“In times of violence, personal predilections for niceties of colour and form seem irrelevant. All primitive expression (like the myths) reveals the constant awareness of powerful forces, the immediate presence of terror and fear.”
Radio broadcast with Mark Rothko, 1943, as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990.
1940s
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Adolph Gottlieb 27
American artist 1903–1974Related quotes
Source: Later Quote of Mondrian, about 1910-1914; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 42
on his series 'Corps de Dame'
As quoted in Jean Dubuffet, Works, writings Interviews, ed. Valerie da Costa and Fabrice Hergott; Ediciones Polígrafa, Barcelona 2006
1960-70's, Prospectus et tous écrits suivants, 1967
Address at a press conference, as quoted in "Mubarak : Arabs to fight 'scourge of terrorism'" at CNN (3 June 2003) http://edition.cnn.com/2003/WORLD/meast/06/03/mubarak.transcript/index.html
United States v. Jones, 132 S. Ct. 945, 956 (2012) (concurring).
Source: The Courage to Create (1975), Ch. 4 : Creativity and the Encounter, p. 91
Context: Symbol and myth do bring into awareness infantile, archaic dreads and similar primitive psychic content. This is their regressive aspect. But they also bring out new meaning, new forms, and disclose a reality that was literally not present before, a reality that is not merely subjective but has a second pole which is outside ourselves. This is the progressive side of symbol and myth. This aspect points ahead. It is integrative. It is a progressive revealing of structure in our relation to nature and our own existence, as the French philosopher Paul Ricoeur so well states. It is a road to universals beyond discrete personal experience.
Art of the 20th century, Part 1 by Karl Ruhrberg, Klaus Honnef, Manfred Schneckenburger, Ingo F. Walther, Christiane Fricke (2000) p. 178.
Interview on The David Frost Show (14 June 1969)
Context: We're trying to sell peace, like a product, you know, and sell it like people sell soap or soft drinks. And it's the only way to get people aware that peace is possible, and it isn't just inevitable to have violence. Not just war — all forms of violence. People just accept it and think 'Oh, they did it, or Harold Wilson did it, or Nixon did it,' they're always scapegoating people. And it isn't Nixon's fault. We're all responsible for everything that goes on, you know, we're all responsible for Biafra and Hitler and everything. So we're just saying "SELL PEACE" — anybody interested in peace just stick it in the window. It's simple but it lets somebody else know that you want peace too, because you feel alone if you're the only one thinking 'wouldn't it be nice if there was peace and nobody was getting killed.' So advertise yourself that you're for peace if you believe in it.