Be Here Now (1971) 
Context: I realized that although everything by which I knew myself, even my body and this life itself, was gone, still I was fully aware! Not only that, but this aware "I" was watching the entire drama, including the panic, with calm compassion.
Instantly, with this recognition, I felt a new kind of calmness — one of a profundity never experienced before. I had just found that "I", that scanning device — that point — that essence — that place beyond. A place where "I" existed independent of social and physical identity. That which was I was beyond Life and Death. And something else — that "I" Knew — it really Knew. It was wise, rather than just knowledgeable. It was a voice inside that spoke truth. I recognized it, was one with it, and felt as if my entire life of looking to the outside world for reassurance — David Reisman's other-directed being, was over.
                                    
“For even the painter himself cannot be fully aware of the way in which the picture gets made”
            X magazine (1959-62) 
Context: For even the painter himself cannot be fully aware of the way in which the picture gets made: there is a wide area of the unpredictable in the act of pushing paint about in the definition of an image.
        
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Patrick Swift 60
British artist 1927–1983Related quotes
                                        
                                        Boisgeloup, winter 1934 
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008 
Quotes, 1930's, "Conversations avec Picasso," 1934–35
                                    
“It is a pity that you students aren't fully aware of the luxury and abundance in which you live.”
                                        
                                        The Glass Bead Game (1943) 
Context: It is a pity that you students aren't fully aware of the luxury and abundance in which you live. But I was exactly the same when I was still a student. We study and work, don't waste much time, and think we may rightly call ourselves industrious — but we are scarcely conscious of all we could do, all that we might make of our freedom. Then we suddenly receive a call from the hierarchy, we are needed, are given a teaching assignment, a mission, a post, and from then on move up to a higher one, and unexpectedly find ourselves caught in a network of duties that tightens the more we try to move inside it. All the tasks are in themselves small, but each one has to be carried out at its proper hour, and the day has far more tasks than hours. That is well; one would not want it to be different. But if we ever think, between classroom, archives, secretariat, consulting room, meetings, and official journeys — if we ever think of the freedom we possessed and have lost, the freedom for self-chosen tasks, for unlimited, far-flung studies, we may well feel the greatest yearning for those days, and imagine that if we ever had such freedom again we would fully enjoy its pleasures and potentialities.
                                    
“A painter paints his pictures on canvas. But musicians paint their pictures on silence.”
                                        
                                        Addressing an audience at Carnegie Hall, as quoted in The New York Times (11 May 1967); often this is quoted without the humorous final sentence. 
Context: A painter paints his pictures on canvas. But musicians paint their pictures on silence. We provide the music, and you provide the silence.
                                    
Jill Lepore, The Secret History of Wonder Woman (2014), p. 139.
                                        
                                        Quote from 'Max Ernst im Gesprach mit Eduard Roditi' (1967), as cited in Max Ernst, Écritures Paris, 1970, p. 416 
1951 - 1976
                                    
                                        
                                        28-Jul-2008 Hull City OWS 
The pre-season friendly against Crewe provided a huge boost to Phil's picture collection.
                                    
                                        
                                        'Speer Checks Out' 
Essays and reviews, Glued to the Box (1983)
                                    
                                        
                                        Kenneth Noland, p. 14 
Conversation with Karen Wilkin' (1986-1988)