Quotes about artist
page 14

“And the first studio I went to [in New York, c. 1950]... I was trying to find de Kooning because he had a painting at the Whitney, which was in the old Studio School [Eighth Street], you know... And I thought I would like to know him. I really dug his painting, and I dug Gorky's painting... But the first studio I went into was Franz Kline... and there were all these Klines, unstretched, hanging on the brick walls. Beautiful. You know, with the telephone book drawings all over the floor, and Kline yakking away, and it was just, I was out of my mind! And so from then on I got involved in the Artists Club. They allowed very few women in, and I was included for $35 a year. And I got very involved in the Cedar Bar and the whole thing..”

Joan Mitchell (1925–1992) American painter

second side of the first tape
1975 - 1992, Oral history interview with Joan Mitchell, 1986

Women, Books, School, Beauty

“Art advances by self-mutilation of the artist.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 54

Art

“How and among whom this Palladian taste became formed it will be our business presently to inquire. The first point to note is that it had nothing to do with Wren, Vanbrugh, Hawksmoor, or Archer except in so far as, by excluding the works of these architects from salvation, it was better able to distinguish its own particular sort of grace. The second point to note is that, once formulated, the Palladian taste became the taste of the second generation of the Whig aristocracy, the sons of that Whiggery which dated its accession to power from 1688 and to which, in Anne’s time, artistic and intellectual leadership, once centred at the Court, had passed. This second Whig generation had strong beliefs and strong dislikes, conspicuous among the latter being the Stuart dynasty, the Roman Church, and most things foreign. In architectural terms that meant the Court taste of the previous half-century, the works of Sir Christopher Wren in particular and anything in the nature of Baroque.”

John Summerson (1904–1992) British architectural historian

Architecture in Britain, 1530–1830

Business, Nature, Strong, Time

“It seems to me that today the Surrealist crisis is the central problem in French art. It is essential for future development that this crisis should be solved… The principal error in the aesthetic program of Surrealism is that it is too literary. Painters have experimented with visions, images, dreams, but not with painting, not with color... The unpainterliness of Surrealism has inevitably produced a reaction among younger painters. [Jorn is thinking here of French painters such as Bazaine, Esteve, Lapique, Singier, Le Moal, and he suggests there should be reciprocity]... These artists cannot get any further unless they absorb the lessons of Surrealism into their painting, just as Surrealists can only advance if they adopt the painterly methods of the other group.”

Asger Jorn (1914–1973) Danish artist

Quote in a writing of Jorn on modern art in Paris, 1947; as cited on the website of the Jorn Museum. 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255, 1940 - 1948, Various sources

Dreams, Art, Color, Error

“Artists who are the defenders of true life become phonies. That’s the perfidious thing about this world. Society turns anyone with a bit of life inside them into a medical case.”

Bram van Velde (1895–1981) Dutch painter

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Life, World

“The masterpiece should appear as the flower to the painter—perfect in its bud as in its bloom - with no reason to explain it's presence - no mission to fulfill - a joy to the artist, a delusion to the philanthropist - a puzzle to the botanist - an accident of sentiment and alliteration to the literary man.”

James McNeill Whistler (1834–1903) American-born, British-based artist

Propositions, 2
1870 - 1903, The Gentle Art of Making Enemies' (1890)

Flowers, Appearance, Joy, Perfection

“Both art and the artist lack identity and define themselves only through their encounter with each other.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art & Other Serious Matters, (1985), p. 155, "Willem de Kooning"

Art

“The painters have every advantage over us today…Besides being able to tear up their failures—we never can seem to grow ivy fast enough—their materials cost them nothing. They have no committees of laymen telling them what to do. They have no deadlines, no budgets. We are all sickeningly familiar with the final cuts to our plans at the last moment. Why not take out the landscaping, the retaining walls, the colonnades? The building would be just as useful and much cheaper. True, an architect leads a hard life—for an artist.”

Philip Johnson (1906–2005) American architect

Heyer, Paul, ed. (1966). Architects on Architecture: New Directions in America, p. 279. New York: Walker and Company.

Life, Failure, Tear

“It is true that the environment does have an influence but what has much greater effect on the artist is love or hatred. He uses his setting to express these things.”

Henri Gaudier-Brzeska (1891–1915) French painter and sculptor

Letter to Dr Uhlemayr-Savage Messiah By H S (Jim) Ede Heinimann (1931)

Love

“The criminal, like the artist, is a social explorer.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

quoted in "Marshall McLuhan, Author, Dies; Declared 'Medium Is the Message'" by Alden Whitman, The New York Times, January 1, 1981
1980s

“How glad I am to be almost alone as an artist among artists, with the whole swarm of artists somewhere else.”

Emil Nolde (1867–1956) German artist

note of 13 March 1947; as quoted in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 32
1921 - 1956

“For I do not think of aesthetic theory as an attempt to investigate and expound eternal verities concerning the nature of an eternal object called Art, but as an attempt to reach, by thinking, the solution of certain problems arising out of the situation in which artists find themselves here and now. Everything written in this book has been written in the belief that is has a practical bearing, direct or indirect, upon the condition of art in England in 1937, and in the hope that artists primarily, and secondarily persons whose interest in art is lively and sympathetic, will find something of use to them.”

R. G. Collingwood (1889–1943) British historian and philosopher

Source: The Principles of Art (1938), p. vi

Books, Hope, Art, Nature

“Some have considered such photographs as evidence that Eakins, if not homosexual or bisexual, was at least homoerotic. But the artist would undoubtedly have done the same thing with his women students if such a thing had been possible.”

Gordon Hendricks (1917–1980) American historian

Gordon Hendricks: "The Life And Work Of Thomas Eakins", Grossman Publishers : New York 1974, ISBN 0-670-42795-0, p. 160
The photographs were studies for Eakins' painting Swimming, Hendricks was the first to connect Eakins with homosexuality.

Women

“I cannot speak for all, but I have talked to many artists who feel this way - we have lost even our belief that we are the minority that knows. We believed ten years ago, twenty years ago, that we knew the secret. Now we have lost this belief. We are a minority with no power and no belief, no faith. I feel myself, as an artist and as a citizen, just totally obsolete… Okay, it can be done this way or that way or this way, or in splashes or smoothly, but why? What the hell is it about? That's why we wanted to ask people. For us - from our point of view - it's a sincere thing to understand something, to change course. Because the way we live we cannot live anymore. I have never seen artists so desperate as they are now, in this society.”

Alexander Melamid (1945) Russian artist

Vitaly Komar, ‎Aleksandr Melamid, ‎JoAnn Wypijewski (1997). Painting by Numbers: Komar and Melamid's Scientific Guide to Art p. 16

People, Secret, Faith, Way

“There are street artists. Street musicians. Street actors. But there are no street physicists. A little known secret is that a physicist is one of the most employable people in the marketplace - a physicist is a trained problem solver. How many times have you heard a person in a workplace say, "I wasn't trained for this!" That's an impossible reaction from a physicist, who would say, instead, "Cool. A problem I've never seen before. Let's see how I can figure out how to solve it!"”

Neil deGrasse Tyson (1958) American astrophysicist and science communicator

Oh, and, have fun along the way. Comment on "I am Neil deGrasse Tyson -- AMA", November 13, 2011 https://www.reddit.com/r/IAmA/comments/mateq/i_am_neil_degrasse_tyson_ama/c2zg4do, 2010s

People, Secret, Way, Problem

“The usual criticism of a novel about an artist is that, no matter how real he is as a man, he is not real to us as an artist, since we have to take on trust the works of art he produces.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“An Unread Book”, p. 20
The Third Book of Criticism (1969)

Art

“It's a dream for any artist to have a catalogue of music that would be considered his greatest hits. For me, as a singer and songwriter, to release a collection of music that spans over two decades of my life and career is especially meaningful. Those songs represtent a life in progress. As it is with any life, people and experiences become a part of one's creations and helped give birth to twenty-four albums. I would like to dedicate this body of work -- especially "Nayib's Song" and "Along Came You" -- to my two beautiful children who inspired those songs and who inspire me on a daily basis, and whom I consider my best works to date. I owe a great deal of gratitude to all of my fans who have ridden this incredible rollercoaster of life with me and who are the reason I have tried to remain true to the gift I have been granted: that of making music. And although it's very difficult to decide what is truly essential, you can be sure that what is in this collection is what you -- the fans across the world -- made into hits. And for that, I will be eternally thankful.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

comment on gloriaestefan.com on release of 2-CD "The Essential Gloria Estefan" (October 4, 2006)
2007, 2008

Life, Children, People, World

“He opened the door that so many of us went through, the door of possibility, by saying anything an artist makes is art.”

Peter Blake (1932) British artist

Serena Davies, "In the studio:Peter Blake, http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2005/12/13/bastudio13.xml The Daily Telegraph, 2005-12-13 On Marcel Duchamp. Art

Art

“The whole question of pictures made to order is a darn peculiar form of merchandize. Buyers seem to like the tiresome MP blue, for one thing, and girls having a pleasant chat for another. They must look pleasant like Daybreak and Garden of Allah and not contemplative like Hilltop, Stars and Dreaming, which are not so popular …. There are countless artists whose shoes I'm not worthy to polish — whose prints would not pay the printer! … I'm beginning to doubt my judgment!”

Maxfield Parrish (1870–1966) American painter and illustrator

Letter to A. E. Reinthal (15 February 1929)

Dreams, Shoe, Girl, Star

“Nature has mysterious infinities and imaginative power. It is always varying the productions it offers to us. The artist himself is one of nature's means.”

Paul Gauguin (1848–1903) French Post-Impressionist artist

Source: 1870s - 1880s, The Writings of a Savage (1996), p. 39: 'Huysmans and Redon', (written in 1889, published 1953)

Imagination, Nature

“The world would be a lot better off if it paid more attention to its philosophers and artists than to its own tiny egotistic spirit, which lacks an overview. People should place their belief in Beethoven and Socrates.”

Elfriede Jelinek book Wonderful, Wonderful Times

p 40
Wonderful, Wonderful Times (1990)

People, World

“The facts are indispensable; they are not sufficient. To solve a problem it is necessary to think. It is necessary to think even to decide what facts to collect. Even the experimental scientist cannot avoid being a liberal artist, and the best of them, as the great books show are men of imagination and of theory as well as patient observers of particular facts. … critics have themselves frequently misunderstood the scientific method and have confused it with the aimless accumulation of facts.”

Robert Maynard Hutchins (1899–1977) philosopher and university president

Great Books: The Foundation of a Liberal Education (1954)

Men, Books, Imagination, Problem

“I met him Kandinsky shortly after my return to Germany from the United Sates. At first, I lived for a while in Bonn... A year later, in 1901, I decided to move to Munich, but still found very little encouragement as an artist. German painters refused to believe that a woman could have real talent, and I was even denied access, as a student, to the Munich Academy... It is significant that the first Munich artist who took the trouble to encourage me was Kandinsky, himself no German but a recent arrival from Russia.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 115-116

“I try to deal with things that maybe other people haven't thought about, emptiness, making a painting that isn't a painting. For years people have been concerned with what goes on inside the frame. Well maybe there is something going on outside the frame that could be considered an artistic idea.”

Robert Barry (1936) American artist

Robert Barry (1968), cited in: Lucy R. Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972. New York, Praeger, 1973, p. 40. p. xii

People, Idea, Painting

“That is the best story he could find in his life, never mind if it's the truest: an artist's duty is always to tell the best story.”

Wilfrid Sheed (1930–2011) English-American novelist and essayist

"V. S. Pritchett: Midnight Oil," p. 227
The Good Word & Other Words (1978)

Life

“Somebody in Germany [the German artist Joseph Beuys, who frequently visited America to discuss and to do performances] has been talking about my 'silence', saying that it is overrated. What does that mean? [this quotes you find also in Joseph Beuys' quotes on Wikiquote], he himself heard this 'rumor' from several American artists! (Joseph Beuys continued: 'I am convinced that he [= Duchamp] knew very well what it meant. If he was unsure about it, he could have written me a letter').”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote from: 'Interview with Achille Bonito Oliva', 1986; Republished in: 'Joseph Beuys', Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993
posthumous

Quotes, Silence

“With the passage of time, whatever a man had done, whether for good or evil, with the man's bodily organs, left the man's parish unaffected: only a man's thoughts and dreams could outlive him, in any serious sense, and these might survive with perhaps augmenting influence: so that Kennaston had come to think artistic creation in words — since marble and canvas inevitably perished — was the one, possibly, worth-while employment of human life. But here was a crude corporal deed which bluntly destroyed thoughts, and annihilated dreams by wholesale. To Kennaston this seemed the one real tragedy that could be staged on earth….”

James Branch Cabell book The Cream of the Jest

Source: The Cream of the Jest (1917), Ch. 24 : Deals with Pen Scratches

Life, Dreams, Thinking, Sense

“There are millions of artists around the world, but only one who paints with this particular appendage.”

Pricasso (1949) Australian painter

[Whitsunday Times staff, Comedy night a week away, Whitsunday Times, Airlie Beach, Australia, 3 May 2012, APN Newspapers Pty Ltd.]
About

World, Painting

“Profound statements must be drawn by the artist from the most secret recesses of his being; there no murmuring torrent, no birdsong, no rustle of leaves can distract him.”

Giorgio de Chirico (1888–1978) Italian artist

as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, p . 232
1908 - 1920, On Mystery and Creation, Paris 1913

Secret

“My last wife [woman-artist Isa Genzken, he married in 1982 - they broke up in 1993] was very competitive, which was hard for both of us.”

Gerhard Richter (1932) German visual artist, born 1932

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

“"It became like a symbolic thing, to be “an artist.” After Duchamp, I realized that being an artist is more about a lifestyle and attitude than producing some product."”

Ai Weiwei (1957) Chinese concept artist

Karen Smith et al. Ai Weiwei (Contemporary Artists (Phaidon), London: Phaidon Press, 2009.
2000-09, 2009

“The partial absorption of art by domestic industry and by domestic female crafts, that is to say, the fusion of artistic activity with other activities, is a retrogression from the standpoint of the division of labour and professional differentiation.”

Arnold Hauser (1892–1978) Hungarian art historian

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter I. Prehistoric Times

Art

“People who hadn't noticed me, or who had written me off as a game show host, started to reassess me. There were people who hadn't seen me as a stand-up artist and liked it. Suddenly I was in fashion again.”

Bob Monkhouse (1928–2003) English entertainer

Independent on Sunday obituary http://web.archive.org/web/20100522031727/http://www.independent.co.uk/news/media/bob-monkhouse-jokewriter-to-the-stars-and-the-longreigning-king-of-primetime-comedy-dies-at-75-578058.html

People, Game, Fashion

“The magic happens only when the artist serves with love and the listener receives with the same spirit.”

M. S. Swaminathan (1925) Indian scientist

Quotations by 60 Greatest Indians, Dhirubhai Ambani Institute of Information and Communication Technology http://resourcecentre.daiict.ac.in/eresources/iresources/quotations.html,

Love

“And today many artists like myself refuse to be involved in some ideas. In painting – for me – no fooling-the-eye, no window-hole-in-the wall, no illusions, no representations, no associations, no distortions, no paint-caricaturing, no dream pictures of dripping, no delirium trimmings, no sadism or slashing, no therapy, no kicking-the-effigy, no clowning, no acrobatics, no heroics, no self-pity, no guilt.... no abstraction of everything, no nonsense, no involvements, no confusing painting with everything that is no painting.”

Ad Reinhardt (1913–1967) American painter

1940 - 1955
Source: Contemporary American Painting, University of Illinois, Urbana 1952, p. 226-227

Dreams, Fools, Idea, Painting

“We have had enough perpetually hearing MACHINE MACHINE MACHINE MACHINE. In the repetition of the word MACHINE, we read the modern artist's ambivalent relationship to mechanical reproduction: on the one hand, the rigorous linear order and uniform application of ink presented by the thrice-repeated type written line celebrates sterility; and on the other hand the content of the sentence itself bemoans the transformation of the industrial paradigm into an aesthetic cliché.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

statement of Lissitzky, 1924; as quoted by Paul Galvez, in 'Self-Portrait of the Artist as a Monkey-Hand October', Vol. 93, (Summer, 2000), published by The MIT Press, pp. 109-137
1915 - 1925

Reading

“One cannot, however, avoid saying a few words about individuals who lay down the law to art in the name of art history. Art criticism today is beset by art historians turned inside out to function as prophets of so-called inevitable trends. A determinism similar to that projected into the evolution of past styles is clamped upon art in the making. In this parody of art history, value judgments are deduced from a presumed logic of development, and an ultimatum is issued to artists either to accommodate themselves to these values or be banned from the art of the future.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 147, "Criticism and Its Premises"

Law, Art, History, Past

“No matter how close and familiar the temple or cathedral were to the people who lived around them, they remained in terrifying or elevating contrast to the daily life of the slave, the peasant, and the artisan—and perhaps even to that of their masters. Whether ritualized or not, art contains the rationality of negation. In its advanced positions, it is the Great Refusal—the protest against that which is. The modes in which man and things are made to appear, to sing and sound and speak, are modes of refuting, breaking, and recreating their factual existence. But these modes of negation pay tribute to the antagonistic society to which they are linked. Separated from the sphere of labor where society reproduces itself and its misery, the world of art which they create remains, with all its truth, a privilege and an illusion. In this form it continues, in spite of all democratization and popularization, through the nineteenth and into the twentieth century. The “high culture” in which this alienation is celebrated has its own rites and its own style. The salon, the concert, opera. theater are designed to create and invoke another dimension of reality. Their attendance requires festive-like preparation; they cut off and transcend everyday experience. Now this essential gap between the arts and the order of the day, kept open in the artistic alienation, is progressively closed by the advancing technological society. And with its closing, the Great Refusal is in turn refused; the “other dimension” is absorbed into the prevailing state of affairs. The works of alienation are themselves incorporated into this society and circulate as part and parcel of the equipment which adorns and psychoanalyzes the prevailing state of affairs.”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 63-64

Life, People, Truth, World

“I want the ability to do whatever I want without a whole fleet of lawyers and record companies analyzing it and telling me what to do. It's like the success of doing it that way doesn't mean enough to me as an artist or a person for me to fight about it. I'm not going to fight anymore I'm just going to do it the way I want to do it. Why am I going to do it that way and be so obstinate? Because I don't care enough about it to spend that much time on it.”

Devin Townsend (1972) Canadian musician

Blabbermouth.net: DEVIN TOWNSEND Discusses Decision To Put STRAPPING YOUNG LAD To Rest http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=72994

Way, Time, Success, Fight

“If the artist is necessarily sensitive, does that sensitiveness form in its essence a state constantly liable to shade off into the morbid? Does this liability, moreover, increase in proportion as the effort is great and the ambition intense?”

Henry James (1843–1916) American novelist, short story author, and literary critic

"The Journal of the Brothers de Goncourt," Fortnightly Review (October 1888).

Effort

“Chief among our gains must be reckoned this possibility of choice, the recognition of many possible ways of life, where other civilizations have recognized only one. Where other civilizations give a satisfactory outlet to only one temperamental type, be he mystic or soldier, business man or artist, a civilization in which there are many standards offers a possibility of satisfactory adjustment to individuals of many different temperamental types, of diverse gifts and varying interests.”

Margaret Mead (1901–1978) American anthropologist

Source: 1920s, Coming of Age in Samoa (1928), p. 274 (1953 edition)

Life, Way, Business

“Art is simultaneously particular and general. This is a real dichotomy. The great thing about proportion, one aspect of art, is that it is both extremes at once. The level of quality of a work can usually be established by the extent of the polarity between its generality and particularity. Or, to state the idea a little too simply, the better the work, the more diverse its aspects. The nature of the general aspects and the particular ones changes from artist to artist and especially from time to time, since the changes are due to broad changes in philosophy. This change is the essential change in art, determining its purpose and appearance”

Donald Judd (1928–1994) artist

Source: 1980, "Art and Architecture," 1987, p. 177

Art, Idea, Nature, Appearance

“GO TO HELL BASTARD STOP. REFUSE PRIZE STOP. NEVER ASKED FOR IT STOP. AGAINST ALL DECENCY MIX ARTIST AGAINST HIS WILL IN YOUR PUBLICITY STOP. I WANT PUBLIC CONFIRMATION NOT TO HAVE PARTICIPATED IN YOUR RIDICULOUS GAME.”

Asger Jorn (1914–1973) Danish artist

Quote from Wikipedia: the text of Asger Jorn's telegram in 1964, to the president of the Guggenheim Museum, Harry F. Guggenheim
Jorn was awarded a Guggenheim Award including a generous cash prize, by an international jury assembled by Lawrence Alloway; he rejected!
1959 - 1973, Various sources

Game, Hell

“You are always related [as an artist] to something. I'm related to the more geometric, or simpler, painting, but the motivation doesn't have anything to do with that kind of European geometric painting. I think the obvious comparison with my work would be Vasarely, and I can't think of anything I like less.... the 'Groupe de recherché d'Art visuel' actually painted all the patterns before I did – all the basic designs that are in my painting – I didn't even know about it.... it still doesn't have anything to do with my painting. I find all that European geometric painting – sort of post Ma Bill school – a kind of curiosity, very dreary.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 117

School, Motivation, Thinking, Painting

“The intermedia network has made all of us artists by proxy. A decade of television-watching is equal to a comprehensive course in dramatic acting, writing, and filming… the mystique is gone - we could almost do it ourselves. Unfortunately too many of us do just that: hence the glut of sub-mediocre talent in the entertainment industry.”

Gene Youngblood book Expanded Cinema

Source: Expanded Cinema, 1970, p. 58

“To draw and paint is an elementary thing, it has to be done. But it can be a mental process, intellectual process, thought process. *It is a question of temperament of each artist, there are abstract painters, figurative painters, painters who work in silence or who don’t want to work at all, but they continue with ideas in their mind and in their soul. It’s very fascinating; it’s a vast area without rules or regulations.”

S. H. Raza (1922–2016) Indian artist

Culture:S.H. Raza Comes in Full Circle

Soul, Idea, Question, Silence

“An artistic atmosphere does not create artists a literary atmosphere does not create literators; poets and painters spring up where there was never a verse made or a picture seen. This suggests that God is no more idle now than He was at the beginning, but that He is still and forever shaping the human chaos into the instruments and means of beauty.”

William Dean Howells (1837–1920) author, critic and playwright from the United States

My Literary Passions (1895)

God, Beauty, Spring

“The big artist does not sit down monkey like & copy a coal scuttle or an ugly old woman like some Dutch painters have done nor a dungpile, but he keeps a sharp eye on Nature & steals her tools. He learns what she does with light the big tool & then colour then form and appropriates them to his own use. Then he's got a canoe of his own smaller than Nature's but big enough for every purpose except to paint the midday sun which is not beautiful at all. It is plenty strong enough though to make midday sunlight or the setting sun if you know how to handle it. With this canoe he can sail parallel to Nature's sailing. He will soon be sailing only where he wants to selecting nice little coves & shady shores or storms to his own liking, but if ever he thinks he can sail another fashion from Nature or make a better shaped boat he'll capsize or stick in the mud & nobody will buy his pictures or sail with him in his old tub.”

Thomas Eakins (1844–1916) American painter

Letter to Benjamin Eakins (1868-03-03).

Beauty, Fashion, Nature, Thinking

“As to what I would like to be. It is difficult to say. An Artist of some kind. If nothing else I shall always study the Arts. People have always frightened and bored me, consequently I have been within my own shell and have not accomplished anything materially.”

Jackson Pollock (1912–1956) American artist

Quote in Pollock's letter, Los Angeles 22 October, 1929 to Charles and Frank in New York; published in: Jackson Pollock (2011) American Letters: 1927-1947. p. 16
1925 - 1940

People, Art, Study

“You misunderstood my words when I said that Michelangelo was a stupid artist... Because I have drunk from another source and a new and marvelous thirst burns my lips – how can I still believe in such artists?! I know what you are thinking when you ask me: 'isn't David a superman? This is how I used to feel, this is what I used to think. The majority of the world's great spirits thought it so.... but now a new air has entered my soul, a new song has reached my ears and the whole world appears totally changed – the autumn afternoon has arrived, the long shadows, the clear air, the serene sky –, in a word: Zarathustra has arrived, do you understand??.... It is only with Nietzsche that I can say I have begun a real life.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Chirico's letter to Mr. Fritz Gartz, Florence, undated, c. 5 Jan. 1911; from LETTERS BY GIORGIO DE CHIRICO, GEMMA DE CHIRICO AND ALBERTO DE CHIRICO TO FRITZ GARTZ, MILAN-FLORENCE, 1908-1911 http://www.fondazionedechirico.org/wp-content/uploads/559-567Metafisica7_8.pdf, p. 564 1908 - 1920

Life, Stupidity, World, Feeling

“The true miracle of the language of art is not that it enables the artist to create the illusion of reality. It is that under the hands of a great master the image becomes translucent. In teaching us to see the visible world afresh, he gives us the illusion of looking into the invisible realms of the mind - if only we know, as Philostratus says, how to use our eyes.”

Ernst Gombrich Art and Illusion

Art and Illusion (1960)

World, Art, Reality

“To give the community of artists a particular purpose would mean … debasing the community of saints into a state.”

Karl Wilhelm Friedrich Schlegel (1772–1829) German poet, critic and scholar

Dem Bunde der Künstler einen bestimmten Zweck geben, das heisst ein dürftiges Institut an die Stelle des ewigen Vereins setzen; das heisst die Gemeinde der Heiligen zum Staat erniedrigen.
“Ideas,” Lucinde and the Fragments, P. Firchow, trans. (1991), § 49

Communication

“Naturally man tended to lose his sense of scale and relation. A straight line, or a combination of straight lines, may have still a sort of artistic unity, but what can be done in art with a series of negative symbols? Even if the negative were continuous, the artist might express at least a negation; but supposing that Omar's kinetic analogy of the ball and the players turned out to be a scientific formula! supposing that the highest scientific authority, in order to obtain any unity at all, had to resort to the middle-ages for an imaginary demon to sort his atoms! how could art deal with such problems, and what wonder that art lost unity with philosophy and science! Art had to be confused in order to express confusion; but perhaps it was truest, so.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Adams alludes to a well-known passage from the Rubaiyat of Omar Khayyam. In Edward FitzGerald's translation:The Ball no Question makes of Ayes and Noes,
But Right and Left as strikes the Player goes;
And He that toss'd Thee down into the Field,
He knows about it all — HE knows — HE knows!
Mont Saint Michel and Chartres (1904)

Age, Art, Nature, Problem

“Everyone sees for himself, the artist also sees for himself. Others see where ideas coincide, or whether they agree or disagree. There is no binding, no forcing of things. It has to be a free association of ideas.”

S. H. Raza (1922–2016) Indian artist

Culture:S.H. Raza Comes in Full Circle

Idea

“You can be the most artistically perfect performer in the world, but an audience is like a broad — if you're indifferent, Endsville.”

Frank Sinatra (1915–1998) American singer and film actor

As quoted in Moment of Grace: The American City in the 1950s (2002) by Michael Johns.

World, Perfection, Indifference

“I believe from history and my own gut, instinct, that if I go ahead and lay it all out here, what we're really facing, you've got courage and you've got will, and you're gonna get angry and stop caring. It begins with not caring about what your slack-jawed knuckle-dragging cowardly pseudo tough-guy football-watching neighbor thinks. Okay? That's where it begins. It begins with not caring what happens to your individual person. And when you have that attitude, when you have that attitude, then the enemy doesn't have anything over you anymore. Stop being gelded domesticated garbage. Stop being weak! And when you see a threat coming down on you, deal with it! Become a human again! Stop being weak! We have a bunch of criminals coming down on us. God, ugh! Murdering scum. I wanna get humanity awake. I wanna get our forces up. And I wanna bring these people to justice. And you know what I mean. You know what I mean! I wanna unleash humanity, not have a bunch of con artist pot-bellied chicken-neck pieces of garbage running our world! More importantly they act like effeminate cowardly chicken necks cuz they want to train you to act like that they want to train you to be weak they want to train you. That's a nasty taste coming up in my mouth. Tastin' those globalists. I can taste their fear and their weakness. I taste metal, I taste blood.”

Alex Jones (1974) American radio host, author, conspiracy theorist and filmmaker

Alex's Bill Gates Chicken-Neck Bastard 'Rant' https://www.youtube.com/watch?v=Vg-5WgcMV_o, September 2011.

God, People, World, Justice

“In addition, 'Elementarism' is real instead of abstract. The use of the term 'abstract' also caused much misunderstanding. This is easily explained... As used in connection with visual methods of expression, the term 'abstract' is extremely relative. 'To abstract' something implies one of those mental activities (in contrast to emotional spontaneity) through which certain [aesthetic] values are isolated from the world of reality. However, when such values were realized visually and applied as purely constructive means, they became real. Thus the abstract was transformed into the real, thereby illustrating the relativity of the former term. Hence, the term ‘abstract-real’ [proposed by his former artist-fellow Piet Mondrian, ] was a fortunate invention, although in reference to a new orientation [van Doesburg's new art orientation 'Elementarism'] the term 'real' is sufficient. The period of abstraction is at an end. Is not an elementary painting, which is to say a certain composition of plane-linear colours, organic in itself, more concrete…”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from Van Doesburg's article 'Elementarism as real art', in: 'Painting and plastic art' - Rome, July 1926, in De Stijl', series XIII, 1 75-6, 1926, pp. 35–43
1926 – 1931

World, Art, Reality, Painting

“I believe in limited government. I believe that government should be limited in many ways, and what I am going to emphasize is only an intellectual thing. I don't want to talk about everything at the same time. Let's take a small piece, an intellectual thing.No government has the right to decide on the truth of scientific principles, nor to prescribe in any way the character of the questions investigated. Neither may a government determine the aesthetic value of artistic creations, nor limit the forms of literary or artistic expression. Nor should it pronounce on the validity of economic, historic, religious, or philosophical doctrines. Instead it has a duty to its citizens to maintain the freedom, to let those citizens contribute to the further adventure and the development of the human race.”

Richard Feynman book The Meaning of It All

lecture II: "The Uncertainty of Values"
The Meaning of It All (1999)

Truth, Way, Question, Freedom

“I’m very interested in the ‘Culture of Interpretation.’ I’m convinced that each great artist has his own personal style, but it is his artistic responsibility in developing this style to respond other interpretations, either prior or at the same time. I’m convinced that Rubinstein would have presented us another Chopin if Cortot had not existed. Cortot presented very romantic Chopin interpretations - really masterly, outstanding, but confused. Rubinstein’s immediate answer was a very classical Chopin. He was really the first to point out the classical line and structure in his oeuvre.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Time, Personality

“My work is based on a tradition quite distinct from the Eckersberg tradition, a Nordic line of development that had never been clearly and consistently defined in the literature on art. This line is not a straight one; it has the strangest and most fascinating twists and curves, and includes such artists as Edvard Munch, Ernest Josephson, Hill, Hansen Jacobsen, Johannes Holbek, Jens Lund, and Emile Nolde. Not all of them equally well known.”

Asger Jorn (1914–1973) Danish artist

Statement in the late 1960s, as quoted in Fortaelleren Asger Jorn (1984) by Gunnar Jespersen, p. 121
1959 - 1973, Various sources

Art, Literature

“The perfect detective story cannot be written. The type of mind which can evolve the perfect problem is not the type of mind that can produce the artistic job of writing.”

Raymond Chandler (1888–1959) Novelist, screenwriter

"Twelve Notes on the Mystery Story", published in The Notebooks of Raymond Chandler(1976)

Problem, Perfection

“If until now colour and form were used as inner agents, it was mainly done subconsciously. The subordination of composition to geometrical form is no new idea (cf. the art of the Persians). Construction on a purely spiritual basis is a slow business, and at first seemingly blind and unmethodical. The artist must train not only his eye but also his soul, so that it can weigh colours in its own scale and thus become a determinant in artistic creation. If we begin at once to break the bonds that bind us to nature and to devote ourselves purely to combination of pure colour and independent form, we shall produce works that are mere geometric decoration, resembling something like a necktie or a carpet. Beauty of form and colour is no sufficient aim by itself, despite the assertions of pure aesthetes or even of naturalists obsessed with the idea of "beauty". It is because our painting is still at an elementary stage that we are so little able to be moved by wholly autonomous colour and form composition. The nerve vibrations are there (as we feel when confronted by applied art), but they get no farther than the nerves because the corresponding vibrations of the spirit which they call forth are weak. When we remember however, that spiritual experience is quickening, that positive science, the firmest basis of human thought is tottering, that dissolution of matter is imminent, we have reason to hope that the hour of pure composition is not far away. The first stage has arrived.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from Concerning the Spiritual in Art, Wassily Kandinsky, Munich, 1912; as cited in Kandinsky, Frank Whitford, Paul Hamlyn Ltd, London 1967, p. 15
1910 - 1915

Beauty, Hope, Art, Feeling

“One clashes with stupidity of all kinds. And then how much money must be spent in advance! The way in which artists are treated is really scandalous. I am compelled to give a third of my receipts to the manager of the theatre and a fifth to the hospitals. Devil take them! As long as these abuses exist, I shall always ask whether music is or is not an art that may be freely exercised. Believe me, there is nothing to be done for artists in times like these.”

Ludwig Van Beethoven (1770–1827) German Romantic composer

24th November, 1814
Source: Johann Wenzel Tomaschek, "A Talk with Beethoven", The Musical Times and Singing Class Circular, Vol. 33, Beethoven Supplement (Dec. 15, 1892)

Money, Stupidity, Art, Music

“And I understand they are, in a sense, artists? That is to say, they understand the creative process, the sublimation of fact to symbol and the use of symbol to suggest emotion?”

Jack Vance book Space Opera

Source: Space Opera (1965), Chapter 8 (p. 65)

Understanding, Sense

“Living in a system under the Communist ideology, an artist cannot avoid fighting for freedom of expression. You always have to be aware that art is not only a self-expression but a demonstration of human rights and dignity. To express yourself freely, a right as personal as it is, has always been difficult, given the political situation.”

Ai Weiwei (1957) Chinese concept artist

2000-09, Ai Weiwei: A Rebel of Poet Roots, 2008

Art, Freedom, Fight, Personality

“On the lines of the mighty and simple strains dominating the movement, and felt intuitively and studied out by him, the master artist groups with full intention, his muscular forms. No detail contradicts. His men and animals live. Such is the work of three or four modern artists. Such was the work of many an old Greek sculptor.”

Thomas Eakins (1844–1916) American painter

"The Differential Action of Certain Muscles Passing More than One Joint," lecture, Academy of Natural Sciences, Philadelphia (1894-05-01).

Men, Study, Animals

“Marinetti's [leading Futurism founder and theorist] Tactilism can be seen as an instinctive effort in this direction [of the new architecture, according to Van Doesburg] even if it presents only the sensuous-tactile expression of space through using various materials. Picasso's earlier compositions in various materials also concerns us here. The Russian artists [ Tatlin and Lissitzky, both Constructivist artists] also appreciated the exterior quality of the plane, not only optical, but also in a tactile manner... Intuition already produced a foreknowledge of these new realms, but they can be established fully only by science.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote in van Doesburg's unpublished writing: 'The struggle for the new', 1929-30; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 187
Van Doesburg's quote is proposing here the sensuous-tactile expression of space as essential for modern architecture
1926 – 1931

Effort, Science, Future

“My people will sleep for one hundred years, but when they awake, it will be the artists who give them their spirit back.”

Louis Riel (1844–1885) Canadian politician

As quoted in The Defiant Imagination : Why Culture Matters (2004) by Max Wyman, p. 85

People, Sleep

“One of my grandfathers was a blacksmith, and all the plumbers and carpenters and electricians, people who did things with their hands, thought of themselves as artists because they were good at doing things. They were proud of their making things.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 9
Conversation with Karen Wilkin' (1986-1988)

People

“Now men and their... um... equipment can sometimes falter under pressure so imagine the stress that artist Pricasso and his 'man thing' brush were under, when he came on stage to paint the one and only Carlotta.”

Pricasso (1949) Australian painter

[Gold Coast Bulletin staff, Gold Coast Bulletin, Queensland, Australia, News Limited, Fundraiser has a brush with 'talent', 7 March 2012, 24]
About

Men, Imagination, Painting

“Essential to the Catholic mind is what I would characterize as a keen sense of the prolongation of the Incarnation throughout space and time, an extension that is made possible through the mystery of the church. Catholics see God’s continued enfleshment in the oil, water, bread, imposed hands, wine, and salt of the sacraments; they appreciate it in the gestures, movements, incensations, and songs of the Liturgy; they savor it in the texts, arguments, and debates of the theologians; they sense it in the graced governance of popes and bishops; they love it in the struggles and missions of the saints; they know it in the writings of Catholic poets and in the cathedrals crafted by Catholic architects, artists, and workers. In short, all of this discloses to the Catholic eye and mind the ongoing presence of the Word made flesh, namely Christ.”

Robert Barron (bishop) (1959) priest of the Roman Catholic Church, author, scholar and Catholic evangelist.

Father Barron, Robert. Catholicism: A Journey to the Heart of the Faith (Kindle Locations 75-81). The Crown Publishing Group. Kindle Edition.

Love, God, Sense, Water

“You can grow grapes in almost any part of the world. You just have to develop your palate enough to realize wine is an expression of the place where you make it. You don't have to take over the world; just be an artist and express your area.”

Maynard James Keenan (1964) musician

George Varga (November 7, 2008) "Tool lead singer hits the right notes in the winemaking community", The San Diego Union-Tribune, p. E-1.

World, Wine, Parting

“A novel is a marketable commodity, of the class collectively termed “luxuries,” as not contributing directly to the support of life or the maintenance of health. It is of the class "artistic luxuries" because it does not appeal to any of the three material senses — touch, taste, smell; and it is of the class "intellectual artistic luxuries,” because it is not judged by the superior senses — sight and hearing.”

Francis Marion Crawford (1854–1909) Novelist, short story writer, essayist (1854-1909)

The Novel: What It Is (1893)

Life, Health, Support, Sense

“As soon as a real artist finds out what art is, the more is he likely to feel the need of keeping silent about it, and about himself in connection with it. There is almost, these days, a kind of petit scandale in the thought of allying oneself with anything of a professional nature. And it is at this point that I shrink a little from asserting myself with regard to professional aspects of art. And here the quality of confession must break through.”

Marsden Hartley (1877–1943) American artist

n.p.
1921 - 1930, Art and the Personal Life', Marsden Hartley, 1928

Art, Feeling, Nature

“One of the reasons why Chris [Holmes] and I hooked up is that we were such extreme personalities. We had the ability to be the nicest people you'd ever want to meet, but cross us and we could turn into the devil himself. There was just a wide range of emotions going on there, but probably artists in general are like that. They just have a wide emotional swing.”

Blackie Lawless (1956) musician, songwriter and actor

KNAC Interview in 2002

People, Personality

“The purpose of arts education is not to produce more artists, though that is a byproduct. The real purpose of arts education is to create complete human beings capable of leading successful and productive lives in a free society.”

Dana Gioia (1950) American writer

Commencement speech, Stanford University (2007-06-17)
Speeches and lectures

Education, Art, Success

“The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition... We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist’s task; and it is the qualities of this object that constitute its felt content.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), p. 38

Art, Feeling, Sense

“The beauty other people create is not for the artists. Artists have to live alone.”

Bram van Velde (1895–1981) Dutch painter

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

People, Beauty

“Art, it seems to me, should simplify. That, indeed, is very nearly the whole of the higher artistic process; finding what conventions of form and what detail one can do without and yet preserve the spirit of the whole — so that all that one has suppressed and cut away is there to the reader's consciousness as much as if it were in type on the page.”

Willa Cather (1873–1947) American writer and novelist

On the Art of Fiction"; originally published in The Borzoi 1920 (1920)
Willa Cather on Writing (1949)

Art

“The reward of art is not fame or success but intoxication: that is why so many bad artists are unable to give it up.”

Jean Cocteau (1889–1963) French poet, novelist, dramatist, designer, boxing manager and filmmaker

Cyril Connolly in The Unquiet Grave (1944; 1951), Part 2
Misattributed

Art, Success

“Whenever I become discouraged (which is on alternate Tuesdays, between three and four) I lift my spirits by remembering: The artists are on our side! I mean those poets and painters, singers and musicians, novelists and playwrights who speak to the world in a way that is impervious to assault because they wage the battle for justice in a sphere which is unreachable by the dullness of ordinary political discourse.”

Howard Zinn (1922–2010) author and historian

" Artists of Resistance http://books.google.ca/books?id=qMYNNGiHQ0kC&pg=PT52&lpg=PT52#v=onepage&q&f=false", July 2001

World, Justice, Way

“Bullfighting is the only art in which the artist is in danger of death and in which the degree of brilliance in the performance is left to the fighter's honor.”

Ernest Hemingway book Death in the Afternoon

Source: Death in the Afternoon (1932), Ch. 9

Death, Art

“The new attitude of the critic toward the artist has been rationalized for me by a leading European art historian who is also an influential critic of current art. It is based on a theory of division of labor in making art history. The historian, he contends, knows art history and, in fact, creates it; the artist knows only how to do things. Left to himself, the artist is almost certain to do the wrong thing — to deviate from the line of art history and thus to plunge into oblivion. The critic's role is to steer him in the proper direction and advise changes in his technique and subject matter that will coordinate his efforts with the forces of development. Better still, critics should formulate historically valid projects for artists to carry out. That not all critics have the same expectations of the future of art does not, I realize, weaken the cogency of my colleague's argument. The surviving artist would be one who has been lucky enough to pick the winning critic. My own view that art should be left to artists seemed to my mentor both out-of-date and irresponsible.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 249, "Thoughts in Off-Season"

Art, History, Effort, Change

“We must remember that ideas modify feelings. The anti-intellectualism of English and American artists has led them to the error of not perceiving the connection between the feeling of modern forms and modern ideas. By feeling is meant the response of the 'body-and-mind' as a whole to the events of reality.”

Robert Motherwell (1915–1991) American artist

Modern Painter's World, ed. Robert Motherwell , Dyn, Nov. 1942, p. 9
1940s

Error, Feeling, Idea, Reality

“Artistic responsibility? (Schliessmann answers using Bach performance as his example): After the rediscovery of Bach by Mendelssohn, Bach was interpreted in a very romantic style. This had nothing to do with Bach. Leopold Stokowski made arrangements for orchestra. O. K., the public had a chance to know the works, but it also had nothing to do with Bach. So Tureck and Gould - despite their substantial differences - came and made something completely radical. Only in this way was there a chance to ‘correct’ the ‘picture’ of interpretation and move in the right direction.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Way, Chance

“Jacques Ellul observes in Propaganda: When dialogue begins, propaganda ends. His theme, that propaganda is not this or that ideology but rather the action and coexistence of all media at once, explains why propaganda is environmental and invisible. The total life of any culture tends to be "propaganda", for this reason. It blankets perception and supresses awareness, making the counter environments created by the artist indispensable to survival and freedom.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1970s, From Cliché to Archetype (1970), p.77

Life, Freedom

““.. I felt angry when I learnt that a great artist like Mani Madhava Chakyar was awarded a mere Padma Shri. A man of his artistic genius and erudition deserved to be decorated with the highest state honour (Bharat Ratna)”
- RKG (Editor, The Illustrated Weekly, Columnist for Times of India), 2000”

Mani Madhava Chakyar (1899–1990) Indian actor

Awards Source: RKG, India : A Nation in Turmoil, Vedam Books, New Delhi (2000), ISBN 81-7476-268-X, p. 256 http://books.google.com/books?id=pKkBbf7doAUC&pg=RA1-PA256&ots=46YGGQqKUK&dq=Mani+Madhava+Chakyar&sig=BtI2LnPjtmf8b9sIMMlC4ihk40Y#PRA1-PA256,M1

Time

“Love is not the sacred thing that poets talk about … Love is an illusion; it is the world's greatest mistake. I ought to know for I've been loved as no other woman of my time has been loved. Men have threatened suicide, they have taken poison, they have fought duels for me. All kinds have come to me — geniuses, poets, millionaires, artists, musicians — but now there is not one to whom I have appealed for the loan of £25 who have responded.
There is love for you!”

Isadora Duncan (1877–1927) American dancer and choreographer

As quoted in A Century of Sundays : 100 years of Breaking News in the Sunday Papers (2006) by Nadine Dreyer, p. 65 http://books.google.com/books?id=5rFGX4z8-S8C&pg=PA65&dq=%22Love+is+an+illusion;+it+is+the+world's+greatest+mistake%22&hl=en&sa=X&ei=NPAkT7mJDJKy0AH5vcXkCA&ved=0CDIQ6AEwAA#v=onepage&q=%22Love%20is%20an%20illusion%3B%20it%20is%20the%20world's%20greatest%20mistake%22&f=false

Love, Men, World, Suicide

“Happiness is not essential to the artist; happiness never creates anything but memories.”

Frank Harris (1856–1931) Irish journalist and rogue

Oscar Wilde ([1916] 1997) ch. 21, p. 254.

Happiness, Memory

“Since the form is only an expression of the content and the content is different with different artists, it is then clear that there can be many different forms at the same time which are equally good. Necessity creates the form. Fish which live at great depths have no eyes. The elephant has a trunk. The chameleon changes its color, and so forth.”

Wassily Kandinsky (1866–1944) Russian painter

1910 - 1915, On the Problem of Form (1912)

Color, Fish, Change, Time

“I feel like I was particularly impressed by Richard Corben's work. But in general I would not say the underground made that big of an impression except for Corben… His science-fiction stories, those almost primitive black and white comics he did back then. I was very struck by the visceral punch they had, by the unusual artistic point of view. And also by the unabashed exaggeration. It's as if you wanted a woman to have big breasts, you drew it. There was something just so joyously excessive and erotic about his stuff, that I just ate it up.|Frank Miller }}”

Richard Corben (1940) American illustrator

Feeling, Science

“A fundamental problem in such studies stems from the long tradition that has regarded artistic productions as social facts. By regarding such productions as social facts the analyst is relieved of the burden of demonstrating what meanings these productions have for the artist and his audience. It is too frequently assumed that such meanings can be identified by a capable analyst, independent of the interpretations brought to such works by the artist or his audiences. In my judgement artist productions must be seen as interactional creations; the meanings of which arise out of the interactions directed to them by the artist and his audience.”

Norman K. Denzin (1941) American sociologist

Problem, Study

“Comparing them by their faculties of memory, reason, and imagination, it appears to me, that in memory they are equal to the whites; in reason much inferior…. The improvement of the blacks in body and mind, in the first instance of their mixture with the whites, has been observed by every one, and proves that their inferiority is not the effect merely of their condition of life. We know that among the Romans, about the Augustan age especially, the condition of their slaves was much more deplorable than that of the blacks on the continent of America…Yet notwithstanding these and other discouraging circumstances among the Romans, their slaves were often their rarest artists. They excelled too in science, insomuch as to be usually employed as tutors to their master’s children. Epictetus, Terence, and Phaedrus, were slaves. But they were of the race of whites. It is not their condition then, but nature, which has produced the distinction.”

Thomas Jefferson book Notes on the State of Virginia

Query XIV
1780s, Notes on the State of Virginia

Life, Children, Age, Imagination

“The general ignorance of the visual arts, especially their theoretical bases, deplorable even in the so-called intellectual world; the artist’s well-founded despair of ever reaching the mythical “masses” with “advanced art”; the resulting ghetto mentality predominant in the narrow and incestuous art world itself, with its resentful reliance on a very small group of dealers, curators, critics, editors, and collectors who are all too frequently and often unknowingly bound by invisible apron strings to the “real world’s” power structure—all of these factors may make it unlikely that conceptual art will be any better equipped to affect the world any differently than, or even as much as, its less ephemeral counterparts.”

Lucy R. Lippard (1937) American art curator

John Chandler and Lucy R. Lippard, " The Dematerialization of Art http://www.c-cyte.com/OccuLibrary/Texts-Online/Lippard-Chandler_The_Dematerialization_of_Art.pdf," in Conceptual Art: A Critical Anthology, ed. Alexander Alberro and Blake Stimson (Cambridge, Mass.: MIT Press, 1999).

World, Art, Despair

“I sat day after day in my little room, waiting for inspiration to visit me, trying to invent a pseudonym that would express, in a combination of noble and striking sounds, our dream of artistic achievement, a pen name grand enough to compensate for my own feeling of insecurity and helplessness at the idea of everything my mother expected from me.”

Romain Gary book Promise at Dawn

Promise at Dawn (1960) as quoted in "Great Pretenders" by Emma Garman in Tablet (31 October 2007) http://www.tabletmag.com/arts-and-culture/books/906/great-pretenders/

Dreams, Feeling, Idea, Waiting