“There was a third element in reality that concerned me: movement.
Despite all my efforts, it was impossible for me then to endure a sculpture that gave an illusion of movement, a leg advancing, a raised arm, a head looking sideways. I could only create such movement if it was real and actual. I also wanted to give the sensation of motion that could be induced.”

— Alberto Giacometti

Alberto Giacometti in: Peter Selz, Alberto Giacometti. Museum of Modern Art in collaboration with the Art Institute of Chicago [and others], distributed by Doubleday, 1965. p. 20

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Alberto Giacometti8

Swiss sculptor and painter (1901-1966) 1901–1966

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“Personally, I do not need a movement. What was given to me, I take for granted. Of all movements, I like Cubism most. It had that wonderful unsure atmosphere of reflection - a poetic frame where something could be possible, where an artist could practise [sic] his intuition. It didn't want to get rid of what went before. Instead it added something to it. The parts that I can appreciate in other [art] movements came out of Cubism. Cubism became a movement, it didn't set out to be one. It has force in it, but it was no 'force-movement.' And then there is that one-man movement, Marcel Duchamp - for me a truly modern movement because it implies that each artist can do what he thinks he ought to - a movement for each person and open for everybody.”

Willem de Kooning (1904–1997) Dutch painter

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“From the very beginning of the Constructivist Movement it was clear to me that a constructed sculpture, by its very method and technique brings sculpture very near to architecture... My works of this time up to 1924.... are all in the search for an image which would fuse the sculptural element with the architectural element in one unit. I consider this Column the culmination of that search.”

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“They would foul me because they couldn't stop me, or because I would confuse them with my movement. I would move my eyes, my legs or my body, but not always the ball.”

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“I was working on a title called, “Untitled Solo,” and I had made—using the chance operations—a series of movements written on scraps of paper for the legs and the arms, the head, all different. And it was done not to the music but with the music of Christian Wolff.”

Merce Cunningham (1919–2009) American dancer

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“If time is an illusion, then all movement and change are also illusions. So the only thing that gives us the illusion of movement and change and events and time is the fact that our consciousness is moving through this mass along the time axis. If you imagine it as a strip of celluloid, each of those individual cells is motionless. If they each represent a moment, they’re unchanging. They’re not going anywhere, but as the projector beam of our consciousness passes across them, it provides the illusion of movement, and narrative and cause and effect and circumstances.”

Alan Moore (1953) English writer primarily known for his work in comic books

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“O God, impress upon me the value of time, and give regulation to all my thoughts and to all my movements.”

Thomas Chalmers (1780–1847) Scottish mathematician and a leader of the Free Church of Scotland

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“…I knew that I was gay in every bone of my body. So I did the only thing I could do. I started the movement.”

Harry Hay (1912–2002) American gay rights activist

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“We notice the movement of automobiles and other beings in the street, but we do not notice that the turning of the earth. We believe that automobiles go at a great speed on a fixed ground; yet the speed of the earth's rotation at the equator is 40,000 km every 24 hours.
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Alexander Calder (1898–1976) American artist

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“Religious worldviews overshadow other worldviews. Religious movements override other movements. The most prominent movement in the region is religion. We are only beginning to see the emergence of non-religious movements, such as the humanist/atheist movements rear their heads.”

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“I feel there is sensuality … eroticism in the primary things that move, like animals and insects. Being able to inspire the movement to still images … gives me the joy of the creator that breathes life into things that do not have life. The movement must be sufficiently round and sweet … so express its eroticism. In creating cartoons I always think of an ideal, but … half the finish to doubt the rightness of what I'm doing. So I put all my expectations always work next. * * […] I often say jokingly that comics are my true wife and that the cartoons are my lover. The fact that I am fully dedicated to animation, my lover … is because it allows me to express in a sublime … the interesting metamorphosis of a changing body. For me, the greatest fun, no doubt, lies in the draw and give movement to change processes. Always look in my cartons this metamorphosis.”

Osamu Tezuka (1928–1989) Japanese cartoonist and animator

From Interview to the author , in Osamu Tezuka, Jumping ; quoted in AA.VV., Osamu Tezuka: A Manga Biography , vol. 4, translated by Marta Fogato, Coconino Press, Bologna, 2001, p. 178. ISBN 8888063188

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