Artistic Reception Quotes

Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.

The great artist is a formulation of the greatest intelligence: he is the recipient of sensations which are the most delicate and consequently the most invisible expressions of the brain.

I've taken a lot of crap. That's just the way life is. There are going to be writers who like you and writers who despise you.

After all, poets shouldn't be their own interpreters and shouldn't carefully dissect their poems into everyday prose; that would mean the end of being poets. Poets send their creations into the world, it is up to the reader, the aesthetician, and the critic to determine what they wanted to say with their creations.

You never know when what you do in the arts means something to people, and you never really know if you've been received well.

You don't fully understand the meaning of a work until the audience responds to it. Because the audience completes the circle, and adds a whole other shade of meaning. Whenever you view something, and this is why great works of art survive decades and centuries, is because there's a door within the work that allows the audience to walk through and complete the meaning of the work. An audience isn't passive, nor are they unintelligent.

I come from a generation where you put the art out and had the luxury to sit back and watch the world deconstruct it, and that was valued. Unfortunately now the work lives in a weird context.

I don't know what they're thinking about. Just because someone says, 'I like what you do' or something: They might like it today and tomorrow they might not. I've had that experience with record companies.

I don't want to appear hostile, like I'm hostile to L.A. or that I feel that the people don't appreciate jazz. I don't think it's that. I think it's something more. It's something a little bit more complicated than that.

I don't aim to make art in a vacuum - you want people to like it.

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.

When Michael Werner saw a painting of mine, such as Die grosse Nacht im Eimer, which back then nobody wanted and everybody thought was ridiculous, he realized that this was the right provocation, that it represented the feeling of the times in the right way.

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.

That's going to be the biggest problem, to make people feel like it's cool for them to like my music.

The important thing is that my music is getting a positive reaction and that people are connecting with it.

There is no piece of music that could relate to anything else but itself and its world. It is truly an independent. The one thing coplanar with music is the compositional aspect, the fact that you are composing something. Architecture is essentially a score, and what happens with it depends on the people who play it, enjoy it, use it, or hate it.

If your work doesn't speak to people, it's beyond comprehension and risible, but if people engage with it, you become tarred with the brush of populism.

The collaboration which sometimes follows is seldom based on good will: usually on desire, rage, fear, pity or longing. The modern illusion concerning painting (which post-modernism has done nothing to correct) is that the artist is the creator. Rather he is a reciever. What seems like creaton is the act of giving form to what he has recieved.

The notion that the public accepts or rejects anything in modern art is merely romantic fiction. The game is completed and the trophies distributed long before the public knows what has happened.

Every writer's got to pay some attention, I suppose, to what his critics say because theirs is a reflection of what the audience feels about his work.

Merz art strives for immediate expression by shortening the path from intuition to visual manifestation of the artwork... they will receive my new work als they always have when something new presents itself: with indignation and screams of scorn.

I definitely feel sorry more people don't get to see my films. They aren't inaccessible, and if people got the chance to see them, I know they'd like them.

There is a broad range of reaction to the work, as there is a broad range of work I make.

I wrote 'The Painted Word,' about modern art, and was denounced as reactionary. In fact, it is just a history, although a rather loaded one.

I find relatively little relationship between the work of art and the immediate critical response it gets.