“I think that at that time and practically ever since, the underlying sense of form in my work has been the system of the Universe, or part thereof. For that is a rather large model to work from.”

1950s - 1960s, Excerpt, What Abstract Art Means to Me (1951)

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Alexander Calder41

American artist 1898–1976

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“My entrance into the field of abstract art came about as the result of a visit to the studio of Piet Mondrian in Paris in 1930.
I was particularly impressed by some rectangles of color he had tacked on his wall in a pattern after his nature.
I told him I would like to make them [Mondrian's flat painting] oscillate, he objected. I went home and tried to paint abstractly - but in two weeks I was back again among plastic materials.
I think that at that time and practically ever since, the underlying sense of form in my work has been the system of the Universe, or part thereof. For that is a rather large model to work from.”

Alexander Calder (1898–1976) American artist

Quote (1951), in 'What Abstract Art Means to Me' http://www.jstor.org/stable/4058250, George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis; as cited in the The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15 <br class="br">1950s - 1960s

“Artists have never worked with the model – just with the painting. What you [G. R. Swenson, the interviewer] are really saying is that an artist like Cézanne transforms what we think the painting ought to look like into something he thinks it ought to look like. He’s working with paint, not nature; he’s making a painting, he's forming. I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art. What I do is form, whereas the comic strip is not formed in the sense I’m using the word; the comics have shapes but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

“I think my work is different from comic strip – but I wouldn't call it transformation... What I do is form, whereas the comic strip is not formed in the sense I'm using the word; the comics have shapes, but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify. And my work is actually different form comic strips in that every mark is really in a different place. However slight the difference seems to some.”

Roy Lichtenstein (1923–1997) American pop artist

1970's
Source: Movements in art since 1945, Edward Lucie-Smith, Thames and Hudson 1975, p. 153

“The work process begins when I start selecting quotations from a large collection I already have, given that I use such texts often in my work and have for a long time. In fact, appropriation of this kind––along with other kinds––has been part of my work since the beginning in the ’60s. I go through hundreds of these amassed quotes from my own research and that of my staff, make my choices, and then continually add them in relation to the quotes I already have selected. The surplus meaning that is constructed by using the words of others in conjunction with each other, which is my goal, is a far more delicate operation than it may seem.”

Joseph Kosuth (1945) American conceptual artist

Joseph Kosuth at artforum.com http://artforum.com/words/id=28992, 09.20.11

“adj.
It has always been my habit, ever since junior high school, to ask that question:
“What are you thinking?”
It is always an act of desperation, and I keep on asking, even though I know it will never work the way I want it to.”

David Levithan The Lover's Dictionary

Source: The Lover's Dictionary

“Since the commercialization and banality of editorial magazine pages have made this work uninteresting, advertising has become an increasingly important part of my work.”

Helmut Newton (1920–2004) German-Australian photographer

American Photo (January/February 2000), p. 90
Context: Since the commercialization and banality of editorial magazine pages have made this work uninteresting, advertising has become an increasingly important part of my work. It is interesting to compare European and American mores in regard to my work. One will notice that most of my European images have a stronger sexual content that those destined for American publication. The term "political correctness" has always appalled me, reminding me of Orwell's "Thought Police" and fascist regimes.

“The work of the sculptors of my age & somewhat older – Brancusi – Arp – Lipschitz – Laurens – Giacometti – has gradually approached a freedom & moved into space, compared with the sculptors of earlier period – Rodin – Maillol [. And] & the young sculptors of today all have the tendency to work with space – to model rather than carve – but it is very necessary in my opinion to have been able to get the refinement & completeness of a single form before going on to space form with no body”

Henry Moore (1898–1986) English artist

Quote in 'Unpublished notes' 1951, HMF Archive; as cited in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, p. 121
1940 - 1955

“My work has always been the product of my time.”

William Saroyan (1908–1981) American writer

Something About a Soldier (1940)

“The university system in 2014, it's like the Catholic Church circa 1514… You have this priestly class of professors that doesn't do very much work; people are buying indulgences in the form of amassing enormous debt for the sort of the secular salvation that a diploma represents. And what I think is also similar to the 16th century is that the Reformation will come largely from the outside.”

Peter Thiel (1967) American entrepreneur, venture capitalist, and hedge fund manager

In an episode http://conversationswithbillkristol.org/video/peter-thiel/ of "Conversations with Bill Kristol" (2014)

“My favorite part of my job is never having to doubt that I’m doing something of value. And I don’t mean this in the global sense; there are more practical ways to help people. But I do think that--and this may be selfish--I am working at something that’s making me a better human.”

Kirstin Chen Singaporean writer

As quoted in "Kirstin Chen Ventures Out Of Singapore With Novel Set In 1950s Maoist China" in Forbes (27 April 2018) https://www.forbes.com/sites/priscaang/2018/04/27/kirstin-chen/?sh=235a75302016

“I think that at that time and practically ever since, the underlying sense of form in my work has been the system of the Universe, or part thereof. For that is a rather large model to work from.”

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Alexander Calder41

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