I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures and uncertain ending - an art (and a politics) in which optimism is kept in check, and nihilism at bay.
William KentridgeRead
The drawings don't start with 'a beautiful mark'. It has to be a mark of something out there in the world. It doesn't have to be an accurate drawing, but it has to stand for an observation, not something that is abstract, like an emotion.
Interpretation
Art should represent something real in the world rather than abstract emotions.
William Kentridge emphasizes that the essence of drawing lies in capturing observations from the world around us rather than focusing solely on abstract emotional expressions. He suggests that true artistic expression comes from interpreting reality, even if the representation is not perfect, underscoring the importance of grounding art in tangible experiences and observations.
In practice
This quote is perfect for an art workshop discussing the foundations of drawing and creativity.
I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures and uncertain ending - an art (and a politics) in which optimism is kept in check, and nihilism at bay.
If photographers are responsible for creating or reflecting an image of women in society, then, I must say, there is only one way for the future, and this is to define women as strong and independent. This should be the responsibility of photographers today: to free women, and finally everyone, from the terror of youth and perfection.
A good composer does not imitate; he steals.
With cold eyes and indifferent mind the spectators regard the work. Connoissers admire the "skill" (as one admires a tightrope walker), enjoy the "quality of painting" (as one enjoys a pasty). But hungry souls go hungry away. The vulgar herd stroll through the rooms and pronounce the pictures "nice" or "splendid." Those who could speak have said nothing, those who could hear have heard nothing.
I like to know the places I write about. I feel like it helps me ground the novel. My novels are 'realistic novels,' but they can also be fantastical, so it's nice to have a setting that grounds them a little bit.
One thing I tend to do is ask actors tons and tons of questions to try to get at what they're thinking but also to expose to them whatever box they've placed their characters in - to blow up that box so the journey can begin.
The only way you can write the truth is to assume that what you set down will never be read. Not by any other person, and not even by yourself at some later date. Otherwise you begin excusing yourself. You must see the writing as emerging like a long scroll of ink from the index finger of your right hand; you must see your left hand erasing it.
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