The real change that paintings undergo is in the perceptions of the viewer.
The best images are the ones that retain their strength and impact over the years, regardless of the number of times they are viewed.
Every meaning is a projection of the viewer's inarticulate moods.
The viewer brings all additional information to the image.
I think "Heroes of Cosplay" will show a lot of the positive things, like how much effort it takes to make a costume. These people on the show aren't taking shortcuts. As long as that effort gets through to the viewers, we will be inspirational. Then there will be people who watch the show that want to get in and hands-on make outfits.
I want art to affect the viewer and for the viewer to take it away to enhance, embrace, and elevate life. That's the spiritual aspect. Painting is a spiritual practice, but sometimes it is hard to give up control!
Postmodernism shifts the basis of the work of art from the object to the transaction between the spectator and the object and further deconstructs this by negating the presence of a representative objective viewer.
Not everything in life can or should be explained. Part of every painting should be incomplete...to be completed in the mind of the viewer.
The job of the artist is to make a gesture and really show people what their potential is. It's not about the object, and it's not about the image; it's about the viewer. That's where the art happens.
I always have two bracelets on my right arm. One is a purple and white bracelet from a fan. I love it! I also wear a bracelet from a waterpark- I've had it on for two or three years. My mom says it's pretty nasty, actually. But you'll never see me without them ever! In magazine photos, the bracelets are sometimes airbrushed out, but viewers will always see me wearing them during scenes.
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.
I think if the movie has resonance and stimulates the viewer to talk about it, you can have as large an audience as you want. The most important thing for me is that the movie exists. And that's success enough already.
A lot of filmmakers and actors say, "It's so important to bring an authenticity to the role," blah, blah, blah. But then it's interesting because you're also trying to be somebody else, and viewers are going to associate you with that, so I don't think it really has an answer.
A show like Knots or any other show that can be called a soap opera does terribly in syndication because if you're a viewer and you miss a week you don't know what's going on.
Widespread state control over art and culture has left no room for freedom of expression in the country. For more than 60 years, anyone with a dissenting opinion has been suppressed. Chinese art is merely a product: it avoids any meaningful engagement. There is no larger context. Its only purpose is to charm viewers with its ambiguity.
IN CINEMA IT IS NECESSARY NOT TO EXPLAIN, BUT TO ACT UPON THE VIEWER'S FEELINGS, AND THE EMOTION WHICH IS AWOKEN IS WHAT PROVOKES THOUGHT.
Every part of the photographic image carries some information that contributes to its total statement; the viewer's responsibility is to see, in the most literal way, everything that is there and respond to it.
The image of how power shows itself to the public is important... CNN was an inspiration to do the project in color because power confirms itself through television... I thought it would be interesting to copy the same language. large color pictures are framed in heavy wooden frames with golden plates and hung slightly higher than normal. So viewers get a sore neck watching these events, this is also the case when looking at paintings of saints in cathedrals.
The viewer who sees only a study in the picture of the glass jug illuminated from behind fails to appreciate the masterly composition, the noble purity of the lines, the rich plasticity of the form and consequently also the poetry and beauty of the picture, and still more important, its specifically photographic qualities.
Americans are tired of the games and the lies of today's media. They want the truth. Imagine this. No censors, no barricades, no statists. We will be able to engage viewers directly on subjects that matter most to them, from finances to civil liberties to foreign policy.
Art isn't only a painting. Art is anything that's creative, passionate, and personal. And great art resonates with the viewer, not only with the creator.
I've always loved theatre because it's so immediate. The challenge of it is that, career wise, it's easier to get traction in the industry if you do film and TV because the audience is larger, and because the work can be seen for a longer period of time. I did solid work in a series of regional and Off-Broadway shows, but the work I did on TV or film will have a longer life with a larger audience (and with services like Netflix). Ultimately, there's something intimate about TV, because the storytelling and the actors come home with the viewer. It can be powerful because of that.
You hear about bombings in other countries, or numbers like "10,000 people died" - you hear that number and you think, "Well, I saw that yesterday in a film, and that didn't look so bad." Younger viewers, in particular, lose perspective on reality.
If I hope to survive, I have to acknowledge the natural selection that goes on when film stocks and cameras are eliminated from the world. And film viewers won't want to watch the same thing over and over again from me.
Here I am, the artist, the person, the black woman, and the stereotype. I'm using myself and it has nothing to do with my muses or other women. It has to do with me. You see parts of my body moving, very collage like, flashing, and not speaking, just laying on a couch, looking out at the viewer.
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