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For when we are interested in the beauty of a thing, the oftener we can see it the better; but when we are interested only by the story of a thing, we get tired of hearing the same tale told over and over again, and stopping always at the same point — we want a new story presently, a newer and better one — and the picture of the day, and novel of the day, become as ephemeral as the coiffure or the bonnet of the day. Now this spirit is wholly adverse to the existence of any lovely art. If you mean to throw it aside to-morrow, you can never have it to-day.
--
On the Condition of Modern Art, lecture (1867).

 

John Ruskin

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When you're interested in somebody, and you think they might be interested in you, you should point out all your beauty problems and defects right away, rather than take a chance they won't notice them...On the other hand, say you have a purely temporary beauty problem—a new pimple, lackluster hair, no-sleep eyes, five extra pounds around the middle. Still, whatever it is, you should point it out...If you don't point out these things they might think that your temporary beauty problem is a permanent beauty problem...If they really do like you for yourself, they'll be willing to use their imagination to think of what you must look like without your temporary beauty problem.

 

Andy Warhol

 

There is a plot. What would be the point of just a bunch of things? There's a story, but the story can hold abstractions. I believe in story. I believe in characters. But I believe in a story that holds abstractions, and a story that can be told based on ideas that come in an unconventional way."

 

David Lynch

 

One thing life has taught me: if you are interested, you never have to look for new interests. They come to you. ... All you need to do is to be curious, receptive, eager for experience. And there's one strange thing: when you are genuinely interested in one thing, it will always lead to something else.

 

Eleanor Roosevelt

 

Thereafter, the scenes had succeeded one another, turn and turn about, in the drama as in reality, to the point that, in the end, Kingbitter did not know what to admire more: the author's-his dead friend's-crystal-clear foresight or his own, so to say, remorseful determination to identify with his prescribed role and stick to the story.
Nowadays, though, with the lapse of nine years, Kingbitter was interested in something else. His story had reached an end, but he himself was still here, posing a problem for which he more and more put off finding a solution. He would either have to carry on his story, which had proved impossible, or else start a new story, which had proved equally impossible. Kingbitter undoubtedly could see solutions to hand, both better ones and worse; indeed, if he reflected more deeply, solutions were all he could see, rather than lives.

 

Imre Kertesz‎

 

I was looking for some sort of systematic way of getting down these subjective images and I had always admired, particularly admired the early Italian painters who proceeded the Renaissance and I very much liked some of the altarpieces in which there would be, for example the story of Christ told in a series of boxes... And it seemed to me this was a very rational method of conveying something. So I decided to try it. But I was not interested in telling, in giving something its chronological sequence. What I wanted to do was give something, to present what material I was interested in simultaneously so that you would get an instantaneous impact from it. So, I made boxes..

 

Adolph Gottlieb