Why must art be static? You look at an abstraction, sculptured or painted, an entirely exciting arrangement of planes, spheres, nuclei, entirely without meaning. It would be perfect, but it is always still. The next step in sculpture is motion.
The body becomes the carrier for the work. It's not really about the physical body; it really becomes the apparatus that carries and moves the work. I don't really consider the body as much; I look at it as a tool.
The sense of motion in painting and sculpture has long been considered as one of the primary elements of the composition.
I'm very interested in dance, and I'm very interested in how people express themselves through movement. And of course, cinema is a kinetic art form. It's almost the point of cinema - it's time-based and movement-based.
Whenever we do wire work, we do look like babies just being, like, dangled.
Find the most puzzling kind of art you can think of, and then go out and try to approximate it with your camera. Take a photograph that corresponds to it. (Assignment to students.)
Man has used human rhythmic movement as raw material out of which to create works of art, as the composer of music uses sound, the sculptor uses stone and wood, the painter his pigments, and the writer - words.
Clothes are unique sculptures, dependent on a supporting human form and created to move.
Immaterial art is the strongest because there's no obstacle; there's just energy, and I believe in energy.
The pictorial work was born of movement, is itself recorded movement, and is assimilated through movement (eye muscles).
A mobile is an abstract sculpture made chiefly out of sheet metal, steel rods, wire and wood. Some or all of these elements move, propelled by electric motors, wind, water or by hand.
When you come into my pieces, it's not an intellectual experience, it's a physical experience. It's coming at your body. There's light, there's sound, the lights in some pieces are going on and off. There's loud roaring sound happening.
First of all I think of puppets as sculpture. They are sculpture that moves. You could label it any way you want, but for me it always starts in my mind as a sculpture.
The painting is always conceived as the linear record of a rhythmic gesture: it is a graph of a dance executed by the hand. Not only the artist's eye and hand perform this dance, so does the eye of the beholder.
In the works of Duchamp, space begins to walk and take on form; it becomes a machine that spins arguments and philosophizes; it resists movement with delay and delay with irony.
The New York action painters want their pictures to jump off the walls and chase you down the street.
Dance is the only art of which we ourselves are the stuff of which it is made.
Sculpture occupies the same space as your body.
A garden is a kinetic work of art, not an object but a process, open-ended, biodegradable, nurturant, like all women's artistry. A garden is the best alternative therapy.
It wasn't stone. It wasn't welded steel. It wasn't traditional sculpture. They thought it was craft, or something else, but not art. They couldn't define it in the early Fifties when I was starting out.
As a young artist working in multiple mediums, the work and especially the writings of artist Laszlo Moholy-Nagy were very important to me.
At my first exhibits, people were saying that's just a light on the wall.
Dance is just like film in that it allows for thoughts in movement.
Energy and motion made visible – memories arrested in spaceTechnic is the result of a need new needs demand new technics total control denial of the accident States of order organic intensity energy and motion made visible memories arrested in space, human needs and motives acceptance.
I'm a great poet. I don't put my poems on paper: they consist of actions and feelings.
