Quotes about exhibit
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“Identical in the physical processes by which he originates—identical in the early stages of his formation—identical in the mode of his nutrition before and after birth, with the animals which lie immediately below him in the scale—Man, if his adult and perfect structure be compared with theirs, exhibits, as might be expected, a marvellous likeness of organization. He resembles them as they resemble one another—he differs from them as they differ from one another.—And, though these differences and resemblances cannot be weighed and measured, their value may be readily estimated; the scale or standard of judgment, touching that value, being afforded and expressed by the system of classification of animals now current among zoologists.”

Thomas Henry Huxley (1825–1895) English biologist and comparative anatomist

Source: 1860s, Evidence as to Man's Place in Nature (1863), Ch.2, p. 83

Lie, Birth, Animals, Perfection

“I must make a protest against the sort of exaggerations in which the noble Lord has indulged. He has described the railway launching 2,000 or 3,000 ruffians upon some quiet neighbourhood in a manner that might lead one to imagine the train conveyed a set of banditti to plunder, rack, and ravage the country, murder the people, burn the houses, and commit every sort of atrocity…they may conceive it to be a very harmless pursuit…Some people look upon it as an exhibition of manly courage, characteristic of the people of this country. I saw the other day a long extract from a French newspaper describing this fight as a type of the national character for endurance, patience under suffering of indomitable perseverance, in determined effort, and holding it up as a specimen of the manly and admirable qualities of the British race…I do not perceive why any number of persons, say 1,000 if you please, who assemble to witness a prize fight, are in their own persons more guilty of a breach of the peace than an equal number of persons who assemble to witness a balloon ascent. There they stand; there is no breach of the peace; they go to see a sight, and when that sight is over they return, and no injury is done to any one. They only stand or sit on the grass to witness the performance, and as to the danger to those who perform themselves, I imagine the danger to life in the case of those who go up in balloons is certainly greater than that of two combatants who merely hit each other as hard as they can, but inflict no permanent injury upon each other.”

Henry Temple, 3rd Viscount Palmerston (1784–1865) British politician

Speech http://hansard.millbanksystems.com/commons/1860/may/15/papers-moved-for-1 in the House of Commons (15 May 1860) on the illegal prize-fight between Tom Sayers and J. C. Heenan. The Radical MP Colonel Dickson replied that although "He sat on a different side of the House from the noble Lord, and did not often find himself in the same lobby with him on a division; but he would say for the noble Viscount, that if he had one attribute more than another which endeared him to his countrymen it was his thoroughly English character and his love for every manly sport". Palmerston was rumoured to have attended the fight and he contributed the first guinea to the collection for Sayers in the House of Commons. 1860s

Life, People, Peace, Imagination

“When a man paints a naked woman he gives her less than poor Nature did. I can conceive of few circumstances wherein I would have to paint a woman naked, but if I did I would not mutilate her for double the money. She is the most beautiful thing there is — except a naked man, but I never saw a study of one exhibited.”

Thomas Eakins (1844–1916) American painter

Letter to his father, Benjamin Eakins (1867), quoted in Lloyd Goodrich, Thomas Eakins: His Life and Work (1933).

Money, Beauty, Nature, Study

“If the statistics are right, the Jews constitute but one percent of the human race. It suggests a nebulous dim puff of star dust lost in the blaze of the Milky Way. Properly the Jew ought hardly to be heard of, but he is heard of, has always been heard of. He is as prominent on the planet as any other people, and his commercial importance is extravagantly out of proportion to the smallness of his bulk. His contributions to the world's list of great names in literature, science, art, music, finance, medicine, and abstruse learning are also away out of proportion to the weakness of his numbers. He has made a marvellous fight in the world, in all the ages; and has done it with his hands tied behind him. He could be vain of himself, and be excused for it. The Egyptian, the Babylonian, and the Persian rose, filled the planet with sound and splendor, then faded to dream-stuff and passed away; the Greek and the Roman followed, and made a vast noise, and they are gone; other peoples have sprung up and held their torch high for a time, but it burned out, and they sit in twilight now, or have vanished. The Jew saw them all, beat them all, and is now what he always was, exhibiting no decadence, no infirmities of age, no weakening of his parts, no slowing of his energies, no dulling of his alert and aggressive mind. All things are mortal but the Jew; all other forces pass, but he remains. What is the secret of his immortality?”

Mark Twain book Concerning the Jews

Concerning the Jews (Harper's Magazine, Sept. 1899)

People, Secret, Age, World

“In the spring of the freshman year, the sophmore girls held what was called "The Baby Party" which all freshmen girls were compelled to attend. At this affair, the freshmen girls were questioned as to their misdemeanors and punished for their disobedience and rebellions. The baby party was so name because the freshman girls were required to dress as babies.
At the party; the freshmen girls were put through various students under command of sophomores. Upon one occasion, for instance, the freshman girls were led into a dark corridor where their eyes were blindfolded, and their arms were bound behind them. Only one freshman at a time was taken through this corridor along which sophomore guards were stationed at intervals. This arrangement was designed to impress the girls punished with the impossibility of escape from their captresses. After a series of harmless punishments, each girl was led into a large room where all the Junior and Senior girls were assembled. There she was sentenced to go through various exhibitions, supposed to be especially suitable to punish each particular girls failure to submit to discipline imposed by the upper class girl. The sophomore girls carried long sticks with which to enforce, if necessary, the stunts which the freshmen were required to preform. While the programme did not call for a series of pre-arranged physical struggles between individual girls…frequent rebellion of the freshman against the commands of their captresses and guards furnished the most exciting portion of the entertainment according to the report of a majority of the class girls.
Nearly all the sophomores reported excited pleasantness of captivation emotion throughout the party. The pleasantness of captivation response appeared to increase when they were obliged to overcome rebellious freshmen physically, or to preform the actions from which the captive girls strove to escape….
Female behavior also contains still more evidence than male behavior that captivation emotion is not limited to inter-sex relationships. The person of another girls seems to evoke from female subjects, under appropriate circumstances, filly as strong captivation response as does that of a male.”

William Moulton Marston (1893–1947) American psychologist, lawyer, inventor and comic book writer

as quoted in Wonder Woman: Bondage and Feminism in the Marston/Peter comics, 1941-1948, pp. 64-65 by Noah Berlatsky.
The Emotions of Normal People (1928)

Sex, Behavior, Girl, Spring

“We went from losses to goods seized by creditors, while continuing to organize surrealist or abstract exhibitions…”

Christian Dior (1905–1957) French fashion designer

In September 1932 when there was world wide economic crisis
Source: Marie France Pochna, "Christian Dior: The Man who Made the World Look New", p. 53

Loss

“Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits. Artists are expected to fit into fraudulent categories. Some artists imagine they've got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control.”

Robert Smithson (1938–1973) American artist

Cultural Confinement, 1972

Art, Imagination, Support

“It has before been observed that this author is very severe upon most of the popular sports; but in justice to him I may add, that similar complaints have been exhibited against the church-ales and wakes in times greatly anterior to his existence. And, indeed, if we look at the wakes and fairs as they are conducted in the present day, I trust we shall not hesitate to own that they are by no means proper schools for the improvement of the public morals.”

Joseph Strutt (1749–1802) British engraver, artist, antiquary and writer

pg. 368
The Sports and Pastimes of the People of England (1801), Phillip Stubbes

School, Justice, Sport, Time

“Many well-meaning Dutch people have told me in all earnestness that nothing in Islamic culture incites abuse of women, that this is just a terrible misunderstanding. Men all over the world beat their women, I am constantly informed. In reality, these Westerners are the ones who misunderstand Islam. The Quran mandates these punishments. It gives a legitimate basis for abuse, so that the perpetrators feel no shame and are not hounded by their conscience or their community. I wanted my art exhibit to make it difficult for people to look away from this problem. I wanted secular, non-Muslim people to stop kidding themselves that "Islam is peace and tolerance."”

Ayaan Hirsi Ali book Infidel

Source: Infidel (2007), Chapter 16: Politics

Women, Men, People, World

“Duchamp named the mobiles and Arp the stabiles. Arp said, "What did you call those things you exhibited last year? Stabiles?"”

Alexander Calder (1898–1976) American artist

Question, Is it true that Marcel Duchamp invented the name “mobile” for your work?
1950s - 1960s, interview with Alexander Calder', (1962)

“When taken as a way of modeling cognitive architecture, connectionism really does represent an approach that is quite different from that of the classical cognitive science that it seeks to replace. Classical models of the mind were derived from the structure of Turing and Von Neumann machines. They are not, of course, committed to the details of these machines as exemplified in Turing's original formulation or in typical commercial computers—only to the basic idea that the kind of computing that is relevant to understanding cognition involves operations on symbols.. In contrast, connectionists propose to design systems that can exhibit intelligent behavior without storing, retrieving, or otherwise operating on structured symbolic expressions. The style of processing carried out in such models is thus strikingly unlike what goes on when conventional machines are computing some function.”

Jerry Fodor (1935–2017) American philosopher

Jerry A. Fodor, and Zenon W. Pylyshyn. "Connectionism and cognitive architecture: A critical analysis." Cognition 28.1-2 (1988): 3-71.

Way, Behavior, Intelligence, Idea

“It didn’t pay very much, but it enabled me to get other jobs doing art criticism, which I didn’t want to do very much, but as so often when you exhibit reluctance to do something, people think you must be very good at it. If I had set out to be an art critic, I might never have succeeded.”

John Ashbery (1927–2017) poet from the United States

Source: The Paris Review (Issue 90, Winter 1983)

People, Art, Thinking

“I have recently returned from an expedition to scientific societies of the West. Their members exhibited intense interest in delicate instruments of my invention which demonstrate the indivisible unity of all life. The Bose crescograph has the enormity of ten million magnifications. The microscope enlarges only a few thousand times; yet it brought vital impetus to biological science. The crescograph opens incalculable vistas.”

Jagadish Chandra Bose (1858–1937) Bengali polymath, physicist, biologist, botanist and archaeologist

India's Great Scientist, J.C. Bose

Life, Science, Time

“But the most common error among the whole-hearted abstractionists nowadays [in 1946] is to mistake the medium for an end in itself, instead of a means. On the other hand, the surrealists erred in supposing that one can do without a medium, that in attacking the medium one does not destroy just one means for getting into the unknown. Color and space relations constitute such a means because from them can be made structures which exhibit the various patterns of reality.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), pp. 39-40

Color, Error, Reality, Heart

“LeDuff’s argument (in Shock Art #37) that an image, once floated on the international art-sea, is a fish that anyone may grab with impunity, and make it his own, would not persuade an oyster. Questions of primacy are not to be scumbled in this way, which, had he been writing from a European perspective, he would understand, and be ashamed. The brutality of the American rape of the world’s exhibition spaces and organs of art-information has distanciated his senses. The historical aspects have been adequately trodden by others, but there is one category yet to be entertained—that of the psychological. The fact that LeDuff is replicated in every museum, in every journal, that one cannot turn one’s gaze without bumping into this raw plethora, LeDuff, LeDuff, LeDuff (whereas poor Bruno, the true progenitor, is eating the tops of bunches of carrots)—what has this done to LeDuff himself? It has turned him into a dead artist, but the corpse yet bounces in its grave, calling attention toward itself in the most unseemly manner. But truth cannot be swallowed forever. When the real story of low optical stimulus is indited, Bruno will be rectified.”

Donald Barthelme (1931–1989) American writer, editor, and professor

“Letters to the Editore”, Guilty Pleasures (1974).

Truth, World, Art, Way

““The practice of employing images as ornaments and memorials to decorate the temple of the Lord is in a most especial manner approved by the Word of God himself. Moses was commanded to place two cherubim upon the ark, and to set up a brazen figure of the fiery serpent, that those of the murmuring Israelites who had been bitten might recover from the poison of their wounds by looking on the image. In the description of Solomon's temple, we read of that prince, not only that he made in the oracle two cherubim of olive tree, of ten 83 Vide supra, p. 17. 101 cubits in height, but that ‘all the walls of the temple round about he carved with divers figures and carvings.’ “In the first book of Paralipomenon (Chronicles) we observe that when David imposed his injunction upon Solomon to realise his intention of building a house to the Lord, he delivered to him a description of the porch and temple, and concluded by thus assuring him: ‘All these things came to me written by the hand of the Lord, that I may understand the works of the pattern.’ “The isolated fact that images were not only directed by the Almighty God to be placed in the Mosaic tabernacle, and in the more sumptuous temple of Jerusalem, but that [132] he himself exhibited the pattern of them, will be alone sufficient to authorise the practice of the Catholic Church in regard to a similar observance.”—(Hierurgia, p. 371.) All this may be briefly answered. There was no representation of the Jewish patriarchs or saints either in the tabernacle or in the temple of Solomon, as is the case with the Christian saints in the Roman Catholic and Græco-Russian Churches; and the brazen serpent, to which the author alludes, was broken into pieces by order of King Hezekiah as soon as the Israelites began to worship it.”

John Calvin (1509–1564) French Protestant reformer

Source: A Treatise of Relics (1543), pp. 100-101

God, Books, Understanding, Tree

“Among the many things that I showed Sir John while at Hammerfield, was a piece of white calico on which I had got printed one million spots. This was for the purpose of exhibiting one million in visible form. In astronomical subjects a million is a sort of unit, and it occurred to me to show what a million really is. Sir John was delighted and astonished at the sight. He went carefully over the outstretched piece with his rule, measured its length and breadth, and verified its correctness.”

James Nasmyth (1808–1890) Scottish mechanical engineer and inventor

Source: James Nasmyth engineer, 1883, p. 389; Cited in: Humphrey Jennings, ‎Mary-Lou Jennings, ‎Charles Madge (1985). Pandaemonium, 1660-1886: The Coming of the Machine as Seen by Contemporary Observers, 1660-1886. p. 302

““Talk you of tradition in middle of singularity.” Sister Seventh twisted her head around to look out the windows at the foggy evening drizzle beyond. “Perplexity maximizes. Not understand singularity is discontinuity with all tradition? Revolution is necessary; deconstruct the old, ring in the new. Before, I questioned your sapience. Now, your sanity questionable; sapience not. Only sapient organism could exhibit superlative irrationality!””

Charles Stross book Singularity Sky

Source: Singularity Sky (2003), Chapter 6, “Telegram from the Dead” (p. 144)

Understanding, Question, Sister

“Today I visited Van Gogh's exhibition. I can not help it, but I think it's art for Eskimos, I can not enjoy it. I find it fairly crude and obnoxious, without the slightest distinction, and besides that everything is stolen from Millet and others.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Vandaag ben ik op de expositie van Van Gogh geweest. Ik kan het niet helpen, maar ik vind het kunst voor Eskimo's, ik kan er niet van genieten. Ik vind het eerlijk grof en onhebbelijk, zonder de minste distinctie, en buitendien alles nog een gestolen goedje van Millet en anderen. Breitner's quote in his letter to Mrs. Van der Weele, (nr. 36) 25 Dec. 1892; as cited by P.H. Hefting, 'Brieven van G.H. Breitner aan H.J. van der Weele' https://dspace.library.uu.nl/handle/1874/245951, in Nederlands Kunsthistorisch Jaarboek 27 1976, pp. 112-172 Breitner wrote his letter after visiting the large Van Gogh-exhibition in the Panorama Room, December 1892 1890 - 1900

Art, Thinking, Help

“It is not so bad that my paintings have been placed in the so-called reading room [Amsterdam exhibition, probably Arti et Amicitiae at the Rokin? ]. But it will be just as you write, they will definitely have to serve for FW Jansen and others. They certainly must get the medals and have to show in a most favorable way... Are there many beautiful things exhibited or is everything rather mediocre? Is there something to see of Breitner and Bauer.”

Suze Robertson (1855–1922) Dutch painter

translation from original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Suze Robertson's brief:) Het valt me nog mee dat mijn schilderijen in de zoogenaamde leeszaal geplaatst zijn [tentoonstelling Amsterdam, waarschijnlijk nl:Arti et Amicitiae aan het Rokin?]. Maar het zal wel net zijn zoals je schrijft, ze zullen zeker dienst moeten doen voor FW Jansen en anderen. Die moeten zeker de medailles hebben en moeten op zijn gunstigst uitkomen.. ..Is er veel moois of is alles nogal middelmatig? Is er van Breitner nog iets en Bauer.
In a letter of Suze Robertson from Heeze, 11 Sept. 1904, to her husband Richard Bisschop; as cited in Suze Robertson 1855-1922 – Schilderes van het harde en zware leven, exhibition catalog, ed. Peter Thoben; Museum Kemperland, Eindhoven, 2008, p. 12
1900 - 1922

Beauty, Way, Reading, Painting

“There is another side to the theory of relativity. We have pointed out in the beginning how the development of science is in the direction to make it less subjective, to separate more and more in the observed facts that which belongs to the reality behind the phenomena, the absolute, from the subjective element, which is introduced by the observer, the relative. Einstein's theory is a great step in that direction. We can say that the theory of relativity is intended to remove entirely the relative and exhibit the pure absolute.”

Willem de Sitter (1872–1934) Dutch cosmologist

Kosmos (1932), Above is Beginning Quote of the Last Chapter: Relativity and Modern Theories of the Universe -->

Reality, Science

“My dear Theo, Thanks for your letter of this morning. Yesterday I saw the Corot exhibition. It included a painting of the 'Mount of Olives'; I'm glad he painted that. On the right, a group of olive trees, dark against the darkening blue sky; in the background hills covered with shrubs and a couple of tall trees, above them the evening star.... I've also seen the Louvre and the Luxembourg, as you can imagine. The Ruisdaels in the Louvre are magnificent, especially 'The bush', 'The breakwater' and 'The ray of sunlight.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

I wish you could see the small Rembrandts there, the 'Supper at Emmaus', and two pendants, 'The philosophers'. quote from his Letter #034 to Theo (Paris, 31 May 1875) http://vangoghletters.org/vg/letters/let034/letter.html 1870s

Imagination, Star, Tree, Painting

“The' holist/serialist' distinction (Daniel, 1975; Pask and Scott, 1971, 1972) is an example of different learning strategies, rather than the more generally exhibited learning style. The holist or serialist strategies are exhibited in a, strict conversation,' and are thus insufficiently refined to account for learning in general. Holism and serialism appear to be extreme manifestations of more fundamental processes, which are induced by systematic enforcement of the requirement for understanding which is as strong as, or stronger than, the requirement for' deep-level' processing.”

Gordon Pask (1928–1996) British psychologist

Source: Styles and Strategies of Learning (1976), p. 133.

Understanding, Strong, Learning, Appearance

“It was then that I remembered the colour blue, the blue of the sky in nice that was at the origin of my career as monochromist. I started work towards the end of 1956 and in 1957 I had an exhibition in Milan which consisted entirely of what I dared to call my 'Epoque bleue.”

Yves Klein (1928–1962) French artist

In 1957; p. 31
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"

“Duchamp realized that there was something false in art, but his limitation was that, rather than demystifying, he amplified it. By taking a manufactured object and placing it out of context, he quite simply symbolized art. His actions tended to “represent” and not “present” the object. Duchamp, like all artists, could not “present” anything at all without “re-presenting” it. And if he symbolized art in this way, it was because as soon as he exhibited a bottle rack, a shovel, or a urinal, he was really stating that anything was art as soon as you pointed at it. By extension, and this is very important, that means that a cow in a field becomes art in a painting, a tree by Courbet becomes art, and a woman by Rubens becomes art; now this cow, this tree, and this woman exist in another way. Duchamp dismantled this process supposedly to take away its sanctity, but he went about it in such a way that by being against art, he was in art. Let’s clarify an important point right away: Duchamp is not anti-art. He belongs to art. The art of extolling the consumer society.”

Daniel Buren (1938) sculptor from France

Source: Art is no longer justifiable or setting the record straight, 2000, p. 66

Art, Way, Tree, Painting

“Part of my aim is to exhibit some general and structural features of the conceptual scheme in terms of which we think about particular things.”

P. F. Strawson (1919–2006) British philosopher

Source: Individuals (1959), p. 2.

Thinking, Parting

“Cellular automata are discrete dynamical systems with simple construction but complex self-organizing behaviour. Evidence is presented that all one-dimensional cellular automata fall into four distinct universality classes. Characterizations of the structures generated in these classes are discussed. Three classes exhibit behaviour analogous to limit points, limit cycles and chaotic attractors. The fourth class is probably capable of universal computation, so that properties of its infinite time behaviour are undecidable.”

Stephen Wolfram (1959) British-American computer scientist, mathematician, physicist, writer and businessman

[10, 1–2, January 1984, 1–35, Physica D: Nonlinear Phenomena, Universality and complexity in cellular automata, 10.1016/0167-2789(84)90245-8]

Universe, Time

“[For Hegel] it is the ethical task of the individual to transcend particularity and conform to the universal, to exhibit as a matter of character and behavior the values expressed in the laws and customs of his or her people. The problem is that the universal … is itself without moral obligations as soon as it has been absolutized. As divine, its will is law and its deeds are good.”

Merold Westphal (1940)

Source: Kierkegaard’s Critique of Reason and Society (1992), pp. 39-40

People, Law, Behavior, Problem

“The idea of defending, as integral parts of our Empire, countries 10,000 miles off, like Australia, which neither pay a shilling to our revenue…nor afford us any exclusive trade…is about as quixotic a specimen of national folly as was ever exhibited.”

Richard Cobden (1804–1865) English manufacturer and Radical and Liberal statesman

A note to Edward Ellie (1856), quoted in James E. Thorold Rogers (ed.), Speeches on Questions of Public Policy by Richard Cobden M.P. (1878), p. 248.
1850s

Idea, Parting, Country

“I was thinking the day most splendid, till I saw what the not-day exhibited;
I was thinking this globe enough, till there sprang out so noiseless around me myriads of other globes.”

Walt Whitman (1819–1892) American poet, essayist and journalist

Night on the Prairies
Bartlett's Familiar Quotations, 10th ed. (1919)

Thinking

“I have been appointed by the Convention of the State of Georgia, to present to this Convention, the ordinance of secession of Georgia, and further, to invite Virginia, through this Convention to join Georgia and the other seceded States in the formation of a Southern Confederacy. This, sir, is the whole extent of my mission. 1 have no power to make promises, none to receive promises; no power to bind at all in any respect. But still, sir, it has seemed to me that a proper respect for this Convention requires that I should with some fulness and particularity, exhibit before the Convention the reasons which have induced Georgia to take that important step of secession, and then to lay before the Convention some facts and considerations in favor of the acceptance of the invitation by Virginia. With your permission then, sit, I will pursue this course.”

Henry L. Benning (1814–1875) Confederate Army general

Speech to the Virginia Convention (1861)

“Artificial Life [AL] is the study of man-made systems that exhibit behaviors characteristic of natural living systems. It complements the traditional biological sciences concerned with the analysis of living organisms by attempting to synthesize life-like behaviors within computers and other artificial media. By extending the empirical foundation upon which biology is based beyond the carbon-chain life that has evolved on Earth, Artificial Life can contribute to theoretical biology by locating life-as-we-know-it within the larger picture of life-as-it-could-be.”

Christopher Langton (1949) American computer scientist

Source: Artificial Life (1989), p.1

Life, Behavior, Nature, Study

“The desire of a poet for his writings to be in print is as natural as a painter needs to exhibit his work in public.”

Vernon Scannell (1922–2007) British boxer and poet

A Proper Gentleman, 1977

Nature

“In a museum in London there is an exhibit called "The Value of Man": a long coffinlike box with lots of compartments where they've put starch—phosphorus—flour—bottles of water and alcohol—and big pieces of gelatin. I am a man like that.”

Stéphane Mallarmé (1842–1898) French Symbolist poet

Letter dated 17th May 1867.
Observations

Alcohol, Water, Box

“I insist on establishing the following dates indicating my prior paternity, [and the discussions that I held]
1884, 'Grande Jatte' study, exhibition of the Independants
1884-1885, 'Grande Jatte' composition
1885, studies at the 'Grande Jatte' and at Grandcamp; I took up again the 'Grande Jatte' composition October 1886. 4 October [18]85 I make Pissarro's acquaintance at Durand-Ruel's.
1886, January or February, a small canvas by Pissarro, divided and pure color, at Clozet's, the dealer on the Rue de Chateaudun.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Félix Fénéon', June 1890

Color, Study

“It is with regret that I have again to announce a continuance of the disturbed condition of the island of Cuba. No advance toward the pacification of the discontented part of the population has been made. While the insurrection has gained no advantages and exhibits no more of the elements of power or of the prospects of ultimate success than were exhibited a year ago, Spain, on the other hand, has not succeeded in its repression, and the parties stand apparently in the same relative attitude which they have occupied for a long time past.”

Ulysses S. Grant (1822–1885) 18th President of the United States

1870s, Fourth State of the Union Address (1872)

Time, Success, Past, Parting

“The Art we look at is made by only a select few. A small group create, promote, purchase, exhibit and decide the success of Art. Only a few hundred people in the world have any real say. When you go to an Art gallery you are simply a tourist looking at the trophy cabinet of a few millionaires…”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

Wall and Piece (2005)

People, World, Art, Success

“In real life, too, it takes a long time for a woman to bring the animus into consciousness, and it costs her a great deal of suffering. But if she succeeds in freeing herself from his possession, he changes into an "inner companion" of the highest value, who confers on her positive masculine qualities such as initiative, courage, objectivity, and intellectual clarity. Like the anima in a man, the animus also commonly exhibits four stages of development. In the first stage he manifests as a symbol of physical force, for example, a sports hero. In the next stage, in addition he possesses initiative and focused ability to act. In the third stage, he becomes "the word" and is therefore frequently projected onto noteworthy intellectuals, like doctors, ministers, and professors.”

Marie-Louise von Franz (1915–1998) Swiss psychologist and scholar

Archetypal Dimensions of the Psyche (1994), The Animus, a Woman's Inner Man

Life, Courage, Sport, Suffering

“Healthy patriotism is associated with robust particularism – petty provincialism, if you like – and certainly not with the deracinated globalism exhibited by our GI Joes and Janes.”

Ilana Mercer South African writer

“The International Highway to Hell,” http://www.antiwar.com/mercer/?articleid=5117 Antiwar.com, March 9, 2005. 2000s, 2005

“Remember three things about censorship. First, it doesn’t work to suppress art or words that you don’t like. Second, trying to censor something just arouses interest in it, as well as resentment towards those who try to tell others what they can or cannot see. Third, exhibiting art or recommending that students read a book does not mean an endorsement of the image or contents.”

Jerry Coyne (1949) American biologist

" National Coalition Against Censorship and PEN defend Met’s showing of a “controversial” painting https://whyevolutionistrue.wordpress.com/2017/12/09/national-coalition-against-censorship-and-pen-defend-mets-showing-of-a-controversial-painting/" December 9, 2017

Books, Art, Reading

“This exhibition is a sum total of all my experiences and all my research.”

S. H. Raza (1922–2016) Indian artist

On the exhibition of his 39 new paintings in Mumbai.
This is a sum of all my experiences: SH Raza

“The annual Sexpo exhibition comes but once a year, and is not always memorable but this year one of our scouts discovered a truly unique talent at the show - a man who paints portraits with his, errm, manhood. Yes, Pricasso, as he calls himself, took Darling Harbour by storm last week.”

Pricasso (1949) Australian painter

[Annette Sharp, The Diary: Painting by members, The Sun-Herald, Sydney, Australia, 29 July 2007, 2, Fairfax Media Publications Pty Limited]
About

Painting, Scouting

“I had to go to the Bauhaus to the basic course that was given by Itten. And I submitted to that although I was a little older than Itten. But I have not the best memories of my studies there. So when that course was over everyone had to exhibit his work and then it was decided whether or not one could continue. I was accepted to continue. But I wanted to go into a workshop and I wanted to make stained glass. That was my old dream. Glass pictures. But Itten thought I was not ready for that. Certainly to delay my study in glass, Itten said, 'Glass painting is a branch of wall painting and you should go first to our wall painting workshop,' And I said, 'That's nonsense. Wall painting has to do with reflected light and glass painting with direct light.' So I said 'Sorry, I'll do my own stuff on my own.”

Josef Albers (1888–1976) German-American artist and educator

I had no money. Just a Rucksack and a hammer. And I started these assemblages. That was in 1921, But in all books on assemblages these things are not mentioned.
Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Money, Books, Dreams, Study

“Constitution,—the apex of all its intelligences and mighty instincts and dumb longings: it is I? William Conqueror's big gifts, and Edward's and Elizabeth's; Oliver's lightning soul, noble as Sinai and the thunders of the Lord: these are mine, I begin to perceive,—to a certain extent. These heroisms have I,—though rather shy of exhibiting them. These; and something withal of the huge beaver-faculty of our Arkwrights, Brindleys; touches too of the phoenix-melodies and sunny heroisms of our Shakspeares, of our Singers, Sages and inspired Thinkers all this is in me, I will hope,—though rather shy of exhibiting it on common occasions.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1850s, Latter-Day Pamphlets (1850), Downing Street (April 1, 1850)

Hope, Soul, Intelligence

“Machines as simple as thermostats can be said to have beliefs, and having beliefs seems to be a characteristic of most machines capable of problem solving performance. However, the machines mankind has so far found it useful to construct rarely have beliefs about beliefs, although such beliefs will be needed by computer programs that reason about what knowledge they lack and where to get it. Mental qualities peculiar to human-like motivational structures, such as love and hate, will not be required for intelligent behavior, but we could probably program computers to exhibit them if we wanted to, because our common sense notions about them translate readily into certain program and data structures. Still other mental qualities, e. g. humor and appreciation of beauty, seem much harder to model.”

John McCarthy (1927–2011) American computer scientist and cognitive scientist

" Ascribing Mental Qualities to Machines http://www-formal.stanford.edu/jmc/ascribing.html" (1979) Sect. 1: Introduction. Reprinted in Formalizing Common Sense: Papers By John McCarthy, 1990, ISBN 0893915351 1970s

Love, Hate, Beauty, Behavior

“At that second exhibition I had to peer into them and look through the grayed color and wonder what it would be like not gray and then wonder what the forms would be like not crabbed by the figures and trees.”

Donald Judd (1928–1994) artist

Donald Judd (1974), as quoted in: Joseph J. Rishel et al. (2009) Cézanne and beyond. p. 94: Talking about the work of Cezanne.
1970s

Color, Tree

“Well, Mondrian is absolute, and is pure, and those are real aspirations of our [American Abstract Expressionism art]. When I say 'pure', I don't mean 'clean'. I don't think Mondrian himself did; I knew him when he was here [New York] during the war. He went to an exhibition by the Surrealist, Tanguy, and was asked what he thought, and he said he would like Tanguy's pictures better if they were dirtier, that for him they were to clean…. I think he meant that when they were to 'clean', they were essentially lifeless, statuesque, unrevised. As for me, I must say, Mondrian's painting is intensely rhythmic, warm, passionate - restricted as the means ostensibly seem to me.”

Robert Motherwell (1915–1991) American artist

first published in 'Metro', 1962; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 81
1960s, Interview with David Sylvester', (1960)

War, Art, Thinking, Passion

“I have discovered a goodness and decency in people as exhibited in all the letters, e-mails, flowers, gifts and prayers that have been directed my way. I am overwhelmed and humbled. I offer you my most sincere thanks and my deep and abiding gratitude. If I ever write my memoirs, I have some spellbinding material. How does the Joni Mitchell song go? "Don't it always seem to go that you don't know what you've got till it's gone"? One thing I've discovered is that I love my job more than I thought I did, and I love my wife even more!”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

"Roger writes to readers" Chicago Sun Times (11 October 2006)

Love, People, Way, Flowers

“Every accessory, every instrument of usefulness, the church has now in such a degree and of such excellence as was never known in any other age; and we want but a supreme and glorious baptism of fire to exhibit to the world such a spectacle as would raise ten thousand hallelujahs to the glory of our King.”

William Arthur (minister) (1819–1901) Wesleyan Methodist minister and author

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 322.

Age, World

Zenon Pylyshyn (1937) Canadian philosopher

Jerry A. Fodor, and Zenon W. Pylyshyn. "Connectionism and cognitive architecture: A critical analysis." Cognition 28.1-2 (1988): 3-71.

Way, Behavior, Intelligence, Idea

“In Mexico City they somehow wandered into an exhibition of paintings by the beautiful Spanish exile Remedios Varo: in the central painting of a triptych, titled “Bordando el Manto Terrestre,” were a number of frail girls with heart-shaped faces, huge eyes, spun-gold hair, prisoners in the top room of a circular tower, embroidering a kind of tapestry which spilled out the slit windows and into a void, seeking hopelessly to fill the void: for all the other buildings and creatures, all the waves, ships and forests of the earth were contained in the tapestry, and the tapestry was the world.”

Thomas Pynchon book The Crying of Lot 49

Source: The Crying of Lot 49 (1966), Chapter 1

World, Beauty, Girl, Heart

“When comparing human memory and computer memory it is clear that the human version has two distinct disadvantages. Firstly, as indeed I have experienced myself, due to aging, human memory can exhibit very poor short term recall.”

Kevin Warwick (1954) British robotics and cybernetics researcher

in Hendricks, V: “500CC Computer Citations”, King’s College Publications, London,2005.

Age, Memory

“ However obvious these facts may appear at first glance, they are actually not so obvious as they seem except when we take special pains to think about the subject. Symbols and things symbolized are independent of each other; nevertheless, we all have a way of feeling as if […] there were necessary connections. For example, there is a vague sense we all have that foreign languages are inherently absurd; foreigners have such funny names for things, and why can't they call things by their right names? This feeling exhibits itself most strongly in those tourists who seem to believe that they can make the natives of any country understand English if they shout loud enough. Like the little boy who was reported to have said, "Pigs are called pigs because they are such dirty animals," they feel that the symbol is inherently connected in some way with the thing symbolized. Then there are the people who feel that since snakes are "nasty, slimy creatures" (incidentally, snakes are not slimy), the word "snake" is a nasty, slimy word.”

S. I. Hayakawa book Language in Thought and Action

Source: Language in Thought and Action (1949), Language as Symbolism, p. 27

Pain, People, Way, Feeling

“Great occasions rally great principles, and brace the mind to a lofty bearing, a bearing that is even above itself. But trials that make no occasion at all, leave it to show the goodness and beauty it has in its own disposition. And here precisely is the superhuman glory of Christ as a character, that He is just as perfect, exhibits just as great a spirit in little trials as in great ones.”

Horace Bushnell (1802–1876) American theologian

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 59.

Beauty, Christ, Perfection

“The freshwater fish fauna of Florida is one of the most interesting in the United States. It is a fauna developed in a region of recent geologic origin, low topographic relief, poor drainage, and unusual geographic configuration, and consequently exhibits certain very peculiar features. Some of the characteristic continental groups apparently have not had time to establish themselves in the peninsula since its elevation above the sea, while others have doubtless failed to find suitable conditions in its low and swamp-bordered water courses.”

Archie Carr (1909–1987) American university professor, zoologist, herpetologist, conservationist

[A key to the fresh-water fishes of Florida, In: Proceedings of the Florida Academy of Sciences, vol. 1, 72–86, 1936, http://www.jstor.org/stable/24313266] (quote from p. 72)

Fish, Water, Time, Sea

“In 1935 I was appointed leading artist of the All-Soviet Agricultural Exhibition. I opposed the errors of the first leader, and resigned. Afterwards, while I was still in the sanatorium, I took over the design of the main building. The design of the main hall has been done according to my idea until now. From 1931 on, I was leading artist-architect of the 'Permanent Building Exhibition'. But as the years went by, my health deteriorating, I had less and less energy left for this type of commission, such as the realization of large-scale exhibitions. I still succeeded in designing the project for the museum-exhibition of the Ministry of 'Social Security'.”

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

1926 - 1941, Autobiography of the artist' (1941)

Health, Error, Idea

“An engineering science aims to organize the design principles used in engineering practice into a discipline and thus to exhibit the similarities between different areas of engineering practice and to emphasize the power of fundamental concepts. In short, an engineering science is predominated by theoretical analysis and very often uses the tool of advanced mathematics.”

Qian Xuesen (1911–2009) Chinese rocket scientist

Source: Engineering cybernetics, (1954), p. vii

Mathematics, Science

“There can indeed be little doubt that for nearly two hundred years after its establishment in Europe, the Christian community exhibited a moral purity which, if it has been equaled, has never for any long period been surpassed. Completely separated from the Roman world that was around them, abstaining alike from political life, from appeals to the tribunals, and from military occupations; looking forward continually to the immediate advent of their Master, and the destruction of the Empire in which they dwelt, and animated by all the fervor of a young religion, the Christiana found within themselves a whole order of ideas and feelings sufficiently powerful to guard them from the contamination of their age.”

William Edward Hartpole Lecky (1838–1903) British politician

Source: A History of European Morals from Augustus to Charlemagne (1869), Chapter 4 (3rd edition p. 11)

Life, Age, World, Religion

“When you review an exhibition of paintings you don't compose a painting about it, when you review a film you don't make a film about it and when you review a new CD you don't make a little CD about it. But when you review a prose-narrative then you write a prose-narrative about that prose-narrative and those who write the secondary prose-narrative, let's face it, must have once had dreams of writing the primary prose-narrative. And so there is a kind of hierarchy of envy and all those other things.”

Martin Amis (1949) Welsh novelist

Interview with Ramona Koval on Radio National (4 September 1999) http://www.abc.net.au/rn/arts/bwriting/stories/s21638.htm

Dreams, Envy, Painting

“As a man exhibits himself in physical forms and actions, so there is one other Spirit, a great, wide, mighty, infinite, eternal Spirit back there in the depths of space, and in the present, and in the future, and in the abysses of space, who at His will wrestles into existence great globes, and keeps them in their position. He builds them, and places on them these mysterious forms of earth which are signals hung out over these abysses to tell coming spirits who He is, what He is, what He does, how high is His throne, and how vast is His power from eternity to eternity, from infinity to infinity through all ages of all time; He is holding forth to men and angels these external tokens of His almighty power, of His infinite skill, and of His everlasting love.”

Randolph Sinks Foster (1820–1903) American bishop

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 258.

Love, Men, Age, Angels

“The emphasis on flora, fauna, and beings makes the exhibit a most intriguing and artistic one for it brings forth those strange memories and psychic feelings that mystify and fascinate all of us.”

William Baziotes (1912–1963) American painter

his remark in 1957
as cited in Abstract Expressionism, Barbara Hess, Taschen, Köln, 2006, p. 34
1950s

Feeling, Memory

“Such is our ideal – not another museum, another bleak exhibition gallery, another classical building in which insulated and classified specimens of a culture are displayed for instruction, but an adult play-centre, a workshop where work is a joy, a source of vitality and daring experiment. We may be mocked for our naive idealism, but at least it will not be possible to say that an expiring civilisation perished without a creative protest.”

Herbert Read (1893–1968) English anarchist, poet, and critic of literature and art

On the occasion of the opening of Forty Years of Modern Art (February 1948)
Literary Quotes

Joy

“The strong equilibrium point f just described is one of "unrelenting ferocity" against offenders. It exhibits a zeal for meting out justice that is entirely oblivious to the sometimes dire consequences to oneself or to the other faitheful——i. e., those who have not deviated.”

Robert Aumann (1930) Israeli-American mathematician

"Acceptable Points in General Cooperative n-Person Games," in Contributions to the Theory of Games IV, Annals of Mathematics Study 40, edited by A. W. Tucker and R. D. Luce, Princeton University Press, 1959, pp. 287-324.

Faith, Justice, Strong

“I can not get over everything you did for me in that first day [for his support to hang her works on the 7th Impressionist exhibition, Spring 1882], it seems to me that you are working yourself to death, and all on my account. This touches me deeply and vexes me at the same time.”

Berthe Morisot (1841–1895) painter from France

Berthe Morisot, in a letter to her husband Eugene Manet, 1882; as cited in Impressionist quartet, ed. Jeffrey Meyers; publishers, Harcourt, 2005, p. 120
1881 - 1895

Death, Spring, Support, Time

“You assume we are all sexually stable; while on the other hand, as I have become acquainted with people, I find that they are all perverted sinners, one way or another, that the whole society is corrupt and rotten and repressed and unconscious that it exhibits its repression in various forms of social sadism.”

Allen Ginsberg (1926–1997) American poet

Family Business: Selected Letters Between a Father and Son, Allen and Louis Ginsberg (1944-1976), Michael Schumacher (ed.) (2001), Bloomsbury Publishing NY, ISBN 1582341079, p. 21.
Family Business

People, Way

“I have applied for a pass and I am going to travel through Western Europe for 5 days. [I] start in Cologne and will probably end in Paris. Who cares. In Cologne there is a large exhibition of German painters [especially Die Brücke-artists]. Jan W. [= Jan Wiegers, who knew Kirchner very well since 1920] has been there and animated so much that I'm going there for a while.... it seems that Jan wants to come with me. He was so enthusiastic that I suspect to be able to note him as my traveling companion.”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): Ik heb een pas aangevraagd en ga West-Europa in 5 dagen afreizen. Begin in Keulen en eindig vermoedelijk in Parijs. Wie doet je wat. In Keulen is een groote tentoonstelling van Duitse schilders [met name van Die Brücke]. Jan W. [= nl:Jan Wiegers] is er geweest en animeerde zoodanig dat ik er even heen ga.. ..'t schijnt dat Jan met me mee wil. Hij was zo enthousiast dat ik vermoed hem als reisgezel te kunnen noteren.
Quote van Werkman, in his letter to Cor Spruit, 14 August, 1929; as cited in H. N. Werkman - Leven & Werk - 1882-1945, ed. A. de Vries, J. van der Spek, D. Sijens, M. Jansen; WBooks, Groninger Museum / Stichting Werkman, 2015 (transl: Fons Heijnsbroek), p. 110
After this trip Werkman made a series of prints from the Paris' metro: 'D-67' and 'D-69'
1920's

Travel, Animals

“It happens that all those who have something of mine, painting, mobile, or static statue, say that it makes them very happy. For example, children adore mobile statues and understand their meaning immediately. I have seen children, here in France, in America or in Great Britain, run and shout with joy in my exhibitions. They like it instinctively.”

Alexander Calder (1898–1976) American artist

Calder, quoted in Calder: Gravity and Grace, eds. Giménez, Carmen, and Alexander S.C. Rower; Phaidon Press, New York 2004, p. 54
1950s - 1960s

Children, Understanding, Joy, Painting

“The aversion of the first Christians to the images, inspired by the Pagan simulachres, made room, during the centuries which followed the period of the persecutions, to a feeling of an entirely different kind, and the images gradually gained their favour. Reappearing at the end of the fourth and during the course of the fifth centuries, simply as emblems, they soon became images, in the true acceptation of this word; and the respect which was entertained by the Christians for the persons and ideas represented by those images, was afterwards converted into a real worship. Representations of the sufferings which the Christians had endured for the sake of their religion, were at first exhibited to the people in order to stimulate by such a sight the faith of the masses, always lukewarm and indifferent. With regard to the images of divine persons of entirely immaterial beings, it must be remarked, that they did not originate from the most spiritualised and pure doctrines of the Christian society, but were rejected by the severe orthodoxy of the primitive church. These simulachres appear to have been spread at first by the Gnostics,—i. e., by those Christian sects which adopted the most of the beliefs of Persia and India. Thus it was a Christianity which was not purified by its contact with the school of Plato,—a Christianity which entirely rejected the Mosaic tradition, in order to attach itself to the most strange and attractive myths of Persia and India,—that gave birth to the images.”

John Calvin (1509–1564) French Protestant reformer

Source: A Treatise of Relics (1549), p. 13

People, School, Faith, Religion

“We must confine ourselves to what we may term the great highways of the science; and… we must wholly pass by many outlying researches of great interest and importance, as we propose rather to exhibit in a clear light the most fundamental and indispensable theories, than to embarrass the treatment of a subject, already sufficiently complex, with a multitude of details, which, however important in themselves, are not essential to the comprehension of the whole.”

Henry John Stephen Smith (1826–1883) mathematician

Report on the Theory of Numbers (1859) Part I, p. 39.
The Collected Mathematical Papers of Henry John Stephen Smith (1894) Vol. 1

Light, Science

“[this letter concerns the naval duel in which HMS Flora captured the French navy frigate Nymphe] When Capt. Williams had conquered the crew, they found sixty dead upon deck;- the two ships exhibited a scene more like a slaughter-house, than any thing imaginable- These, oh Christians! are the features of war- and thus Most Christian Kings and Defenders of Faith shew their zeal and love for the dying commands of their Divine Master”

Ignatius Sancho (1729–1780) British composer, writer and grocer

(from vol 2, letter 78: 18 Aug 1780, to J___ S___ esq.).

Love, War, Faith, Imagination

“Amice, be so good, if it is not too late, to scrape the title 'l'Aprês-Midi' ['Afternoon', title of the work submitted for the exhibition] and simply put on it 'Paysage', for the simple reason.... because I chose the moment [in the work] that the sun starts to color and (sic) because there is vapor - many people will wrongly see it as a 'morning'. Mauve will send another aquarelle..”

Paul Gabriël (1828–1903) painter (1828-1903)

translation from the Dutch original: Fons Heijnsbroek version in original Dutch / citaat van Paul Gabriël, in Nederlands: Amice, Wees zoo goed, indien het niet te laat is, de titel 'l'Aprês-Midi' ['Namiddag' titel van een ingezonden werk voor een expositie] uit te schrabben en eenvoudig maar Paysage te zetten om den eenvoudige reden.. ..daar ik het moment genomen heb [in het werkje] dat de zon begint te kleuren en (sic) doordien er damp is - door velen voor een morgen aangezien zal worden. Mauve zal een anderen aquarelle zenden.. Quote of Gabriël, in his letter to Henry Hymans (Secr. de Societé des Aquarellistes Bruxelles, from Schaerbeek 14 April, 1867; taken from an excerpt in the Collection RKD: Letters, Manuscripts and small Archives https://rkd.nl/explore/excerpts/158, The Hague 1860's + 1870's

People, Color, Sun

“These selfish professors of religion [monks] grudged every act of munificence that was not applied to themselves, or their monasteries; and could not behold the good fortune of the minstrels without expressing their indignation; which they often did in terms of scurrilous abuse, calling them janglers, mimics, buffoons, monsters of men, and comtemptible scoffers. They also severely censured the nobility for patronizing and rewarding such a shameless set of sordid flatterers, and the populace for frequenting their exhibitions, and being delighted with their performances, which diverted them from more serious pursuits, and corrupted their morals. On the other hand, the minstrels appear to have been ready enough to give them ample occasion for censure; and, indeed, I apprehend that their own immorality and insolence contributed more to their downfal, than all the defamatory declamations of their opponents.”

Joseph Strutt (1749–1802) British engraver, artist, antiquary and writer

pg. 192
The Sports and Pastimes of the People of England (1801), Minstrels

Men, Religion, Appearance, Selfishness

“Every play which is produced—and for that matter, every book that is published, every picture which is exhibited, every film which is turned—is subjected to the Board of Censors… Romantic love in even its purest phases is not thought to be a fitting subject for consideration of citizens of a communist state;... the sex play is unknown in modern Russia… There remains as the ubiquitous theme for plays: revolution, with all the patriotic and nationalistic connotations which have grown up around it; heroism, sacrifice for the nation and class; consciousness of solidarity with one’s fellow proletarians; common suffering; great adventures with new ideas; great prospects for future machine age which is to be a sort of Russian-communist Americanism.”

Dorothy Thompson (1893–1961) American journalist and radio broadcaster

Source: "The New Russia" 1928, pp. 27-28

Love, Books, Age, Sex

“Machinery of a very beautiful kind has been contrived for copying accurately, on a reduced or an enlarged scale, both medals and statues. The Venus de Medici itself could not be justly excluded from a purely industrial exhibition, if, placed in the centre of a series diminishing on the one side to a statuette of a foot high, and increasing on the other to a figure double her own height. Such a series, though fairly introduced as an illustration of industrial art, would, indeed, itself be highly interesting to the fine arts, as exhibiting the effect of change of magnitude, when the proportions remain identical.”

Charles Babbage (1791–1871) mathematician, philosopher, inventor and mechanical engineer who originated the concept of a programmable c…

Source: The Exposition of 1851: Views Of The Industry, The Science, and the Government Of England, 1851, p. 52-53

Beauty, Art, Change

“It is possible that the major collaboration between economists and engineers is still to come, in the greater use of physical analogues and computers of the analogue type to avoid the difficulties of calculation. Apart from their major use as possible tools for economic regulation, physical analogues have a subsidiary use, for there are students of economics, as there are many students of engineering, who can better understand the significance of the somewhat formidable mathematics that tends to be used in this field, if they can first acquaint themselves with the types of behaviour in question as exhibited by physical objects that can be seen, felt, handled and experimented with. It may also be suggested that economists may find that what they have to say about economic policy will be very readily assimilated by one group of attentive pupils, namely the scientists, engineers and technicians of industry, if explanatory notions can be drawn from the theory of automatic control, which is now part of a normal engineering education. The aim of this essay has been to give explanations of system behaviour, and some approaches to its analysis, using geometrical construction and physical analogy where possible to clarify the implications of the more usual formal algebraic approach.”

Arnold Tustin (1899–1994) British engineer

Source: The Mechanism of Economic Systems (1953), p. 2

Education, Mathematics, Understanding, Question

“Here I have been able to make some good spring studies in oils, and managed to finish my 'Cow-girl' and my 'seared Woman', and my 'London Park', Primrose Hill. I think these pictures have improved a great deal from the point of view of unity. How different from the studies! I am more than ever in favour of taking one's impression from memory; it is less the actual thing - vulgarity disappears, leaving only an aura of truth glimpsed, sensed. To think that this is not understood, so that my anxiety for the future continues as before, despite the success of the exhibition.”

Camille Pissarro (1830–1903) French painter

I have no news from Paris about my collectors.
Quote in a letter to his son Lucien, 26 April 1892, as quoted in Letters of the great artists – from Blake to Pollock - , Richard Friedenthal, Thames and Hudson, London, 1963, p. 144
1890's

Truth, Girl, Spring, Thinking

“One hypothesis about the delay for the award is that the prize committee realizes that recipients tend to shirk once they get the prize. This consideration was particularly important in Gary’s case because he had continued to exhibit high productivity. Thus, the drop in output caused by an early prize for Gary might have had severe adverse consequences for economic research.”

Robert Barro (1944) American classical macroeconomist

Source: Nothing Is Sacred (2002), p. 18

“Almost every organization… exhibits two faces — a smiling face which it turns toward its members and a frowning face which it turns to the world outside.”

Kenneth E. Boulding (1910–1993) British-American economist

Source: 1950s, The Organizational Revolution: A study in the ethics of economic organization, 1953, p. 10 as cited in: Joseph T. Mahoney & Anne S. Huff (1993) Toward a New Social Contract. Theory in Organization Science https://ideals.illinois.edu/bitstream/handle/2142/30105/towardnewsocialc93136maho.pdf?sequence=2 Faculty paper, University of Illinois at Urbana

World, Smile

“Climbing the bole of the tree, a man clings with all his arms and legs, and lays hold of every knob and sliver. When he mounts amongst the branches, it should be with a more easy alacrity. A man will often be apt at the one operation, yet awkward at the other. Nor is it, indeed, common to meet with a man of such a character as can be carried from a low condition of life through successive ascents, with an aptitude for every condition into which he passes; and thus it is that men who rise well will often stand infirmly. But for want of due consideration being given to the nature of men and circumstances, it is a usual thing to hear, not only regret but surprise expressed, when a man who has attained an elevated position in life exhibits in that position those very defects of character through which he is there.”

Henry Taylor (1800–1886) English playwright and poet

Source: The Statesman (1836), Ch. 14. p. 91

Life, Men, Nature, Tree

“It was patent that this terrible man was no ignorant clod, such as one would inevitably suppose him to be from his exhibitions of brutality. At once he became an enigma.”

Jack London book The Sea-Wolf

Source: The Sea-Wolf (1904), Chapter Five

“Modern man - although a unity of body, mind, and soul - exhibits a changed consciousness: every expression of his life has today a different aspect, that is, an aspect more positively abstract.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

Life, Soul, Change

“In 1964 I was at school, planning to study economics and sociology, when curiosity took me to the Tate Gallery to see an international survey exhibition of contemporary art. It brought together the painting and sculpture of the previous decade, beginning with the late works of the modern masters, Matisse and Picasso, and concluding with the twenty-seven year olds Allen Jones and David Hockney. I was bowled over. Suddenly, art was not just Turner and Constable, or Leonardo and Michelangelo, but objects of considerable size and brilliant colour, dealing with the sensations, subjects and issues of the Sixties.”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

School, Art, Study, Painting

“This is the first time that astronauts of the first group have exhibited things that are personal and sentimental to them. We hope it will encourage youngsters to follow in our footsteps.”

Alan Shepard (1923–1998) American astronaut

On dedicating the Astronaut Hall of Fame — reported in Associated Press (May 12, 1990) "Five of Mercury Seven return to the Cape, Launch Hall of Fame - Astronauts hope exhibits will inspire youths to learn", The Gazette, p. A2.

Hope, Time, Personality

“In the 1960s the works of Takis and Tinguely were experiments with different forces, both magnetic and kinetic. My work differed from theirs, for although my kinetic art works used machines, the works themselves moved in random organic ways and avoided the monotonous repetitive movements of most machines. My land art projects and all the rest of my cosmic propulsions were born out of the organic and my relation with the dynamics of nature. When I first exhibited with Liliane Lijn at the Indica Gallery in London in 1967 I called my artworks bio-kinetic sculptures. Some of my artworks in that show are featured in the film I’ll Never Forget What’s’isname by the English director Michael Winner.”

David Medalla (1942) Filipino artist

Source: Adam Nankervis, " A Stitch in time http://moussemagazine.it/articolo.mm?id=707," in: Mousse Magazine.it, Issue 29, 2015

Art, Way, Nature, Forgetting

“We all know what the negro has been as a slave. In this relation we have his experience of two hundred and fifty years before us, and can easily know the character and qualities he has developed and exhibited during this long and severe ordeal. In his new relation to his environments, we see him only in the twilight of twenty years of semi-freedom; for he has scarcely been free long enough to outgrow the marks of the lash on his back and the fetters on his limbs. He stands before us, today, physically, a maimed and mutilated man. His mother was lashed to agony before the birth of her babe, and the bitter anguish of the mother is seen in the countenance of her offspring. Slavery has twisted his limbs, shattered his feet, deformed his body and distorted his features. He remains black, but no longer comely. Sleeping on the dirt floor of the slave cabin in infancy, cold on one side and warm on the other, a forced circulation of blood on the one side and chilled and retarded circulation on the other, it has come to pass that he has not the vertical bearing of a perfect man. His lack of symmetry, caused by no fault of his own, creates a resistance to his progress which cannot well be overestimated, and should be taken into account, when measuring his speed in the new race of life upon which he has now entered.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

1880s, The Future of the Colored Race (1886)

Life, Birth, Sleep, Freedom

“Why is not the original deposited in some public library, instead of exhibiting attestations of its existence? Suppose there were a question in a court of justice, whether a man be dead or alive. You aver he is alive, and you bring fifty witnesses to swear it. I answer, 'Why do you not produce the man?”

James Macpherson (1736–1796) Scottish writer, poet, translator, and politician

Samuel Johnson, quoted in James Boswell The Journal of a Tour to the Hebrides (1785), p. 487.
Criticism

Justice, Question, Dead

“The reduction of even sacred things into commodities explains why we exhibit so little reverence for God. In a consumer worldview he has no intrinsic value apart from his usefulness to us.”

Skye Jethani

The Divine Commodity: Discovering A Faith Beyond Consumer Christianity (2009, Zondervan)

God

“I do here in the most solemn and bitter manner curse the Prime Minister of England for having cumulated all his other betrayals of the national interest and honour, by his last terrible exhibition of dishonour, weakness and gullibility. The depths of infamy which our accurst "love of peace" can lower us are unfathomable.”

Enoch Powell (1912–1998) British politician

Letter to his parents (18 September 1938) after Neville Chamberlain's meeting with Adolf Hitler at Berchtesgaden, from Simon Heffer, Like the Roman. The Life of Enoch Powell (Phoenix, 1999), p. 47.
1930s

Love, Peace, Betrayal