
"The Precarious Vogue of Ingmar Bergman" in Esquire (April 1960); republished as "The Northern Protestant" in Nobody Knows My Name: More Notes of a Native Son (1961) and in The Price of the Ticket (1985)
"An interview with James Baldwin" (1961); an interview with Studs Terkel published in Conversations With James Baldwin (1989)
Context: Art has to be a kind of confession. I don't mean a true confession in the sense of that dreary magazine. The effort it seems to me, is: if you can examine and face your life, you can discover the terms with which you are connected to other lives, and they can discover them, too — the terms with which they are connected to other people.
"The Precarious Vogue of Ingmar Bergman" in Esquire (April 1960); republished as "The Northern Protestant" in Nobody Knows My Name: More Notes of a Native Son (1961) and in The Price of the Ticket (1985)
Paraphrased and misattributed, actually from "Die Musik des neunzehnten Jahrhunderts und ihre Pflege: Methode der Musik" ("The Music of the Nineteenth Century, and its Culture") by Adolf Bernhard Marx: "Die Kunst ist stets und überall das geheime Bekenntnis und unsterbliche Denkmal ihrer Zeit." ("Art is always and everywhere the secret confession as well as the undying monuments of its time.").
Misattributed
n.p.
1921 - 1930, Art and the Personal Life', Marsden Hartley, 1928
Source: 1940 - 1950, The Plasmic Image 1. 1943-1945, p. 139
Quote of Lichtenstein in: Interview by G.R. Swenson (1963); as quoted in Painters on Painting, Eric Protter (1971) p. 263
1960's
“For art to be art it has to cure.”
Psychomagic: The Transformative Power of Shamanic Psychotherapy (2010)