
Rouben Mamoulian, quoted in Satchell, Tim. Astaire, The Biography. Hutchinson, London. 1987. ISBN 0091737362. p. 200.
The Age of Insight (2012)
Rouben Mamoulian, quoted in Satchell, Tim. Astaire, The Biography. Hutchinson, London. 1987. ISBN 0091737362. p. 200.
Vol II. p. 18as cited in: Hopf (1947).
1940s, The Making Of Scientific Management, 1945
Time and Individuality (1940)
As the character Harry Lime in the film The Third Man (1949).
Source: The Sacred Depths of Nature (1998), p. 174
Context: Humans need stories — grand compelling stories — that help to orient us in our lives in the cosmos. The Epic of Evolution is such a story, beautifully suited to anchor our search for planetary consensus, telling us of our nature, our place, our context. Moreover, responses to this story — what we are calling religious naturalism — can yield deep and abiding spiritual experiences. And then, after that, we need other stories as well, human-centered stories, a mythos that embodies our ideals and our passions. This mythos comes to us, often in experiences called revelation, from the sages and the artists of past and present times.
1911 - 1940, Notes on Painting - Edward Hopper (1933)
It all takes place at the level of our old friend luck.
Quote from Duchamp's letter to Jean Crotti (Duchamp's brother-in-law) and his sister Suzanne Duchamp, New York 17 Augustus 1952; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 167
1951 - 1968
As quoted in "New York at Work; Puppeteer Creates Shows for Grown-Ups" by N. R. Kleinfield The New York Times (2 July 1991) http://www.nytimes.com/1991/07/02/nyregion/new-york-at-work-puppeteer-creates-shows-for-grown-ups.html
Context: We have a ways to go in understanding the power of puppetry … Our problem is for too long we have thought of puppets being for children. … The appeal of puppetry to me is it's much more freeing for an artist … Puppetry is a completely controllable means to attack your characters in every possible way. The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense. Another of the great things about puppetry is the ability to transform.
Kenneth Noland, p. 9
Conversation with Karen Wilkin' (1986-1988)