Craft, I would argue, is not an essential part of art, though skill is. That skill may indeed find its expression in draughtsmanship or carving, realised through the hand of the artist, but it may also be directed towards the selection of material or the choice of an expert fabricator.
Nicholas Serota
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Our whole tradition has trained us to think always of God as being outside the world and shaping its dead material in some form. But upon making a general survey of creation myths, we see that this type of God mirrors a rare and specific situation; it mirrors a state where consciousness has already markedly withdrawn, as an independent entity, out of the unconscious and therefore can turn toward the rest of the material as if it were its dead object. It also already shows a definite separation between subject and object; God is the subject of the creation and the world, and its material is the dead objects with which he deals. Naturally we must correct this viewpoint by putting it into its right context, namely, that the craftsman in primitive societies never imagined himself to be doing the work himself. Nowadays if you watch a carpenter or a smith, he is in a position to feel himself as a human being with independent consciousness, who has acquired from his teacher a traditional skill with which he handles dead material. He feels that his skill is a man-made possession, which he owns. If we look at the folklore and mythology of the different crafts in more primitive societies, we see that they have a much more adequate view of it. They all still have tales which show that; man never invented any craft or skill, but that it was revealed to him, that it is the Gods who produced the knowledge which man now uses if he does anything practical.
Marie-Louise Von Franz
It is clear that the building of models is not a purely mechanical process but requires skill of a high order – not merely mathematical skill but a sensitivity to the relative importance of different factors and a critical, almost an artistic, faculty in the selection of behaviour equations which are reasonable, tentative hypotheses in explaining the behaviour of actual economies.
Kenneth Boulding
An artist produces an effect in virtue of the distinctness with which he sees the objects he represents, seeing them not vaguely as in vanishing apparitions, but steadily, and in their most characteristic relations. To this Vision he adds artistic skill with which to make us see. He may have clear conceptions, yet fail to make them clear to us: in this case he has imagination, but is not an artist. Without clear Vision no skill can avail. Imperfect Vision necessitates imperfect representation; words take the place of ideas.
George Henry Lewes
ABOYNE (vb.) To beat an expert at a game of skill by playing so appallingly bad that none of his clever tactics or strategies are of any use to him.
Douglas Adams
What is chiefly needed is skill rather than machinery. The flight of the buzzard and similar sailors is a convincing demonstration of the value of skill and the partial needlessness of motors.
It is possible to fly without motors, but not without knowledge and skill. This I conceive to be fortunate, for man, by reason of his greater intellect, can more reasonably hope to equal birds in knowledge than to equal nature in the perfection of her machinery...Wilbur Wright
Serota, Nicholas
Serra, Richard
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