If I actually believed that the progress of human understanding depended on our crop of contemporary novelists, I would shoot myself.
One of the most highly developed skills in contemporary Western civilization is dissection: the split -up of problems into their smallest possible components. We are good at it. So good, we often forget to put the pieces back together again.
There is a pervasive form of contemporary violence to which the idealist fighting for peace by nonviolent methods most easily succumbs; activism and overwork.
If I thought that any poem of mine could have been written by anyone else, either a contemporary or a forerunner, I should suppress it with a blush; and I should do the same if I ever found I were imitating myself. Every poem should be new, unexpected, inimitable, and incapable of being parodied.
There has been a vast output of critical studies in contemporary poetry, some of them first rate, but I do not think that , as a rule, a poet should read them.
For inspiration you go to the archives, you go to things of the past, but you still need to be contemporary for today. You can never forget the time you're living in because the past is the past and it will never come back.
A lot of my work reflects the incredible influence that America has had on contemporary African culture. Some of it's insidious, some of it's innocuous, some of it's invisible. It's there.
Nothing contemporary is as extreme or as strongly stated as what the Sex Pistols were able to do in their time.
I wanted to revolutionise habits and contemporary life - to liberate nature, to free it from the authority of old theories and classicism... I felt a tremendous urge to re-create a new world seen through my own eyes, a world which was entirely mine.
I have a passion for modern and contemporary art. I spend a lot of time in museums; I particularly like the Guggenheim, MoMA in New York or LACMA and the Getty Museum in Los Angeles, for example. I cannot wait for the Louis Vuitton Foundation to open.
My real desire is to see people live in the modus of our time, to participate in the contemporary world, to release themselves from nostalgia, antiquated traditions, old rituals, meaningless kitsch and meaningless paradigms.
Sometimes I think that I stay young and in touch with contemporary culture because of my children's interests. I'm so lucky to be surrounded by their talent and vibrancy.
We're living in a time when the sheer amount of language has exponentially increased. As writers, if we wish to be contemporary, I think we need to acknowledge that the very nature of the materials that we're working with - the landscape of language - is very different than it was a few decades ago.
I think the anti-intellectualism of a lot of contemporary fiction is a kind of despairing of literature's ability to be anything more than perfectly bound blog posts or transcribed sitcoms.
Anyway I read more contemporary poetry than contemporary fiction so my mind goes first to a kind of crass "conceptualism" that repeats vanguard gestures of the past minus the politics and historical context.
FKA Twigs is stunning. She has beautiful contemporary and unique sound with an almost psychedelic vibe. Her music is great for the runway.
Clifford paints true-to-life characters with the same gritty touch as the best of Dennis Lehane. Straightforward and edgy, Lamentation gnaws with nail-biting tension on every page. A must-read for contemporary hardboiled mystery fans who appreciate the type of terse dialogue and real life conflicts and settings Elmore Leonard so richly brought to life.
My art gives contemporary art a juvenile-delinquent phase. Its self-made style gleefully trashes conventions of beauty and society while pick-pocketing from the coolest underground styles and beliefs of the previous centuries.
Much more than a 20th-century village storyteller, Cees Nooteboom stands as an impressive and inimitable voice among contemporary writers.
I found that a lot of people ridiculed contemporary art. I decided I wanted to be involved in art everybody could understand.
Jews with unconventional identities should not have to wrestle alone at the intersection where their tradition seems to clash with their integrity as loving human beings. Like Moses responding to the travail of his brothers (Ex. 2:11), a caring halachic Jewish community should respond seriously to the heartfelt appeal of our contemporary sisters.
Most people don't like to be confronted with an actual fact-of-life because it's difficult to metabolize. A painting of a bowl of fruit is much easier. It's for the same reason why we don't like going to the doctor. The diagnosis and x-rays are too honest. This is what creates the perception that contemporary art is shocking or suspicious.
The genuinely significant creation, whether an idea, or a work of art, or a scientific discovery, is most likely to be seen at first as erroneous, bad, or foolish. Later it may be seen as obvious, something self-evident to all. Only still later does it receive its final evaluation as a creative contribution. It seems clear no contemporary mortal can satisfactorily evaluate a creative product at the time it is formed, and this statement is increasingly true the greater the novelty of the creation.
I always wanted to be a journeyman actor. I wanted to be able to do comedy and drama, classical and contemporary. I like to do film and theater. And I pride myself on that diversity of being a journeyman actor.
I think we still do have a PR problem in the sense that these institutions portray themselves quite often as a museum without the contemporary wing. For a young cutting-edge person, why would you get into that sort of business, which is very clearly geared towards dead or almost dead people?
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