“I am the place in which something has occurred.”

"The Wall and the Books" ["La muralla y los libros"] (1950)
Variant translation: Music, feelings of happiness, mythology, faces worn by time, certain twilights and certain places, want to tell us something, or they told us something that we should not have missed, or they are about to tell us something; this imminence of a revelation that is not produced is, perhaps, the esthetic event.
Other Inquisitions (1952)

Source: The Other Boleyn Girl

Source: Sister Outsider: Essays and Speeches

Source: Letters to Milena

The Black Coat (2013)

Quote by Braque, from 'Le Monologue du Peintre', George Charbonnier, Paris 1959
1946 - 1963

Kierkegaard Journals and Papers 1A, 86 September 29, 1835
1830s, The Journals of Søren Kierkegaard, 1830s
Context: It occurs to me that artists go forward by going backward, something which I have nothing against intrinsically when it is a reproduced retreat — as is the case with the better artists. But it does not seem right that they stop with the historical themes already given and, so to speak, think that only these are suitable for poetic treatment, because these particular themes, which intrinsically are no more poetic than others, are now again animated and inspirited by a great poetic nature. In this case the artists advance by marching on the spot. — Why are modern heroes and the like not just as poetic? Is it because there is so much emphasis on clothing the content in order that the formal aspect can be all the more finished?

Source: Traveling With Pomegranates: A Mother-Daughter Story

Source: Art applied to industry: a series of lectures, 1865, p. 9; Partly cited in: The New Encyclopaedia Britannica: Macropaedia (19 v.) Encyclopaedia Britannica, 1983. p. 514
Context: At present the fashion appears to have set in in favour of two very distinct styles. One is a very impure and bastard Italian, which is used in most large secular buildings; and the other is a variety of the architecture of the thirteenth century, often, I am sorry to say, not much purer than its rival, especially in the domestic examples, although its use is principally confined to ecclesiastical edifices. It is needless to say that the details of these two styles are as different from each other as light from darkness, but still we are expected to master both of them. But it is most sincerely to be hoped that in course of time one or both of them will disappear, and that we may get something of our own of which we need not be ashamed. This may, perhaps, take place in the twentieth century, it certainly, as far as I can see, will not occur in the nineteenth.