
“I am notorious for making impassioned speeches about things nobody cares about.”
Source: Why Not Me?
On Frida Kahlo's work and her own
Bill Moyers interview (2002)
Context: She painted what she painted because she had to, because she was passionate about it. She didn't care at all if people bought her paintings. As she said, she painted her reality.
I find that I make as an artist the kind of choices that I have to be impassioned about. I'm not going to spend two years on a film or four years on an opera if I don't feel like I can put my own self into it. That doesn't mean it has to be about myself. That's a difference.
Frida painted her own reality, her life. I'm a director and I paint many other people... Other people's realities. But I do have to invest in it.
“I am notorious for making impassioned speeches about things nobody cares about.”
Source: Why Not Me?
Speech at the annual Conservative Political Action Conference, Washington, DC (2 March 2007), as quoted in "Coulter's Slur Against Edwards Stirs Outrage" at WNBC (4 March 2007) http://www.wnbc.com/politics/11168421/detail.html?rss=ny&psp=news.
2007
Benicka (1980) commented:
The frescoes of Raphael and the Pompeian murals that he saw there definitely confirmed what Renoir had begun to feel about his own art; that it was becoming too amorphous in character and was weak in design.
undated quotes
Source: ''Renoir'', by A. Vollard, Paris, 1920, p. 135; as quoted in: Corinne Benicka (1980) Great modern masters. p. 130;
“I cannot think that choices of this kind are unimportant.”
Ce que je crois (1987) [What I Believe] translated by Geoffrey W. Bromiley (1989), p. 140
Context: This is why there is such an incredible stress on information in our schools.
The important thing is to prepare young people to enter the world of information, able to handle computers, but knowing only the reasoning, the language, the combinations, and the connections between computers.
This movement is invading the whole intellectual domain and also that of conscience. … What is at issue here is evaluating the danger of what might happen to our humanity in the present half-century, and distinguishing between what we want to keep and what we are ready to lose, between what we can welcome as legitimate human development and what we should reject with our last ounce of strength as dehumanization. I cannot think that choices of this kind are unimportant.
“I am a graphic artist heart and soul, though I find the term "artist" rather embarrassing.”
1950's, On Being a Graphic Artist', 1953
SuomiRocks.com, 2004 http://suomirocks.com/cms/index.php?page=iconcrash,
1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989
“The choices we make about the lives we live determine the kinds of legacies we leave.”
Source: The Other Wes Moore: One Name, Two Fates