The way I put together images is a reactive art.
With songs I almost see the images, see the action, and then all I have to do is describe it. It’s almost like watching a scene from a film, and that’s what I go about trying to catch in a song.
The campaigns and the models in them create the fantasy around the brand. It has always been about having strong images. Without that, we could not have gone into all the categories we did. It really has been the foundation from where the house of Guess was built.
For more than two decades, GLAAD has combatted anti-LGBT images in the media and changed the national conversation about LGBT people.
The sizes and shapes of the panels have never been important to my stories. It has always been the words and images that drew me in, kind of like watching a movie.
Traditionally, images have functioned as representations of something in the world, but we are quickly approaching the point where vast majority of images are produced for other machines, and no human being will ever see them.
I have always been fascinated by the way music can completely change the way you watch film – and how you feel as you watch the images.
For me, nudity and strong language have never been huge loadbearing elements of how I like to tell a story. Graphic images certainly are.
Film is important; it can be more than reportage or a novel – it creates images people have never seen before, never imagined they’d see, maybe because they needed someone else to imagine them.
We are all hungry and thirsty for concrete images. Abstract art will have been good for one thing: to restore its exact virginity to figurative art.
So when you make a disaster movie that is trying to say something about our world, you reach for images that haunt you.
The destruction caused by Hurricane Harvey is unlike anything my home state has ever experienced. As long as I live, I’ll never forget those images of elderly women waiting in waist-deep water to be rescued.
If we are to change our world view, images have to change. The artist now has a very important job to do. He’s not a little peripheral figure entertaining rich people, he’s really needed.
Happiness, as a word, has become sort of equated with these smiling images on television, selling some nice cream or food product or something. It’s seen a bit as being a stupid consumer.
Immortality is really desirable, I guess. In terms of images, anyway.
Living in Barcelona, I have my own little ghetto utopia. There are 3,000 ghost towns in Spain, and I’ve used the images of them a lot in my backdrops for my solo spoken-word stuff. The ghost towns could be from two buildings to 40 – things died out, or there were plagues, the roads don’t lead there, whatever.
Much of the way we understand the world is through images. That’s what I think good art does – it teaches you how to see the historical moment that you live in.
Some of the words and symbols and images from childhood will continually be part and parcel of my personality.
There are a lot of directors who are knowledgeable about images, and others who aren’t.
There’s something fascinating about record collector minds, hoards of quotes shared and dealt like cards, lines traded, images bought.
There has to be the right pacing of images to tell the story. I’m always stunned at how little you can put in.
I love acting. I’ve been doing it since I was 16, and it’s in my nature. It’s the thing I do best. But as much as I love acting, I love cinema more. I always had a thing about creating images.
I began to despise Lenin, even when I was in the first grade, not so much because of his political philosophy or practice… but because of his omnipresent images.
When I was coming up, we didn’t have the movement of Black Girl Magic or Black Girls Rock, but my parents made it their business to make sure I saw positive images of myself and celebrated images of black women.
On the stage, the characters express themselves more through words than images. So the arguments of the characters and the tension between characters – words have to be used to express that, and I love that about theater.
When our TV screens are filled with heartbreaking images of suffering, we have to dig deep inside ourselves in order to keep going.
The public, the whites – not just in Oklahoma, but across the United States – were transfixed by the Osage wealth which belied images of Native Americans that could be traced back to the first brutal contact with whites.
Power doesn’t just exist. It is threaded through different mechanisms of control. I’m interested in those complexities. But I want to address that in very forthright language and sometimes with images.
The deceptive, glossy media images of faces, bodies and social lifestyles, make us hate ourselves so we will buy a solution to love ourselves once again.
When I make music, it’s a very visual thing. Conjures up a lot of images.
When the Voyager 2 spacecraft sped through the Saturnian system more than a quarter of a century ago, it came within 90,000 kilometers of the moon Enceladus. Over the course of a few hours, its cameras returned a handful of images that confounded planetary scientists for years.
Equally important to having the right content is providing the proper tools for the users so they can quickly find the images and videos they need.
I can’t stand modern movies. The images are too weird and eccentric for me.
For anyone in the news business, just the name ‘Cronkite’ conjures up images of a bygone era when journalists covered, and could at times impact, the most important stories of the day, rather than the most ‘compelling’ or salacious.
Thatcherism, as an ideology, addresses the fears, the anxieties, the lost identities, of a people. It invites us to think about politics in images. It is addressed to our collective fantasies, to Britain as an imagined community, to the social imaginary.
The reasons why images are so primal and people immediately relate to it is that we are exquisitely engineered to interpret information that is arrayed in two dimensions. That’s our eyesight. That’s how our eye-brain system works. So it immediately feels to us when we look at an image like we have extended our senses.
I think that every minority in the United States of America knows everything about the dominant culture. From the time you can think, you are bombarded with images from TV, film, magazines, newspapers.
Boys, particularly, like stories where they can have images in their imagination, where they can go to scary places and experiment with what can happen.
Shortly after I turned 13, Child Welfare took me into care. I was sent to a residential centre where girls with behavioural problems were ‘evaluated’. My time there comes back to me now only in flashes of smells, images and sounds.
Great images take you on a journey via a single photograph. The depth and layers pull your eye all over the frame, causing you to pick up interesting pieces along the way, ultimately coming to a climax.
I don’t think in words; I think in pictures, in images.
We all have to deconstruct the looks in ourselves. It’s easier if you see different cultures and different imagery than just the pure straight male gaze and that you’re aware that images are political. Not everybody is.
Read a lot, live your life, and listen and watch, so that your mind fills up with millions of images.
I love the idea of making images of the parts of the body that we all have but that no one pays attention to, like the soft area underneath your nose.
If publications want to publish images and stories from a certain person, they should put that person on assignment, cover his or her expenses, make sure they have access to security briefings and experts, someone to administer first aid, etc.
Music television is all about the media-oriented version of what it is to be a rock star; it’s not about what Bob Dylan or Jimi Hendrix were about – which included great images, sure, but they had spiritual and political and revolutionary content, too.
The symbolic view of things is a consequence of long absorption in images. Is sign language the real language of Paradise?
In 2008, no images dominated Hollywood’s viewfinders like theirs did. They’re rich… they’re gorgeous… sometimes, they get a little emotional. Also, they’re each about three feet tall. They’re the children of the famous, on newsstands and Web sites – the breakout stars of 2008.
Everyone has images in their mind of what to expect from different groups.
Myth-making is absolutely necessary to create the simplified images that people live off.
A man’s work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened.
In a media culture, we not only judge strangers by how they look but by the images of how they look. So we want attractive pictures of our heroes and repulsive images of our enemies.
We’re not that far from being able to plant images, memories, and emotional states directly into the brain.
And I also see how this body influences external images: it gives back movement to them.
My ideal audience is on the young side, eager to mutate and move to a higher level of consciousness. I want my images to turn the viewer’s brain into what it is: a flying carpet.
