“Well, method is, it seems to me, a natural growth out of a need, and from a need the modern artist has found new ways of expressing the world about him. I happen to find ways that are different from the usual techniques, which seems a little strange at the moment, but I don't think there's anything very different about it. I paint on the floor and this isn't unusual – the Orientals did that.”

— Jackson Pollock

Source: 1950's, Interview by William Wright, Summer 1950, pp. 142-143

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Jackson Pollock 33

American artist 1912–1956

John Burdett (1951) British crime novelist

The Odd Case of Dr Jenak, Ch. 24.

“The period during the First World War was a very exciting time in Paris, with artists, philosophers, and poets continually discussing and arguing about the work with which they were involved. Although I myself am little concerned with abstract theory, I certainly do think of cubism as a form of emancipation essentially different from artistic movements that had preceded it. Thus, impressionism, while it was a revolutionary technique, was still an essentially naturalistic movement concerned with a precise examination of the nature of light and the effect of changing lights on representational scenes and objects. Cubism did add a new dimension to painting and sculpture, a dimension that changed our way of looking at nature and the work of art.”

Jacques Lipchitz (1891–1973) American and French sculptor

Source: Jacques Lipchitz: My life in sculpture, 1972, p. 40

“I like the aliveness of it [theater] – that awful feeling of being on the spot. I must assume the responsibility for that moment, for those actions that happen at that particular time. I don't find theater that different from painting, and it's not that I think of painting as theater or vice versa. I tend to think of working as a kind of involvement with materials, as well as rather focused interest which changes.”

Robert Rauschenberg (1925–2008) American artist

1960's, I never thought of it as much of an ability,' (1968)

“TS (Tourette's Syndrome) has really taught me a lesson about judging people who are different. Now when I see somebody do or say something I don't understand, I try to look beyound appearances and ask myself what makes that person tick — no pun intended. Think about it: When you keep an open mind about things that seem unusual or strange, all sorts of new understanding come to you. The world gets bigger, and so do you.”

Neve Campbell (1973) Canadian actress

Celebrity Diary, Teen People Magazine, April 2000

“Calcutta, for me, was a particular idea of the modern city, and I found it in many forms, works, and genres. … by ‘modernity’ I have in mind something that was never new. True modernity was born with the aura of inherited decay and life. … if you look at paintings and photographs, and see old films of the city, you notice that these walls and buildings were never new – that Calcutta was born to look more or less as I saw it as a child. I’m not referring here to an air of timelessness; the patina that gave to Calcutta’s alleys, doorways, and houses their continuity and disposition is very different from the eternity that defines mausoleums and monuments. It’s this quality I’m trying to get at when I speak of modernity. … modernity in the nineteenth century is indistinguishable from nature; perhaps it is nature – in some ways, the culvert, which has emerged from the rock, seems more of its place than the mountain itself.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

citation needed
On Modernity

“He was extraordinary, a genius; there’s no doubt about it. But his teaching was not for everyone. Different students need different teachers and different teachers find different students. It’s very strange and fascinating.”

B.K.S. Iyengar (1918–2014) Indian yoga teacher and scholar

Silvia Prescott, in: "My teacher, Mr Iyengar: a former pupil remembers the yoga master"

“Have you noticed anything strange about him?
Strange? We humans insist on inhabiting a charnel ground - isn't that strange enough for spiritual creatures without splitting hairs?
He seems to be two different men. His personality switches from moment to moment.
Only two? Perhaps there is something wrong with your eyes. Look more closely and you will see he changes with every exhalation. So do I. So do you.”

John Burdett book Bangkok Haunts

Bangkok Haunts, Ch. 22.

“If a studio offered to pay me as much to sweep the floor as it did to act, I'd sweep the floor. There isn't anything that pays you as well as acting while you decide what the hell you're going to do with yourself. Who cares about the applause? Do I need applause to feel good about myself?”

Marlon Brando (1924–2004) American screen and stage actor

New York Times (July 2, 2004)

“I've experienced this in these crises to such a point that all the people I see then seem to me, even if I recognize them – which isn't always the case – to come from very far away and to be entirely different from what they are in reality..”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

In a letter to his sister Willemien, c. 21 October 1889, from Saint-Rémy-de-Provence, http://vangoghletters.org/vg/letters/let812/letter.html
Vincent refers in this quote to his late painting 'Ward in the hospital'
1880s, 1889
Context: Now I'm working on [a painting of the hospital ward https://upload.wikimedia.org/wikipedia/commons/5/5d/Ward_in_the_Hospital_in_Arles.jpg. In the foreground a big black stove around which a few grey or black shapes of patients, then behind the very long ward, tiled with red with the two rows of white beds, the walls white, but a lilac or green white, and the windows with pink curtains, with green curtains, and in the background two figures of nuns in black and white. The ceiling is violet with large beams. I had read an article on Dostoevsky, who had written a book, 'Souvenirs de la maison des morts' and that spurred me on to begin work again on a large study that I'd begun in the fever ward in Arles. But it's annoying to paint figures without models. I've read another of Carmen Sylva's ideas, which is very true: when you suffer a lot – you see everybody at a great distance, and as if at the far end of an immense arena – the very voices seem to come from a long way off. I've experienced this in these crises to such a point that all the people I see then seem to me, even if I recognize them – which isn't always the case – to come from very far away and to be entirely different from what they are in reality..

“Nature moves me deeply; I paint nature (now) only in a different way..”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of P. Mondrian, 1919-20; as cited in Gedurende een wandeling van buiten naar de stad. Dialoog en Trialoog over de Nieuwe Beelding, ed. H. Henkels; Haags Gemeentemuseum Den Haag 1986, p. 24
1910's

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