Quotes on Viewers

As a viewer, the minute I start getting confused, I check out of the movie. Emotionally, I'm severed.

A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may never reach the viewer, or it may never leave the artist's mind.

Once it is out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way.

Television is a non graded curriculum and excludes no viewer for any reason, at any time. In other words, in doing away wtih the idea of sequenece and continuity in education, television undermines the idea that sequence and continuity have anything to do with thought itself.

What the newer landscape artists see in a circle of a hundred degrees in Nature they press together unmercifully into an angle of vision of only forty-five degrees. And furthermore, what is in Nature separated by large spaces, is compressed into a cramped space and overfills and oversatiates the eye, creating an unfavorable and disquieting effect on the viewer.

Through a portrait, we can potentially see everything — the history and depth of a person's life, as well as evidence of a primal universal presence. I have dedicated my life and creative energy to capturing these transcendent moments in which a connection is made between the subject, the photographer, and the viewer.

Laughter on American television has taken the place of the chorus in Greek tragedy. In other countries, the business of laughing is left to the viewers. Here, their laughter is put on the screen, integrated into the show. It is the screen that is laughing and having a good time. You are simply left alone with your consternation.

News networks giving a greater voice to viewers because the social web is so popular are like a chef on the Titanic who, seeing the looming iceberg and fleeing customers, figures ice is the future and starts making snow cones.

Bad Gardens copy, good gardens create, great gardens transcend. What all great gardens have in common are their ability to pull the sensitive viewer out of him or herself and into the garden, so completely that the separate self-sense disappears entirely, and at least for a brief moment one is ushered into a nondual and timeless awareness. A great garden, in other words, is mystical no matter what its actual content.

One who returns to a place sees it with new eyes. Although the place may not have changed, the viewer inevitably has. For the first time things invisible before become suddenly visible.

You have only 30 seconds in a TV commercial. If you grab attention in the first frame with a visual surprise, you stand a better chance of holding the viewer. People screen out a lot of commercials because they open with something dull. When you advertise fire-extinguishers, open with the fire.

Network television has been attempting to lure viewers for years with its low-interest programming only to have those viewers discover later that their brains are bankrupt.

In every man there is a hidden child which is called the urge to create and he prefers as play things and serious things not the miniature ships, recreated in the minutest detail, but the walnutshell with a bird feather as mast and sail and a pebble as the captain. He also wants to be able to participate and to co-create in art, rather than being simply an admiring viewer. For this "child in man" is the immortal creator within him.

Strange, how such a small realization can affect everyone's life forever. In movies there is always a carefully staged moment - a big crescendo of music, close- ups of the actors' faces, the camera slowly pulling away to let all this sink in for the viewer...but, in real life, most all of the extraordinary things happen with no more loudness than a whisper.

An exhibition is in many ways a series of conversations. Between the artist and viewer, curator and viewer, and between the works of art themselves. It clicks when an exhibition feels like it has answered some questions, and raised even more.

I've come to recognize what I call my 'inside interests.' Telling stories. And helping people tell their stories is a sort of interpersonal gardening. My work at NBC News was to report the news, but in hindsight, I often tried to look for some insight to share that might spark a moment of recognition in a viewer.

In the fifth season [of Star Trek: The Next Generation] viewers will see more of shipboard life [including] gay crew members in day-to-day circumstances.

I didn’t want a completely passive viewer. Art means too much to me. To be able to articulate something visually is really an important thing. I wanted to make work where the viewer wouldn’t walk away; he would giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful

For every reader who dies today, a viewer is born, and we seem to be witnessing . . . the final tipping balance.

The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.

In the voyeurism of Reality TV, the viewer's passivity is kept intact, pampered and massaged and force-fed Chicken McNuggets of carefully edited snippets that permit him or her to sit in easy judgment and feel superior at watching familiar strangers make fools of themselves. Reality TV looks in only one direction: down.