Time is the most valuable thing you have - and I'm not just talking about the minutes for which you're paid.
Eli BroadRead
Unfortunately, the boards of art institutions tend to be populated with well-meaning supporters of the arts who often lack any business background or appetite for imposing appropriate discipline.
Interpretation
Art institutions often lack leaders with sufficient business acumen, which can hinder their effectiveness.
Eli Broad emphasizes the disconnect between art and business within art institutions. While well-meaning advocates support the arts, their lack of business knowledge and discipline might prevent these institutions from operating efficiently and achieving their full potential. This highlights the importance of having a balance of artistic passion and practical management in nurturing the arts.
In practice
In a discussion about improving art education, one might reference this quote to highlight the need for business-savvy leaders.
Time is the most valuable thing you have - and I'm not just talking about the minutes for which you're paid.
How absurd that our students tuck their cell phones, BlackBerrys, iPads, and iPods into their backpacks when they enter a classroom and pull out a tattered textbook.
Who you spend your life with-much more so than how you choose to spend it-is the most important decision you can make. Do it right. That's the best advice I can give you.
If you ask why I do what I do - I want to make a difference. I don't just want to maintain the status quo. I want to help people, to work with institutions or create ones when they don't exist.
Public education is the key civil rights issue of the 21st century. Our nation's knowledge-based economy demands that we provide young people from all backgrounds and circumstances with the education and skills necessary to become knowledge workers. If we don't, we run the risk of creating an even larger gap between the middle class and the poor. This gap threatens our democracy, our society and the economic future of America.
Los Angeles is such a great meritocracy. Where can someone with my background - don't have the right family background, the right religion, the right provenance or whatever you want to call it - I come here and I'm accepted. The city's been good to me. And I want to give back.
The artist who does not feel completely satisfied by elegant lines, by harmonious colors, and by a beautiful succession of chords does not understand the art of music.
Dress is at all times a frivolous distinction, and excessive solicitude about it often destroys its own aim.
Fantasy is like jam. . . . You have to spread it on a solid piece of bread. If not, it remains a shapeless thing . . . out of which you canβt make anything.
Then about 12 years ago it dawned on me that folk music - the music of Woody Guthrie and Phil Ochs, early Bob Dylan, Johnny Cash, Pete Seeger - could be as heavy as anything that comes through a Marshall stack. The combination of three chords and the right lyrical couplet can be as heavy as anything in the Metallica catalogue.
The only logical thing I can think of is that I knew there were such things as artists, and I knew there were none where I lived. So I knew that to be an artist you had to be somewhere else. And I very much wanted to be somewhere else.
Films have degenerated to their original operation as carnival amusement - they offer not drama but thrills.
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