or pictorial form; and the idea has to be legible, both in the individual picture and in the collective context - which presupposes, of course, that words are used to convey information about the idea and the context. However, none of this means that pictures function as illustrations of an idea: ultimately, they are the idea. Nor is the verbal formulation of the idea a translation of the visual: it simply bears a certain resemblance to the meaning of the idea. It is an interpretation, literally a reflection.

This is the real and the only reason for friendship: to provide a mirror so the other person can contemplate his image from the past, which, without the eternal blah-blah of memories between pals, would long ago have disappeared.

Exposure to the reproductions [of Corbis-owned fine art photographs] is likely to increase rather than diminish reverence for the real art and encourage more people to get out to museums and galleries.

Imagination is nostalgia for the past, the absent it is the liquid solution in which art develops the snapshot of reality.

You put on a face for the public. The face isn't false; it's just another side of you. If it were false, you couldn't last. People want something real and natural, and if they catch you acting, you're dead. It has to look real. In order to look real, it has to be real, and I've always thought of the characters I've played as real people.

The Sufi saint Mazhar Jaan Jana of 18th century Delhi believed that the Quran condemns bowing before deities because in pre-Islamic idol worship stones were considered god. But Hindus pray to god through that idol, which is a reflection of god. In Vedas god is nirguna and nirankara, that is, he has no attributes and no shape, that is the real belief of Hindus. As Muslims visit graves, so Hindus worship idols.

The history of art is filled with people who did not live long enough to enjoy a sympathetic public, and their misery argues that criticism should try to speed justice.

One of the beauties of art is that it reflects an artist's entire life. What I've learned over the past 30 years is really beginning to inform what I make. I hope that process continues until I die.

In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.