“The white room is an interior to be made devoid of any specific sensualism emanated by objects. Ultimately it is classic white canvas expanded into three-dimensional space.”

—  Günter Brus

Source: Nervous Stillness on the Horizon (2006), P. 144 (1985)

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Günter Brus photo
Günter Brus 31
Austrian artist 1938

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“Using the scanty means at my disposal I attempted to paint the room together with several objects that I had gathered together, white on white. The white room is an interior to be made devoid of any specific sensualism emanated by objects. Ultimately it is a classic white canvas expanded into three-dimensional space. It was in these surroundings that I rolled across the room, my body wrapped up in pieces of white cloth like a pile of parcels. The pieces of cloth unwound themselves from my tense body, which for a long time remained in a catatonic position, with the soles of both my feet stuck as it were to the wall. […] I had planned to do some bodypainting for the second part of the performance. […] At first I poured black paint over the white objects, I painted Anni with the aim of making a “living painting”. But gradually a certain uncertainty crept in. This was caused by jealous fight between two photographers, which ended by one of them leaving the room in a rage. […] My unease increased, as I became aware of the defects in my “score”-and should this not have any, the mistakes in the way I was translating it into actions. Recognising this, I succumbed to a fit of painting which was like an instinct breaking through. I jammed myself into a step-ladder that had fallen over and on which I had previously done the most dreadful gymnastic exercises, and daubed the walls in frantic despair-until I was exhausted. The very last hour of “informel.””

Günter Brus (1938) Austrian artist

Mühl angrily ridiculed my relapse into a “technique” that had to be overcome.
Source: Nervous Stillness on the Horizon (2006), P. 120 (1985)

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Diederik Aerts (1953) Belgian theoretical physicist

Aerts, D. (1996). " Relativity theory: what is reality? http://www.vub.ac.be/CLEA/aerts/publications/1996RelReal.pdf". Foundations of Physics, 26, pp. 1627-1644

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“I started to introduce letters into my pictures [his first collage art]. These were forms which could not be deformed, because, being two-dimensional, they existed outside three-dimensional space; their inclusion in a picture allowed a distinction to be made between objects which were situated in space and those which belonged outside space”

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“One thing is sure – we have to transform the three-dimensional world of objects into the two-dimensional world of the canvas... To transform three into two dimensions is for me an experience full of magic in which I glimpse for a moment that fourth dimension which my whole being is seeking.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Source: 1930s, On my Painting (1938), p. 16

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R. N. Shepard, (1994). "Perceptual-cognitive universals as reflections of the world." Psychonomic Bulletin and Review, 1, 2–28.

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“If you are representing a white body let it be surrounded by ample space, because as white has no colour of its own, it is tinged and altered in some degree by the colour of the objects surrounding it.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

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“I don't think of my work as calligraphic. Critics also describe Jackson and De Kooning as calligraphic painters but calligraphy has nothing to do with us. It's interesting that the Oriental critics never say this. The Oriental idea of space is an infinite space; it is not painted space, and ours is. In the first place, calligraphy is writing and I am not writing. People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black, and the white is just as important.”

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“This is a Government of white men, made by white men for white men, to be administered, protected, defended, and maintained by white men.”

Chilton A. White (1826–1900) American politician

Forrest G. Wood, Black Scare: The Racist Response to Emancipation and Reconstruction (1968), p. 43; citing CG, 37 Cong., 3 Sess. (Feb. 2-5, 1863), pp. 680-690, and Appendix (Feb. 2, 1863), p. 93; White, "Speech".

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“If upon a white canvas I jot down some sensations of blue, of green, of red – every new brush stroke diminishes the importance of the preceding ones. Suppose I set out to paint an interior... If I paint a green near the red, if I paint in a yellow floor, there must still be between this green, this yellow, and the white of the canvas a relation that will be satisfactory to me. But these several tones mutually weaken one another. It is necessary, therefore, that the various elements that I use be so balanced that they do not destroy one another..”

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Source: 1905 - 1910, Notes d'un Peintre' (Notes of a Painter) (1908), p. 411

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