Obama does not represent America. Nor does he represent anything what our forefathers stood for. This country is basically built on an attitude. It's a way of life. It's not because you're born here. It's not that you're supposed to take from those who have and give to those who haven't. That kills a country. It killed Russia.

Success or failure in business is caused more by the mental attitude even than by mental capacities.

I am Classic Rock Revisited. I revisit it every waking moment of my life because it has the spirit and the attitude and the fire and the middle finger. I am Rosa Parks with a Gibson guitar.

I think a lot of times we don't pay enough attention to people with a positive attitude because we assume they are naive or stupid or unschooled.

We submit to the majority because we have to. But we are not compelled to call our attitude of subjection a posture of respect.

Any fact facing us is not as important as our attitude toward it for that determines our success or failure. The way you think about a fact may defeat you before you ever do anything about it. You are overcome by the fact because you think you are.

The attitude is very important. Because your behavior radiates how you feel.

A complainer is like a Death Eater because there's a suction of negative energy. You can catch a great attitude from great people.

A positive attitude causes a chain reaction of positive thoughts events and outcomes. It is a catalyst and it sparks extraordinary results.

I think no artist can claim to have any access to the truth or an authentic version of an event. But obviously they have slightly better means at their disposal because they have their art to energize whatever it is they're trying to write about. They have music.

The art of storytelling is reaching its end because the epic side of truth wisdom is dying out.

But theater because of its nature both text images multimedia effects has a wider base of communication with an audience. That's why I call it the most social of the various art forms.

One of the main reasons I am so drawn to Hitchcock is that he planned his shots way in advance on story-boards which he designed like classic paintings (he was an art connoisseur). It's why he found shooting on set boring - because he had already composed the film in his head.

Because most of my career in the classroom has been at art schools (beginning at Bennington in the 1970s) I am hyper-aware of the often grotesque disconnect between commentary on the arts and the actual practice or production of the arts.

People of art should never get married and have children because it's a selfish experience.

Because most people are not sufficiently employed in themselves they run about loose hungering for employment and satisfy themselves in various supererogatory occupations. The easiest of these occupations which have all to do with making things already made is the making of people: it is called the art of friendship.

The art world can be very intimidating because it's just so vast. You talk to people who are really clued in to all the young artists and coming into it you're never going to be able to catch up immediately even though there's pressure to.

History has remembered the kings and warriors because they destroyed art has remembered the people because they created.

Man is unique not because he does science and his is unique not because he does art but because science and art equally are expressions of his marvelous plasticity of mind.

Jeffrey Deitch is the Jeff Koons of art dealers. Not because he's the biggest best or the richest of his kind. But because in some ways he's the weirdest (which is saying a lot when you're talking about the wonderful wicked lovable and annoying creatures known as art dealers).

The reason the art world doesn't respond to Kinkade is because none - not one - of his ideas about subject-matter surface color composition touch scale form or skill is remotely original. They're all cliche and already told.

Many art-worlders have an if-you-say-so approach to art: Everyone is so scared of missing out on the next hot artist that it's never clear whether people are liking work because they like it or because other people do. Everyone is keeping up with the Joneses and there are more Joneses than ever.

The New York art world readily proves people wrong. Just when folks say that things stink and flibbertigibbet critics wish the worst on us all because we're not pure enough good omens appear.

It took the Metropolitan Museum of Art nearly 50 years to wake up to Pablo Picasso. It didn't own one of his paintings until 1946 when Gertrude Stein bequeathed that indomitable quasi-Cubistic picture of herself - a portrait of the writer as a sumo Buddha - to the Met principally because she disliked the Museum of Modern Art.