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Las Vegas Quotes

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Las Vegas Quotes

“When I first started showing the “Indra’s Jewels” work, I had people coming out of the woodwork saying “Who is this guy? What is he doing? Who does he think he is doing this stuff?” and the more they’d find out they’d go “Oh, he was a painter? He taught for more than decade on the university level? He knows what he’s talking about? Oh, well let’s look at it a little closer.”

“The main criticism was really “he just presses a filter and gets these images.” But then they’d realize that I had learned how to paint and how to draw—that I had paid my dues, and I’d also been a graphic artist and a technical illustrator. And so I was able to show that I could draw with technical pens—and do anything that anyone else could do—and yet still was fascinated by this, and that sort of opened people up a little bit more. The more they knew about me, the more open they were to my explorations in the digital field.”

“Sometimes knowing what to shoot is a big relief. Other times, being extemporaneous is the way to go. I love to go out and see what the universe is presenting to me on any given day. Learning to be sensitive to what is out there with no preconceived idea is a wonderful way to discover new subject matter. But only looking for the shot that presents itself in the moment seldom creates new technical skills. In order to master the camera, I give myself special assignments. Giving yourself an assignment helps you to learn about photography and your equipment. By knowing what you want to achieve, you can plan things out. This way you can slow things down. Shoot and confirm. Take notes. Concentrate on getting the shot just right! You will learn to master Aperture Priority, shutter speed, ISO, manual settings, and more. Digital Camera, 2018”

“The Mojave Desert is a harsh, but very spiritual, place. It’s as much a matrix as anything else in my life has been. Growing up in the desert has a different gestalt than growing up in a temperate zone, with its humidity and rainfall. As children growing up in the Mojave, we chased lizards and snakes, instead of frogs and squirrels. There is an arid openness about it, and a true feeling of being alone, that you don’t get in any other type of environment.”

“After graduation, I dealt blackjack in Las Vegas to make ends meet. When I wasn’t working, to straighten out my head, I would go out into the desert – up to Red Rock and Pine Creek. I would hike those creek beds and find a comfortable red-sandstone boulder, where I could sit and draw. In those days before cell phones, I could spend hours undisturbed, drawing or painting”

“The temptation is always to think of Las Vegas as a gambling mecca, the ‘Entertainment Capital of the World’. Well, it’s that. But, it’s a lot more than that as well. There are beautiful natural rock formations, rare plants and animals, and even pseudo-alpine regions. Just because you can see for a hundred miles doesn’t mean that there’s nothing there to see, and open desert allows you to see things in a different way. There is nothing to block your view, and nothing to hide behind.”

“I developed a thirst for great art, but it wasn’t until I was 20 that I finally visited my first museum, the Prado in Madrid. There, in 1968, my interest was caught by the paintings of Luis de Morales, a 16th-century artist from the harsh Extremadura region of Spain. Morales was a Mannerist, like El Greco or Parmigianino, who painted very graceful figures with long necks and limbs. He did a magnificently smooth sfumato modelling. But the effect that impressed me the most was a fine line that he applied around all of his figures. He didn’t need those illustrative lines, but they really made his figures ‘pop’ off the background.”

“Living in the desert makes a lot of things very clear. It really gives you an unobstructed view. The severity of the landscape opens people up to their inner selves. St. Anthony went into the wilderness and was tormented by demons. Jesus was tempted by the devil in the desert. In an unexpected way, the Mojave is a very spiritual place.”

“The gestalt of living in the desert, surrounded by the desert, was a big influence in my life and in the lives of other artists in this community. There are many artists and musicians who grew up as lonely kids in the desert with nothing to do, and who chose to channel their focus inward. In the Mojave Desert, numinous, mystical experiences are not as rare as one might think. The numinous is a part of the whole artistic experience for the desert artist.”

“At first, I thought I would use photography and the collage and montage possibilities of Photoshop strictly for visualization in preparation for my paintings. But after I experimented with Photoshop and digital photography, I soon discovered new possibilities and found exciting new ways of presenting ideas. I soon found that I was more interested in pure image-making than I was in actually painting the images. Digital Camera, 2017”

“Technology also made some of the established principles of image-making meaningless, such as the idea that symmetrical images are more static and perhaps less interesting than asymmetrical images. Symmetry is easier to achieve with mechanical means, so I used my collection of digital tools to break the rules, explore perfect symmetry and create repeatable patterns. Digital Camera, 2017”

“When I take a picture of a derelict sign, I already begin to see and find the patterns and shapes that will form the final piece. Once I get the image in the studio, I begin to layer the patterns created, making sure to save the patterns I particularly like. I never lose a layer of work during this process; I simply continue to build and modify those patterns that appeal to me. Digital Camera, 2017”

“So much of the theatrical can leave you with a yearning for the real. The real is suddenly and starkly there right at the city’s edge and extends for thousands of square miles of desert and mountain and canyon with which human beings can do almost nothing profitable other than to leave it be and just look at it.”

“I have this theory, that this will be the only city that future archaeologists find, Las Vegas. The dry climate will preserve it all and teams of scientists in the year 5000 will carefully sweep and scrape away the sand to find pyramids and castles and replicas of the Eiffel Tower and the New York skyline and stripper poles and snapper cards and these future archaeologists will re-create our entire culture based solely on this one shallow and cynical little shithole. We can complain all we want that this city doesn’t represent us. We can say, Yes, but I hated Las Vegas. Or I only went there once. Well, I’m sure not all Romans reveled in the torture-fests at the Colosseum either, but there it is.”

“You can lead if you want." He whipped them around so he moved backward, pulling her with him across the floor. "You're still leading," she said. "Perception is a tricky thing." He kissed the side of her neck, and shivers followed. "I know on way to lead." She dropped her hand from his shoulder to the band of his shorts, and slipped her hand in his waistband. He sucked in a breath, and her hand snaked downward. She stroked the length of him, feeling him grow hard and rigid. "Mei." He pulled her closer...”

“The town will never be the same. After the Tangiers, the big corporations took it all over. Today it looks like Disneyland. And while the kids play cardboard pirates, mommy and daddy dropped the house payments and Junior's college money on the poker slots. In the old days, dealers knew your name, what you drank, what you played - today it's like checking into an airport. And if you order room service, you're lucky if you get it by Thursday. Today it's all gone.”

“Las Vegas se moque de tout. Chaque réalité, elle la tourne en dérision. Sans se soucier de l’histoire, elle broie tout évènement humain dans un chyme électrochimique et parodique qui le naisse absolument rien intact. Ce faisant, elle révèle la scène primitive de la société : l’impossibilité de croire en la vérité de l’autre. Elle fait d’autrui un parfait inconnu, puisque tout ce qui signale sa présence, la culture et la civilisation, est ici proprement ridiculisé. p12”

“BARRY GIFFORD, Author of "Wild at Heart", on DANGEROUS ODDS by Marisa Lankester: "Marisa Lankester's unique chronicle of high crimes and low company is as wild a ride as any reader is likely to be taken on. She was the lone woman in the eye of a predatory hurricane that blew across continents and devastated countless lives. That she survived is testament to her brains and bravery. The old-timers who invented violence as a second language contended that nothing is deadlier than the female, to cross her was to buck dangerous odds, and this book tells you why." Film "Wild at Heart" won Palme D’Or at the Cannes Film Festival, Film by David Lynch”