Quotes about exhibit
page 3

“Bement [her art teacher] told me things to read. He told me of exhibitions to go and see [c. 1917].... the two books that he told me to get were Jeromy Eddy 'Cubists and Post-impressionism' and Kandinsky 'On the Spiritual of Art'… It was some time before I really begun to use the ideas. I didn't start at until I was down in Carolina — alone — thinking things out for myself.”

Georgia O'Keeffe (1887–1986) American artist

1970 - 1986, Some Memories of Drawings (1976)

Books, Art, Idea, Thinking

“The most significant feature of our histories, however, is the religious zeal felt or exhibited by the swordsmen of Islam before and after the “infidels” who resisted “were sent to hell”, the Brahmans massacred or molested or expelled, idols desecrated, temples demolished, and mosques raised in their stead. The prophet of Islam appears in a dream and bids a sultãn to start on the “holy expedition”, leaving no doubt that the “victory of religion” was assured. Amîr Khusrû was very eloquent about the transformation that was taking place. When the hordes of Alãu’d-Dîn Khaljî sacked the temple of Somnath, he exulted, “The sword of Islãm purified the land as the Sun purifies the earth.” His enthusiasm broke all bounds when the same hordes swept over South India: “The tongue of the sword of the Khalifa of the time, which is the tongue of the flame of Islãm, has imparted light to the entire darkness of Hindustãn by the illumination of its guidance… and several capitals of the gods of the Hindus in which Satanism had prevailed since the time of Jinns, have been demolished. All these impurities of infidelity have been cleansed by the Sultãn’s destruction of idol-temples, beginning with his first expedition to Deogîr, so that the flames of the fight of the law illumine all these unholy countries… God be praised!” One wonders whether the poet of Islam is being honoured or slandered when he is presented in our own times as the pioneer of Secularism. Or, perhaps, Secularism in India has a meaning deeper than that we find in the dictionaries or dissertations on political science. We may not be much mistaken if, seeing its studied exercise in blackening everything Hindu and whitewashing everything Islamic, we suspect that this Secularism is nothing more than the good old doctrine of Islam in disguise.”

Sita Ram Goel (1921–2003) Indian activist

Hindu Temples – What Happened to Them, Volume II (1993)

God, Religion, Law, Dreams

“The professor must be an obscurantist or he is nothing; he has a special and unmatchable talent for dullness, his central aim is not to expose the truth clearly, but to exhibit his profundity, his esotericity - in brief to stagger sophomores and other professors.”

H.L. Mencken (1880–1956) American journalist and writer

Source: 1920s, Prejudices, Third Series (1922), Ch. 15 "The Dismal Science"

Truth

“This spectrum is of the type known in spectroscopy as a line-spectrum. Its appearance is that of a group of bright lines on a dark background, indicating that the radiation divides itself between a number of clearly defined frequencies, and that there is no radiation in between. Before Bohr's explanation appeared, these frequencies had been supposed to belong to some sort of vibration taking place in the hydrogen atom - like frequencies of the musical note which is heard when a bell or piano wire is made to vibrate. It now became clear that they had an entirely different origin. The energy exhibited in the spectrum was not liberated by a vibration, or any kind of continuous motion, but by the sudden jump of an electron to an orbit of lower energy, and its frequency was determined by the compulsion put upon it to form a single quantum.”

James Jeans (1877–1946) British mathematician and astronomer

Physics and Philosophy (1942)

Music, Appearance

“In each of the cathedral churches there was a bishop, or an archbishop of fools, elected; and in the churches immediately dependent upon the papal see a pope of fools. These mock pontiffs had usually a proper suit of ecclesiastics who attended upon them, and assisted at the divine service, most of them attired in ridiculous dresses resembling pantomimical players and buffoons; they were accompanied by large crowds of the laity, some being disguised with masks of a monstrous fashion, and others having their faces smutted; in one instance to frighten the beholders, and in the other to excite their laughter: and some, again, assuming the habits of females, practised all the wanton airs of the loosest and most abandoned of the sex. During the divine service this motley crowd were not contended with singing of indecent songs in the choir, but some of them ate, and drank, and played at dice upon the altar, by the side of the priest who celebrated the mass. After the service they put filth into the censers, and ran about the church, leaping, dancing, laughing, singing, breaking obscene jests, and exposing themselves in the most unseemly attitudes with shameless impudence. Another part of these ridiculous ceremonies was, to shave the precentor of fools upon a stage erected before the church, in the presence of the populace; and during the operation, he amused them with lewd and vulgar discourses, accompanied by actions equally reprehensible. The bishop, or the pope of fools, performed the divine service habited in the pontifical garments, and gave his benediction to the people before they quitted the church. He was afterwards seated in an open carriage, and drawn about to the different parts of the town, attended by a large train of ecclesiastics and laymen promiscuously mingled together; and many of the most profligate of the latter assumed clerical habits in order to give their impious fooleries the greater effect; they had also with them carts filled with ordure, which they threw occasionally upon the populace assembled to see the procession. These spectacles were always exhibited at Christmas-time, or near to it, but not confined to one particular day.”

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

pg. 345
The Sports and Pastimes of the People of England (1801), Festival of Fools

People, Fools, Sex, Fashion

“I exhibited three paintings at the Salon d'Automne exhibition [Paris], which is the most interesting exhibition I have seen until now. Much more interesting than the Secession [in München]. My paintings [two words cancelled] were noticed and praised by the art critics. I think I will be very famous here in a few years time. Reading my name in the newspapers and seeing people notice my paintings and write about them has given me new and strange joy. – Paris is a beautiful city. Why do you remain in the monotony of Munich's heavy atmosphere? Here one can find everything one desires. Everything is refined and has spirit and everyday one learns something new.. The French are more intelligent than I thought. They laugh a lot, but they understand better than the Germans what is refined, strange and outside the ordinary.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Chirico's letter to Mr. Fritz Gartz, Paris, 8 Oct. 1912; from LETTERS BY GIORGIO DE CHIRICO TO FRITZ GARTZ, PARIS, 1912-1914 http://www.fondazionedechirico.org/wp-content/uploads/576-579Metafisica7_8.pdf, p. 576 1908 - 1920

People, Beauty, Art, Intelligence

“As with emotionally drawn-out religious initiations, neurobiological studies of stress disorders indicate that subjects become intensely absorbed by sensory displays. The mystical experiences of schizophrenics and temporal lobe epileptics, which may be at the extreme end of the "normal" distribution of religious experience, also exhibit intense sensory activity. These may help to inspire new religions. There is no evidence, however, that more "routine" religious experiences that commit the bulk of humanity to the supernatural have any characteristic pattern of brain activity.”

Scott Atran (1952) Anthropologist

Introduction: an evolutionary riddle, p. 16
In Gods We Trust: The Evolutionary Landscape of Religion (2002)

Religion, Study, Help

“There have been articles lately asking why the United States is so hated in some parts of the world. As this week's Exhibit A from Hollywood, I offer Zoolander, a comedy about a plot to assassinate the prime minister of Malaysia because of his opposition to child labor. You might want to read that sentence twice. The logic: Child labor is necessary to the economic health of the fashion industry, and so its opponents must be eliminated…if the Malaysians made a comedy about the assassination of the president of the United States because of his opposition to slavery, it would seem approximately as funny to us as Zoolander would seem to them.”

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

Review http://www.rogerebert.com/reviews/zoolander-2001 of Zoolander (28 September 2001) Reviews, One-star reviews

Hate, Health, World, Fashion

“All things… appear to be made up and produced by the coming together of these elements, so that they have been distributed by nature among an infinite number of kinds of things. Hence I believed it right to treat of the diversity and practical peculiarities of these things as well as of the qualities which they exhibit in buildings, so that persons who are intending to build may understand them and so make no mistake, but may gather materials which are suitable to use in their buildings.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter II, Sec. 2

Understanding, Nature, Appearance, Personality

“Remarkably enough, the reason you are so disturbed about the facts of life that might make you fearful, sorrowful, and angry is that whenever something arises that you might appropriately be angry, fearful, or sorrowful about, you do not feel it completely. You limit your feeling of even these reactions. And you certainly limit your feeling of the circumstance, or the condition, that is arising. You are always exhibiting the evidence of limited feeling, obstructed feeling. If feeling becomes limitless, if you do not contract, then feeling becomes Being Itself — no reaction, no contraction, Feeling without limit. That Feeling goes beyond fear, sorrow, anger, and conventional happiness and loving attitudes. What is It? It is Love-Bliss. It is the Self-Existing and Self-Radiant Force of Being, without the slightest obstruction. It is Divine Enlightenment.”

Adi Da Samraj (1939–2008) American writer

http://www.aboutadidam.org/readings/index.html

Love, Life, Fear, Feeling

“These trends have given rise to a despairing attitude among those who see the political implications of demographic trends. The best and brightest families-those who will never be on welfare, who are owners and bequestors of capital, who have the willingness to be risk takers and who serve as the political backbone of the ‘free society have been outbred by people who exhibit fewer of these traits. Making matters worse, immigration law has been biased in favor of the latter, not the former, group.”

Jeffrey Tucker (1963) American writer

Source: ""Trophy Kids"" by Jeffrey Tucker, The Rothbard-Rockwell Report, October 1997, UNZ.org, 2016-05-22 http://www.unz.org/Pub/RothbardRockwellReport-1997oct-00008,

People, Family, Law, Despair

“Of all the exhibitions, Pricasso, the flamboyant painter who uses his penis as his tool of trade, drew, by far, the largest crowds.”

Pricasso (1949) Australian painter

['Pricasso' draws crowds at Sexpo, The Mercury, South Africa, 8 February 2008, 4, Independent Online, Bronwyn Gerretsen]
About

“Although every part of the human frame has been fashioned by the same Divine hand and exhibits the most marvellous and beneficent adaptions for the use of men, the human eye stands pre-eminent above them all as the light of the body and the organ by which we become acquainted with the minutest and the nearest, the largest and most remote of the Creator’s work”

David Brewster (1781–1868) British astronomer and mathematician

As quoted in Good Words (1862), Volume 3. p. 170.
Also quoted in Martyr of science, Royal Scottish Museum (1984), p. 80.

Men, Fashion, Light, Parting

“It was a custom with Apelles, to which he most tenaciously adhered, never to let any day pass, however busy he might be, without exercising himself by tracing some outline or other,—a practice which has now passed into a proverb. It was also a practice with him, when he had completed a work, to exhibit it to the view of the passers-by in his studio, while he himself, concealed behind the picture, would listen to the criticisms…. Under these circumstances, they say that he was censured by a shoemaker for having represented the shoes with one latchet too few. The next day, the shoemaker, quite proud at seeing the former error corrected, thanks to his advice, began to criticise the leg; upon which Apelles, full of indignation, popped his head out and reminded him that a shoemaker should give no opinion beyond the shoes, —a piece of advice which has equally passed into a proverbial saying.”

Pliny the Elder book Natural History

Book XXXV, sec. 84.
Naturalis Historia

Shoe, Error, Exercises, Business

“Fautrier's exhibition [in Paris 1945] made an extremely strong impression on me. Art had never before appeared so fully realised in its pure state. The word 'art' had never before been so loaded with meaning for me.”

Jean Dubuffet (1901–1985) sculptor from France

Source: posthumous, Jean Dubuffet, Works, writings Interviews, 2006, pp. 23,28: quote in Dubuffet's letter to Jean Paulhan (letter 108)

Art, Strong, Appearance

“New York Mayor Rudy Giuliani is once again expressing outrage at an art exhibit, this time at a painting in which Jesus is depicted as a naked woman. Said the mayor, "This trash is not the sort of thing that I want to look at when I go to the museum with my mistress."”

Tina Fey (1970) American comedian, writer, producer and actress

citation needed

Art, Time, Painting

“Picasso was wild about it and said it was one of the best things I have ever made. [on Miro's exhibition in Paris, 1938 where he showed a big frieze, made for a children's room; commissioned by art-dealer Pierre Matisse in New York]”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

1915 - 1940
Source: Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 76

Children, Art

“When a man comes not merely to tolerate, but to boast of the stains that the world has flung upon him; when he wears his spots as if they were jewels; when he flaunts his unscrupulousness, and his cynicism and his disbelief and his hard-heartedness in your face as the signs and badges of his superiority; when to be innocent and unsuspicious and sensitive seems to be ridiculous and weak; when it is reputable to show that we are men of the world by exhibiting the stains that the world has left upon our reputation, our conduct, and our heart, then we understand how flagrant is the danger; then we see how hard it must be to keep ourselves unspotted from the world.”

Phillips Brooks (1835–1893) American clergyman and author

"Unspotted from the World"

Men, World, Understanding, Heart

“Before 1999, Tracey Emin and Sarah Lucas offered to get me exhibitions, but joining the Stuckists put a kaibosh on all that — because I wasn't prepared to be controlled. I agreed to co-found the Stuckists to be allowed to say what I wanted, and I left the Stuckists because I didn't really want to be in them in the first place.”

Billy Childish (1959) British musician

Milner, Frank (ed): The Stuckists Punk Victorian, p. 21. National Museums Liverpool, 2005.

“Symbolical algebra adopts the rules of arithmetical algebra, but removes altogether their restrictions: thus symbolical subtraction differs from the same operation in arithmetical algebra in being possible for all relations of value of the symbols or expressions employed… all the results of arithmetical algebra which are deduced by the application of its rules, and which are general in form, though particular in value, are results likewise of symbolical algebra, where they are general in value as well as in form: thus the product of a^{m} and a^{n}, which is a^{m+n} when m and n are whole numbers, and therefore general in form though particular in value, will be their product likewise when m and n are general in value as well as in form: the series for (a+b)^{n}, determined by the principles of arithmetical algebra, when n is any whole number, if it be exhibited in a general form, without reference to a final term, may be shewn, upon the same principle, to the equivalent series for (a+b)^n, when n is general both in form and value.”

George Peacock (1791–1858) Scottish mathematician

Vol. I: Arithmetical Algebra Preface, p. vi-vii
A Treatise on Algebra (1842)

“Figure II, which is one of the most interesting and valuable charts made by the writer in his work for the larger industrials. While it is reduced here to the simplest possible expression, it at the same time contains all of the elements which govern the laying out of an organization of any magnitude. This is the Chart of Prime and Working Authorities, showing exactly where each authority is related to the others and how far each authority may extend in the business.
The writer has retained in this chart the administrative, commercial and manufacturing sections in the Authorities for Position as exhibited in Figure I, and Industrial has separated these different sections into purpose of showing how the authorities governing different departments are related to the industrial body as a whole.”

Clinton Edgar Woods (1863) American engineer

Source: Organizing a factory (1905), p. 25-26

Business, Time

“Allowing, therefore, the great usefulness of the Government Schools, the Exhibitions, and the Museums both public and private, the question now arises as to what are the impediments to our future progress. The principal ones appear to me to be three.
# A want of a distinctive architecture, which is fatal to art generally.
# The want of a good costume, which is fatal to colour; and
# The want of a sufficient teaching of the figure, which is fatal to art in detail.
It will perhaps be as well to take these one by one.
The most fatal impediment of the three is undeniably the want of a distinctive architecture in the nineteenth century. Architecture is commonly called the mother of all the other arts, and these latter are all more or less affected by it in their details. In almost every age of the world except our own only one style of architecture has been in use, and consequently only one set of details. The designer had accordingly to master, 1. the figure, and the great principles of ornament; 2. those details of the architecture then practised which were necessary to his trade; and 3. the technical processes. Now what is the case in the present day? If we take a walk in the streets of London we may see at least half-a-dozen sorts of architecture, all with different details; and if we go to a museum we shall find specimens of the furniture, jewellery, &c., of these said different styles all beautifully classed and labelled. The student, instead of confining himself to one style as in former times, is expected to be master of all these said half-dozen, which is just as reasonable as asking him to write half-a-dozen poems in half-a-dozen languages, carefully preserving the idiomatic peculiarities of each. This we all know to be an impossibility, and the end is that our student, instead of thoroughly applying the principles of ornament to one style, is so bewildered by having the half-dozen on his hands, that he ends by knowing none of them as he ought to do. This is the case in almost every trade; and until the question of style gets gets settled, it is utterly hopeless to think about any great improvement in modern art.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 8-9; Partly cited in: Journal of the Royal Society of Arts. Vol. 99. 1951. p. 520

Age, World, School, Art

“At an exhibition in London, one sagacious critic wrote: 'Monsieur Degas seems a good pupil of Nittis!' Doesn't this reflect that mania which men of letters have for squabbling in court over who had a given idea first? And the mania spreads to painters who take great care of their originality.”

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

Source: 1890s - 1910s, The Writings of a Savage (1996), p. 219: quote in 1898

Men, Idea

“Entering through the double doors, I had to make my way through room after room of African masks and voodoo dolls dating from no particular time, as well as clay pots and things crafted by all sorts of third-world people. I'm happy for these people that they have their ways, though some of it gave me the creeps. But I want to know: why is all this primitive nonsense in a prestigious museum? Even more absurdly, why does it take up the first three rooms in a place that surely lacks sufficient space for exhibits? Clearly the nutty multiculturalists had prevailed here.”

Jeffrey Tucker (1963) American writer

Source: Letter From New England, archive.lewrockwell.com, 2016-05-22 http://archive.lewrockwell.com/orig/tucker5.html,

People, World, Way, Time

“Of course, Charlie and I can identify only a few Inevitables, even after a lifetime of looking for them. Leadership alone provides no certainties: Witness the shocks some years back at General Motors, IBM and Sears, all of which had enjoyed long periods of seeming invincibility. Though some industries or lines of business exhibit characteristics that endow leaders with virtually insurmountable advantages, and that tend to establish Survival of the Fattest as almost a natural law, most do not. Thus, for every Inevitable, there are dozens of Impostors, companies now riding high but vulnerable to competitive attacks.”

Warren Buffett (1930) American business magnate, investor, and philanthropist

1996 Chairman's Letter http://www.berkshirehathaway.com/letters/1996.html Letters to Shareholders (1957 - 2012)

Law, Business, Nature

“.. in an review of the exhibition in Arti, [in Amsterdam] you say that most of my submissions are not meant as a study. I don't know what you mean by study. I understand a study as a work I am painting directly after nature, with the aim hold on the casual tone, color and line. All of mine that is presented there, is immediately felt in nature and not one of the sketches is done by heart after received impressions for any paintings. I thought I had to tell you this, because then you might get a different view of it - whether you think they are more worthy or not because of this, I don't want to judge.... yours GH Breitner”

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

Mejufvrouw In een stukje over de Tent. in Arti zegt u dat het meerendeel van mijn inzending niet als studie bedoeld zijn. Ik weet niet wat u onder studie verstaat. Ik versta daar onder wat men direct naar de natuur schilderd om de toevallige toon kleur en lijn vast te houden. Na alles wat er van mij is. is dadelijk naar de natuur ervaren en zijn geen van allen [1:2] schetsen uit het hoofd gedaan na ontvangen indrukken voor eventuelen schilderijen. Ik meende u dat te moeten zeggen omdat u er dan misschien een anderen kijk op krijgt of u vind dat ze daarom verdienstelijker zijn of niet wil ik niet beoordeelen.. ..Hoogachtend uw GH Breitner quote of Breitner in a letter to art-critic Grada Hermina Marius, 22 Feb. 1908; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/951 1900 - 1923

Color, Understanding, Nature, Thinking

“Sometimes I get mad at people. But only once here in Pittsburgh. That when I was hurt and everyone call me Jake. I don't like that. I want to play but my back hurt lots of times and I can't play. Then that year in St. Paul when I throw the ball in exhibition game the elbow started to puff up. That when some people write that I was in fight with Face in St. Louis. You know that not right. You can still feel bone chip in my elbow. That's why I throw the ball underhand sometimes. That way it don't hurt my arm. If I throw real hard lots of times overhand in game, the elbow hurts and swells up.
The back is okay too. Sometime it hurt me when I run. But I find out it is bad disc. If it goes out on the right side I can push it back in easy. But if it hurts on the other side, sometimes I have to work long time to get it back in place.”

Roberto Clemente (1934–1972) Puerto Rican baseball player

As quoted in "Roamin' Around: Look Out, Joe Brown" https://news.google.com/newspapers?id=OsZaAAAAIBAJ&sjid=F2wDAAAAIBAJ&pg=6551%2C2915264 by Jack Hernon, in The Pittsburgh Post-Gazette (Sunday, August 13, 1961), p. D3 Baseball-related, <big><big>1960s</big></big>, <big>1961</big>

People, Way, Feeling, Game

“Wherever literature consoles sorrow or assuages pain; wherever it brings gladness to eyes which fail with wakefulness and tears, and ache for the dark house and the long sleep,—there is exhibited in its noblest form the immortal influence of Athens.”

Thomas Babington Macaulay, 1st Baron Macaulay (1800–1859) British historian and Whig politician

Essay on Mitford's History of Greece (1824)

Pain, Literature, Tear, Sleep

“To show you how cosmically irrelevant the Warren Report is for the most part … one of the exhibits is classified in the front as, 'A Study of the Teeth of Jack Ruby's Mother.' Even if Jack Ruby had intended to bite Oswald to death, that still would not have been relevant.”

Jim Garrison (1921–1992) American judge

[Gil Jesus, The Garrison Investigation, video interview.]

Death, Study, Parting

“From our very first conversation in the Closerie des Lilas the day after the opening of the first exhibition of Futurist painting [in Paris, February 1912] I noticed that Fernand Léger was one of the most gifted and promising Cubists... Léger's article ('Les origins de la peinture et sa valeur representative', Mai 1913) is a true act of Futurist faith which give us great satisfaction - all the more so since the author is kind enough to mention us.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Quote from 'Il dinamismo futurista et la pittura francese', Boccioni, in 'Lacerba', August 1913; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 118
1913

Faith, Painting

“Any satisfactory reproduction of the Conics must fulfil certain essential conditions: (1) it should be Apollonius and nothing but Apollonius, and nothing should be altered either in the substance or in the order of his thought, (2) it should be complete, leaving out nothing of any significance or importance, (3) it should exhibit under different headings the successive divisions of the subject, so that the definite scheme followed by the author may be seen as a whole.”

Thomas Little Heath (1861–1940) British civil servant and academic

p, 125
Apollonius of Perga (1896)

Success

“Clemente, who says Josh Gibson is the best hitter he ever saw, is anxious to see Ted Williams when the slugger comes here a week from Monday for the benefit exhibition between the Pirates and Red Sox.”

Roberto Clemente (1934–1972) Puerto Rican baseball player

As paraphrased in "The Scoreboard: Thursday" https://news.google.com/newspapers?id=b0EqAAAAIBAJ&sjid=000EAAAAIBAJ&pg=4340%2C3027303&dq=best by Les Biederman, in The Pittsburgh Press (Saturday, June 11, 1955), p. 6 Comment: Unfortunately Clemente did not have that opportunity as Williams suffered a minor injury and did not make the trip to Pittsburgh. Baseball-related, <big><big>1950s</big></big>, <big>1955</big>

“More and more, the subject of an exhibition tends not be the display of artworks, but the exhibition of the exhibition as a work of art. Here, the Documenta team, headed by Harald Szeemann, exhibits (artworks) and exposes itself”

Daniel Buren (1938) sculptor from France

to critiques
Daniel Buren (1972), cited in: Marina Abramović, ‎Jens Hoffmann (2004). The next Documenta should be curated by an artist.
1970s

Art

“This monograph is about the current status of the faculty psychology program; not so much its evidential status (which I take to be, for the most part, an open question ) as what the program is and where it does, and doesn't, seem natural to try to apply it. Specifically I want to do the following things: (1) distinguish the general claim that there are psychological faculties from a particular version of that claim, which I shall call the modularity thesis; (2) enumerate some of the properties that modular cognitive systems are likely to exhibit in virtue of their modularity; and (3) consider whether it is possible to formulate any plausible hypothesis about which mental processes are likely to be the modular ones. Toward the end of the discussion, I'll also try to do something by way of (4) disentangling the faculty jmodularity issues from what I'll call the thesis of Epistemic Boundedness: the idea that there are endogenously determined constraints on the kinds of problems that human beings can solve, hence on the kinds of things that we can know.”

Jerry Fodor (1935–2017) American philosopher

Source: Modularity of Mind (1983), p. 1-2

Way, Idea, Question, Nature

“And thus the easy argument of exhibiting the least conditions sufficient for experience, so like a simpleton in its seeming clutch at the thin surface of things, carries in its subtle heart the proof of an imperishable persistence in all that gives life meaning and value.”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), Human Immortality: its Positive Argument, p.312

Life, Heart

“The recent flourishing of New Classical economics, and especially its Equilibrium Business Cycle Theory (EBCT), has given a fresh hearing to the Old—but still developing—Austrian Business Cycle Theory (ABCT). While the New and the Old differ radically in both substance and methods, they exhibit a certain formal congruency that has captured the attention of both schools. The formal similarities between EBCT and ABCT invites a point-by-point comparison, but the comparison itself dramatizes differences between the two views in a way that adds to the integrity and plausibility of the Austrian theory.”

Roger Garrison (1944) American economist

Page 91.
"New Classical and Old Austrian Economics", 1991

School, Way, Business

“Again I only gave numbers [of her art-works, she sent for the next Sturm-exhibition]. I stick to my idea of not giving titles... Titles are really disgusting romantic, and now in a while people will have hundreds of Spring's, Summers, Trees [paintings], to Liebknecht, Eberts, etc.. Above everything color and line have their own specific language, which doesn't want to be captured in a title.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Ich habe wieder nur Nummern gegeben. Ich bleibe bei meiner Idee, keine Titel zu geben. .. ..Titel sinds o widerlich romantisch, und jetz wird man in einiger Zeit hunderte Frühlings, Sommer, Bäume, an Liebknechts, Eberts und so weiter haben. Farbe und Linien haben für alle eine verschiedene eigene Sprache, die nicht im Titel festgelegt werden woll.
in a letter to Herwarth Walden, 14 Jan. 1920; as cited in the catalogue Der Sturm, Herwarth Walden und die Europäische Avantgarde, Berlin 1912-1932 Taschenbuch – 1961
Already in 1914 Jacoba started to number her paintings and drawings
1920's

People, Art, Color, Spring

“Tuol Sleng was a Vietnamese exhibition; a journalist wrote that. People talk about Tuol Sleng, Tuol Sleng, Toul Sleng, but when we look at the pictures, the pictures are the same. When I first heard about Tuol Sleng, it was on VOA [Voice of America]. I listened twice.”

Pol Pot (1925–1998) former General Secretary of the Communist Party of Kampuchea

Nate Thayer interview (1997)

People

“In the year 1775, the Paris Academy found it necessary to protect its officials against the waste of time and energy involved in examining the efforts of circle squarers. It passed a resolution… that no more solutions were to be examined of the problem of the duplication of the cube, the trisection of the angle, the quadrature of the circle, and the same resolution should apply to machines for exhibiting perpetual motion. an account… drawn up by Condorcet… is appended. It is interesting to remark that the strength of the conviction of Mathematicians that the solution of the problem is impossible, more than a century before an irrefutable proof of the correctness of that conviction was discovered.”

E. W. Hobson (1856–1933) British mathematician

Source: Squaring the Circle (1913), pp. 3-4

Problem, Effort, Time

“A man of genuine literary genius, since he possesses a temperament whose susceptibilities are of wider area than those of any other, is inevitably of all people the one most variously affected by his surroundings. And it is he, in consequence, who of all people most faithfully and compactly exhibits the impress of his times and his times' tendencies, not merely in his writings — where it conceivably might be just predetermined affectation — but in his personality.”

James Branch Cabell (1879–1958) American author

"Auctorial Induction"
The Certain Hour (1916)

People, Time, Personality

“Introspectionism got its ism because the protesting new schools needed a clear and stable contrasting background against which to exhibit their novel features. No proponent of introspection a the basic method of psychology ever called himself an introspectionist.”

Edwin Boring (1886–1968) American psychologist

Source: "A history of introspection." 1953, p. 172 ; Cited in: Kurt Danziger, "The history of introspection reconsidered." Journal of the History of the Behavioral Sciences 16.3 (1980): 241-262.

School

“As far as my exhibition concerned [opening was 8 May 1954, in Ghent].... there is however a recent and important painting hanging there 'Man met Boompje' [Man with tree, later titled 'The Gardener] - permettez-moi - with beautiful refracting matters and color: lemon-yellow spots and lacquerish black on white, (face) transparent pure light-blue with a very thin layer glacis over it (in the small wall) and strong-blue painted vertical line. Yellow brown and mauve brush-sweeps with small red dashes over it (for the small tree), and further a lot of beautiful white.”

Roger Raveel (1921–2013) painter

version in original Flemish (citaat van Roger Raveel, in het Vlaams): Wat nu mijn tentoonstelling betreft (opening was 8 mei 1954, in Gent].. .er is echter een recent en belangrijk werk bij n.l. 'Man met boompje' [later 'De Tuinman' getiteld] - permettez-moi- met mooie brekende materies en kleur: citroengele vlekken en lakachtig zwarte op wit, (gezicht) transparante zuivere lichte blauwe met een heel dunne glacis erover (in muurtje) en sterk blauwe geschilderde vertikale lijn. Geelbruine en mauve vegen met daarop kleine rode streepjes (voor boompje) verder veel mooi wit.
Quote of Raveel, in a letter to his friend Hugo Claus, from Machelen aan de Leie, May 1954; as cited in Hugo Claus, Roger Raveel; Brieven 1947 – 1962, ed. Katrien Jacobs, Ludion; Gent Belgium, 2007 - ISBN 978-90-5544-665-0, p. 164 (translation: Fons Heijnsbroek)
1945 - 1960

Beauty, Color, Tree, Light

“My drawings for the art exhibition don't get finished and time is running out. 15 or 16 Dec. I believe. Of course they show soldiers once again and of course the people say that it looks like Neuville, although that man doesn't see any color.”

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:) Mijn teekeningen voor de kunstbeschouwing willen maar niet klaar komen en de tijd dringt. De 15 of 16 Dec. geloof ik. 't Zijn natuurlijk weer soldaten en natuurlijk zeggen de lui weer dat 't op Neuville lijkt. hoewel die man geen spat kleur ziet. quote of Breitner in a letter to his Maecenas A.P. van Stolk, 8 Dec. 1881; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/594 before 1890

People, Art, Color, Time

“It was very personal. Political comes from the viewing process. Nothing is ever political if it's genuine. In the reaction, yes, it can be political. But the motives were based completely on a deep need to communicate and share information. The film language has evolved enough that you should get people interacting with the film. It's exciting for us to exhibit it, and it's exciting for people to watch it…I think it's very important for the gay community to have random characters that represent nothing more than people…I think it's part of a wave that will set a precedent of some sort so that you will no longer need a label.”

River Phoenix (1970–1993) American actor, musician, and activist

On My Own Private Idaho, The Face, (1992)

People, Communication, Motivation, Thinking

“LEADERSHIP A form of self-preservation exhibited by people with autodestructive imaginations in order to ensure that when it comes to the crunch it’ll be someone else’s bones which go crack and not their own.”

John Brunner book Stand on Zanzibar

context (14) “Storm Centre”
Stand on Zanzibar (1968)

People, Imagination

“At Heyser [a pub in The Hague] came the venerable old guys [painters]: Smit-Cranz, Coelman a. o. Those were the bigwigs, you see. We were the revolutionaries. And an opposition that we got! - In 't Kurhaus they hang a poster against us during our first exhibition; they named us 'mud painters'. (translation from original Dutch, Fons Heijnsbroek, 2018)”

Willem Maris (1844–1910) Dutch landscape painter of the Hague School (1844-1910)

version in original Dutch / citaat van Willem Maris, in het Nederlands: Bij Heyser [een café in Den Haag] kwamen de eerbiedwaardige ouden [schilders]: Smit-Cranz, Coelman e.a. Dat waren de hooge oomes, zie je. Wij waren de revolutionairen. En tegenwerking dat we hebben gehad! - In heeft tijdens onze eerste tentoonstelling een pamflet gelegen tegen ons. We werden uitgescholden voor 'modderschilders'. Quote of Willem Maris; as cited in 'Zó Hollands - Het Hollandse landschap in de Nederlandse kunst sinds 1850', Antoon Erftemeijer https://www.franshalsmuseum.nl/wp-content/uploads/2017/12/zohollands_eindversie_def_1.pdf; Frans Hals museum | De Hallen, Haarlem 2011, pp. 36-37

Guy

“The fall of the patriciate by no means divested the Roman commonwealth of its aristocratic character. We have already indicated that the plebeian party carried within it that character from the first as well as, and in some sense still more decidedly than, the patriciate; for, while in the old body of burgesses an absolute equality of rights prevailed, the new constitution set out from a distinction between the senatorial houses who were privileged in point of burgess rights and of burgess usufructs, and the mass of the other citizens. Immediately, therefore, on the abolition of the patriciate and the formal establishment of civic equality, a new aristocracy and a corresponding opposition were formed; and we have already shown how the former engrafted itself as it were on the fallen patriciate, and how, accordingly, the first movements of the new party of progress were mixed up with the last movements of the old opposition between the orders. The formation of these new parties began in the fifth century, but they assumed their definite shape only in the century which followed. The development of this internal change is, as it were, drowned amidst the noise of the great wars and victories, and not merely so, but the process of formation is in this case more withdrawn from view than any other in Roman history. Like a crust of ice gathering imperceptibly over the surface of a stream and imperceptibly confining it more and more, this new Roman aristocracy silently arose; and not less imperceptibly, like the current concealing itself beneath and slowly extending, there arose in opposition to it the new party of progress. It is very difficult to sum up in a general historical view the several, individually insignificant, traces of these two antagonistic movements, which do not for the present yield their historical product in any distinct actual catastrophe. But the freedom hitherto enjoyed in the commonwealth was undermined, and the foundation for future revolutions was laid, during this epoch; and the delineation of these as well as of the development of Rome in general would remain imperfect, if we should fail to give some idea of the strength of that encrusting ice, of the growth of the current beneath, and of the fearful moaning and cracking that foretold the mighty breaking up which was at hand. The Roman nobility attached itself, in form, to earlier institutions belonging to the times of the patriciate. Persons who once had filled the highest ordinary magistracies of the state not only, as a matter of course, practically enjoyed all along a higher honour, but also had at an early period certain honorary privileges associated with their position. The most ancient of these was doubtless the permission given to the descendants of such magistrates to place the wax images of these illustrious ancestors after their death in the family hall, along the wall where the pedigree was painted, and to have these images carried, on occasion of the death of members of the family, in the funeral procession.. the honouring of images was regarded in the Italo-Hellenic view as unrepublican, and on that account the Roman state-police did not at all tolerate the exhibition of effigies of the living, and strictly superintended that of effigies of the dead. With this privilege were associated various external insignia, reserved by law or custom for such magistrates and their descendants:--the golden finger-ring of the men, the silver-mounted trappings of the youths, the purple border on the toga and the golden amulet-case of the boys--trifling matters, but still important in a community where civic equality even in external appearance was so strictly adhered to, and where, even during the second Punic war, a burgess was arrested and kept for years in prison because he had appeared in public, in a manner not sanctioned by law, with a garland of roses upon his head.(6) These distinctions may perhaps have already existed partially in the time of the patrician government, and, so long as families of higher and humbler rank were distinguished within the patriciate, may have served as external insignia for the former; but they certainly only acquired political importance in consequence of the change of constitution in 387, by which the plebeian families that attained the consulate were placed on a footing of equal privilege with the patrician families, all of whom were now probably entitled to carry images of their ancestors. Moreover, it was now settled that the offices of state to which these hereditary privileges were attached should include neither the lower nor the extraordinary magistracies nor the tribunate of the plebs, but merely the consulship, the praetorship which stood on the same level with it,(7) and the curule aedileship, which bore a part in the administration of public justice and consequently in the exercise of the sovereign powers of the state.(8) Although this plebeian nobility, in the strict sense of the term, could only be formed after the curule offices were opened to plebeians, yet it exhibited in a short time, if not at the very first, a certain compactness of organization--doubtless because such a nobility had long been prefigured in the old senatorial plebeian families. The result of the Licinian laws in reality therefore amounted nearly to what we should now call the creation of a batch of peers. Now that the plebeian families ennobled by their curule ancestors were united into one body with the patrician families and acquired a distinctive position and distinguished power in the commonwealth, the Romans had again arrived at the point whence they had started; there was once more not merely a governing aristocracy and a hereditary nobility--both of which in fact had never disappeared--but there was a governing hereditary nobility, and the feud between the gentes in possession of the government and the commons rising in revolt against the gentes could not but begin afresh. And matters very soon reached that stage. The nobility was not content with its honorary privileges which were matters of comparative indifference, but strove after separate and sole political power, and sought to convert the most important institutions of the state--the senate and the equestrian order--from organs of the commonwealth into organs of the plebeio-patrician aristocracy.”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

The History of Rome - Volume 2

Death, Men, War, Youth

“[O]ligarchy, strictly speaking, is a regime "in which a rich minority rules for the advantage of the rich minority and in which the people composing that political society are ranked… because the ruling principle of that regime is the principle of natural inequality." Aristotle called it a deviant form of aristocracy (in the same way that tyranny is a deviant form of monarchy), and in practical terms, it exhibits its form through excessive concentrations of property in the hands of a few, the reservation of education to the elite, and the organization of government to serve the purposes of the oligarchs.”

Allen C. Guelzo (1953) American historian

2010s, Bullwhip Feudalism (2018)

People, Education, Way, Nature

“If one benighted class of men begins by assuming that whatever is, is right, [contemporary radicals] begin by assuming that whatever is, is wrong. Had we to decide between these two—and I hope I make it clear that I do not think we have to decide thus—the latter would appear more blasphemous than the former because it makes a wholesale condemnation of a creation which is not ours and which exhibits the marks of a creative power that we do not begin to possess. The intent of the radical to defy all substance, or to press it into forms conceived in his mind alone … is an aggression by the self which outrages a deep-laid order of things.”

Richard M. Weaver (1910–1963) American scholar

“Up From Liberalism,” p. 142.
Life Without Prejudice (1965)

Men, Hope, Thinking, Appearance

“All I can tell is that they [some small landscapes Bilders painted in Savoy, which were exhibited there] are more blatant than in my studio, and secondly that I have been honored with a pretty good review... the jury found evidence of a thoroughly study and of happy sunlight in my works. They thought that I had to cherish a lot of love for nature, to be able to show it so sensitive.... [I] can not deny that I am very pleased to find that my small paintings have been noticed favorably. And besides that, one will never forget his first review..”

Gerard Bilders (1838–1865) painter from the Netherlands

Bilder's travel to Switzerland with some other artists was the longest travel he ever made in his short life
Source: 1850's, Vrolijk Versterven' (from Bilders' diary & letters), p. 23 - quote in Bilder's letter to his maecenas Johannes Kneppelhout, from Savoy, near Geneva, Switserland, September 1858;

Love, Nature, Study, Painting

“Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist.”

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

Source: Art & Other Serious Matters, (1985), p. 273, "Being Outside"

Art, Memory, Future, Personality

“Theism (whether Christian, Jewish, or Muslim) holds that God by wisdom created the world. The origin of the world and its subsequent ordering thus results from the designing activity of an intelligent agent—God. Naturalism, on the other hand, allows no place for intelligent agency except at the end of a blind, purposeless material process. Within naturalism, any intelligence is an evolved intelligence. Moreover, the evolutionary process by which any such intelligence developed is itself blind and purposeless. As a consequence, naturalism makes intelligence not a basic creative force within nature but an evolutionary byproduct. In particular, humans (the natural objects best known to exhibit intelligence) are not the crown of creation, not the carefully designed outcome of a purposeful creator, and certainly not creatures made in the image of a benevolent God. Rather, humans are an accident of natural history.”

William A. Dembski (1960) American intelligent design advocate

[The design revolution: answering the toughest questions about intelligent design, Downers Grove, Ill., InterVarsity Press, 2003, [BS652.D46, 2004], 2003020589, 9780830832163, http://books.google.com/books?id=sKVqpXqE0VwC] p. 8-9
2000s

Wisdom, God, World, History

“Our most provident and glorious Creator so furnished countries with severall commodities that amongst all there might be sociable conversation; and, one standing in need of the other, all might be combined in a common league, and exhibite mutuall succours. This abundance of all countries in everything, and defect of every country in most things, maintaineth in all regions and every province a most strict combination. So that, as in the body of the little world, the head cannot say to the foot, nor the foot to the head, 'I stand in no need of thee:' so, in the body of the great world, Europe cannot say to Asia, nor Asia to Africke, 'I want not your commodities, nor am defective in that of which thou boastest of abundance.”

Peter Heylin (1599–1662) English ecclesiastic and author of polemical, historical, political and theological tracts

Microcosmos: a Little Description of the Great World (1621)

World, Country

“We must surely learn, from both our past and present history, how careful we must be not to provoke the anger of the native people by doing them wrong, how we should be cautious in our dealings with a foreign people among whom we returned to live, to handle these people with love and respect and, needless to say, with justice and good judgment. And what do our brothers do? Exactly the opposite! They were slaves in their Diasporas, and suddenly they find themselves with unlimited freedom, wild freedom that only a country like Turkey [the Ottoman Empire] can offer. This sudden change has planted despotic tendencies in their hearts, as always happens to former slaves ['eved ki yimlokh – when a slave becomes king – Proverbs 30:22]. They deal with the Arabs with hostility and cruelty, trespass unjustly, beat them shamefully for no sufficient reason, and even boast about their actions. There is no one to stop the flood and put an end to this despicable and dangerous tendency. Our brothers indeed were right when they said that the Arab only respects he who exhibits bravery and courage. But when these people feel that the law is on their rival's side and, even more so, if they are right to think their rival's actions are unjust and oppressive, then, even if they are silent and endlessly reserved, they keep their anger in their hearts. And these people will be revengeful like no other.”

Ahad Ha'am (1856–1927) Hebrew essayist and thinker

Source: Wrestling with Zion, p. 15.

Love, Hostility, People, Justice

“I am trying to do two things: dare to be a radical and not be a fool, which, if I may judge by the exhibitions around me, is a matter of no small difficulty.”

James A. Garfield (1831–1881) American politician, 20th President of the United States (in office in 1881)

In a letter to Burke Aaron Hinsdale (1 January 1867); quoted in The Life of Gen. James A. Garfield (1880) by Jonas Mills Bundy, p. 77
1860s

Fools

“One of my first sculptures was made of bicycle parts. I was living at that time in a attic in the red light section of Amsterdam. I started to work without any specific materials. I was looking in the street like when I was a young boy, in the garbage cans, for ropes, wires, and paint. I left my parents in 1940. Years later I saw an exhibition of Kurt Schwitters at the Stedelijk Museum in Amsterdam curated by Willem Sandberg and there I saw the real 'objet trouvé'; until then I had never heard about it. Schwitters was a shattering experience.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Source: Karel Appel – the complete sculptures,' (1990), p. 79 'Quotes', K. Appel (1989)

Boy, Parent, Light, Time

“Gandhi had been right. There was only one way to behave, even if it seemed, in the short term, against one’s self-interest. Surely it was in one’s self-interest in the long term to exhibit generosity, humanity, kindness and a sense of justice to one’s fellow men. It was cynicism of Beesley’s kind which had, after all, led to the threatened extinction of the whole human race. There could be no such thing s a “righteous” war, for war was by its very nature an act of injustice against the individual, but there could be such a thing as an “unrighteous” war—an evil war, a war begun by men who were utterly corrupt, both morally and intellectually. I had begun to think that it was a definition of those who would make war—that whatever motives they claimed, whatever ideals they promoted, whatever “threat” they referred to, they could not be excused—because of their actions they could only be of a degenerate and immoral character.”

Michael Moorcock book The Land Leviathan

Book 2, Chapter 4 “The Triumphant Beast” (p. 262)
The Land Leviathan (1974)

Men, War, Justice, Way

“They say any artist paying six dollars may exhibit
Mr. Richard Mutt [= Duchamp himself; an inscription written by Duchamp] sent in a fountain. Without discussion this article disappeared and never was exhibited.
What were the grounds for refusing Mr. Mutt fountain:
1. Some contented it was immoral, vulgar.
2. Others, it was plagiarism, a plain piece of plumbing.
Now, Mr. Mutt fountain is not immoral, that is absurd, no more than a bit tube is immoral. It is a fixture that you see every day in plumber’s show windows.
Whether Mr. Mutt with his own hands made this fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that's its useful significance disappeared under the new title ['The Richard Mutt Case'] and point of view – created a new thought for that object.
As for plumbing, that is absurd. The only works of art America has given are her plumbing and her bridges.”

Marcel Duchamp (1887–1968) French painter and sculptor

quote, 1917
Quote in: Theories and Documents of Contemporary Art, – a source-book of Artist's writings, ed. Kristine Stiles / Peter Selz, University of California Press, London, England, 1996, p. 817
Duchamp's core quote / his own written comment on his artwork 'Fountain (Duchamp)': The Richard Mutt Case, Marcel Duchamp, ‘Blind Man’, New York, 1917: 5
1915 - 1925

Life, Art, Quotes

“…we find and we know that this attempt in Ireland to make the power and influence of the State the means of supporting one creed against another has been the plague and the scourge of the country—has divided man from man, class from class, kingdom from kingdom, and in this great, and ancient, and noble empire has had the effect of now exhibiting us to the world as a divided country—three kingdoms, two of which we are indeed heartily united and associated, but the third of which offers to mankind a spectacle painful and full of schism and destruction within itself, and alienation and estrangement as regards the Throne and Constitution of this realm.”

William Ewart Gladstone (1809–1898) British Liberal politician and prime minister of the United Kingdom

Speech in the assembly-rooms at Wavertree (14 November 1868), quoted in The Times (16 November 1868), p. 5
1860s

Pain, World, Support, Country

“It is useless to tell the missionaries that Hindu sâdhanâ has nothing to do with buying a piece of land, building some stylised houses on it, exhibiting pretentious signboards, putting on a particular type of dress, and performing certain rituals in a particular way. Hindu sâdhanâ has been and remains a far deeper and difficult undertaking. It means being busy with one's own self rather than with saving others. It means clearing the dirt and dross within one's own self rather than calling on others to swear by a totem trotted out as the only saviour. It has no place for abominable superstitions like the atoning death of a so-called chirst. Above all, it is not consistent with double-talk-harbouring one motive in the heart and mouthing another. A counterfeit must remain a counterfeit, howsoever loudly and lavishly advertised. It is a sacrilege that those who are out to cheat and deceive should use the word "sâdhanâ" for their evil exercise.”

Sita Ram Goel book Catholic Ashrams

Catholic Ashrams (1994)

Death, Way, Exercises, Motivation

“Well, I looked at Picasso [at the Picasso exhibition, Museum of Modern Art, in 1939] until I could smell his armpits and the cigarette smoke on his breast. Finally, in front of one picture – a bone figure on a beach – I got it. I saw that the figure was not his real subject. The plasticity wasn't either – although the plasticity was great. No. Picasso had uncovered a feverishness in himself and is painting it – a feverishness of death and beauty.”

William Baziotes (1912–1963) American painter

Modern Art U.S.A., R. Blesh, New York, Alfred A. Knopf, 1956, pp. 268-69
1950s

Death, Beauty, Art, Painting

“Mr. Darwin's hypothesis is not, so far as I am aware, inconsistent with any known biological fact; on the contrary, if admitted, the facts of Development, of Comparative Anatomy, of Geographical Distribution, and of Palaeontology, become connected together, and exhibit a meaning such as they never possessed before; and I, for one, am fully convinced that if not precisely true, that hypothesis is as near an approximation to the truth as, for example, the Copernican hypothesis was to the true theory of the planetary motions.”

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

Source: 1860s, Evidence as to Man's Place in Nature (1863), Ch.2, p. 127

Truth

“[one watercolor] is in spite of all its difficulties, and perhaps because she has given so much trouble, less fresh and has become a little heavy - I myself have considered for a long time whether she was good enough to send it [for a exhibition in Utrecht] (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) [een aquarel] is niettegenstaanden alle moeite, en misschien wel omdàt zij moeite heeft gekost, minder frisch en wat zwaar geworden – Ik heb zelf lang in beraad gestaan of zij goed genoeg was om te zenden [naar Utrecht]
In a letter to P. verLoren van Themaat, 23 Nov. 1866; in Haagsch Gemeentearchief / Municipal Archive of The Hague
1860's

Time

“The weak shows his strength and hides his weaknesses; the magnificent exhibits his weaknesses like ornaments.”

Nassim Nicholas Taleb book The Bed of Procrustes: Philosophical and Practical Aphorisms

Source: The Bed of Procrustes: Philosophical and Practical Aphorisms (2010), p. 94

“The lower animals, like man, manifestly feel pleasure and pain, happiness and misery. Happiness is never better exhibited than by young animals, such as puppies, kittens, lambs, &c., when playing together, like our own children. Even insects play together, as has been described by that excellent observer, P. Huber, who saw ants chasing and pretending to bite each other, like so many puppies.
The fact that the lower animals are excited by the same emotions as ourselves is so well established, that it will not be necessary to weary the reader by many details. Terror acts in the same manner on them as on us, causing the muscles to tremble, the heart to palpitate, the sphincters to be relaxed, and the hair to stand on end. Suspicion, the offspring of fear, is eminently characteristic of most wild animals. Courage and timidity are extremely variable qualities in the individuals of the same species, as is plainly seen in our dogs. Some dogs and horses are ill-tempered and easily turn sulky; others are good-tempered; and these qualities are certainly inherited.”

Charles Darwin book The Descent of Man, and Selection in Relation to Sex

volume I, chapter II: "Comparison of the Mental Powers of Man and the Lower Animals", pages 39-40 http://darwin-online.org.uk/content/frameset?pageseq=52&itemID=F937.1&viewtype=image The Descent of Man (1871)

Pain, Children, Pleasure, Fear

“Belief is a beautiful armor
But makes for the heaviest sword.
Like punching underwater,
You never can hit who you're trying for.
Some need the exhibition
And some have to know they tried,
It's the chemical weapon for the war that's ragin' on inside.”

John Mayer (1977) guitarist and singer/songwriter

Belief
Song lyrics, Continuum (2006)

War, Beauty

“A general definition of civilization: a civilized society is exhibiting the five qualities of truth, beauty, adventure, art, peace.”

Alfred North Whitehead (1861–1947) English mathematician and philosopher

Source: 1930s, Adventures of Ideas (1933), p. 353.

Truth, Peace, Beauty, Art

“Knowing Corot's ideas on tone [copy of a private letter, October 28, 1875].. and Couture's precepts on the subtlety of tints (at the time of his exhibition), having been struck by the intuition of Monet and Pissarro... Rood having been brought to my attention in an article by w:Philippe Gille, Figaro 1881, 3.”

Georges Seurat (1859–1891) French painter

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

Idea, Time

“Starting on a large scale towards the end of the 1960s in the United States and expanding rapidly ever since, corporate funding has spread during the last five years to Britain and the Continent. Ambitious exhibition programs that could not be financed through traditional sources led museums to turn to corporations for support. The larger, more lavishly appointed these shows and their catalogues became, however, the more glamour the audiences began to expect.”

Hans Haacke (1936) conceptual political artist

1980s, "Museums, Managers of Consciousness," 1983

Support

“The first painting to appear with an affirmation of simultaneity was mine and had the following title: 'Simultaneous visions', [Boccioni painted in 1911]. It was exhibited in the galerie Bernheim in Paris, and in the same exhibition my Futurist painter friends also appeared with similar experiments in simultaneity.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Boccioni's quote on early realized simultaneity in his art; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 458.
1914 - 1916, Pittura e scultura futuriste' Milan, 1914

Appearance, Painting

“It is color, not locally true from the point of view of the stereoscopic realist, but color to suggest any emotion of an ardent temperament. When Paul Mantz saw at the exhibition the violent and inspired sketch of Delacroix…. the 'Barque of Christ' - he turned away from it exclaiming: 'I did not know that one could be so terrible with a little blue and green'. Hokusai wrings the same cry from you [Theo], but he does it by his line, his drawing, when you say in your letter - 'the waves are claws and the ship is caught in them'. Well, if you make the color exact or the drawing exact, it won't give you sensations like that.”

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

Quote in his letter to brother Theo, from Arles, 8 September 1888; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 533) pp. 32-33 1880s, 1888

Color, Christ, Drawing, Cry

“Purification of the soul … consists in scorning the pleasures that arise through the senses, in not feasting the eyes on the silly exhibitions of jugglers or on the sight of bodies which gives the spur to sensual pleasure, in not permitting licentious songs to enter through the ears and drench your souls.”

Basil of Caesarea (329–379) Christian Saint

Source: On Greek Literature, p. 419

Pleasure, Soul, Sense

“I did exhibitions with the Surrealists [in Paris, c. 1929] because their attitude revolted against 'art' and their attitude toward life itself was wise, as was Dada's.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 406

Life, Art

“Great deeds and utterances are now so diluted with printer’s ink that we can no longer find a sage or saint. Our worthiest men are exhibited and bewritten until they are made as uninteresting as clowns.”

John Lancaster Spalding (1840–1916) Catholic bishop

Source: Aphorisms and Reflections (1901), p. 165

Men

“By and large the literature of a democracy will never exhibit the order, regularity, skill, and art characteristic of aristocratic literature; formal qualities will be neglected or actually despised. The style will often be strange, incorrect, overburdened, and loose, and almost always strong and bold. Writers will be more anxious to work quickly than to perfect details. Short works will be commoner than long books, wit than erudition, imagination than depth. There will be a rude and untutored vigor of thought with great variety and singular fecundity. Authors will strive to astonish more than to please, and to stir passions rather than to charm taste.”

Alexis De Tocqueville book Democracy in America

Book One, Chapter XIII.
Democracy in America, Volume II (1840), Book One

Books, Art, Democracy, Imagination

“[The] amount of search is not a measure of the amount of intelligence being exhibited. What makes a problem a problem is not that a large amount of search is required for its solution, but that a large amount would be required if a requisite level of intelligence were not applied.”

Allen Newell (1927–1992) American cognitive scientist

Source: Computer Science as Empirical Inquiry: Symbols and Search (1975), p. 122.

Search, Intelligence, Problem

“Among the English, we see on one side an exhibition of grossness and impudence in wickedness, and on the other, we admire their strictness and lofty eminence in that which is good. In that country, interest and conscience measure every thing. There is nothing intermediate between the two motives.In France, on the contrary, the gap between interest and conscience is admirably filled by honour. … In its origin, honour had for its office to take the place of conscience. Where it was deficient, honour presented itself the heir, the distant relation of conscience. … But honour itself is becoming weak. … If this progress continues, it will end by being extinguished. But which will then become the heir of honour? Will it be interest or conscience?”

Alexandre Vinet (1797–1847) Swiss theologian

History of French Literature in the Eighteenth Century (1854), pp. 366-367.

Distant, Country

“Nature is to us like an inﬁnite ballot-box, the contents of which are being continually drawn, ball after ball, and exhibited to us. Science is but the careful observation of the succession in which balls of various character present themselves; we register the combinations, notice those which seem to be excluded from occurrence, and from the proportional frequency of those which usually appear we infer the probable character of future drawings.”

William Stanley Jevons (1835–1882) English economist and logician

Source: The Principles of Science: A Treatise on Logic and Scientific Method (1874) Vol. 1, p. 169

Nature, Appearance, Science, Success

“If you read some of the Parisian newspapers, among others the 'Figaro', so beloved of the right-thinking public, you must have learned that I am part of a group of artists who opened a private exhibition [in the art-gallery of Durand-Ruel in Paris, April 1876]. You must also have seen what favour this exhibition enjoys in the eyes of these gentlemen [Berthe refers to the critical articles in Paris with all their mockery about her works]. On the other hand, we have been praised in the radical newspaper, but you don't read those [her aunts]! Well, at least we are getting attention, and we have enough self-esteem not to care. My brother-in-law Edouard Manet is not with us [Manet didn't participate in this first Impressionist show, initiated by Degas ]. Speaking of success, he [Manet] has just been rejected by the Salon; he, too, is perfectly good-humored about his failure.”

Berthe Morisot (1841–1895) painter from France

In a letter to her aunts, 1876; as quoted in The Private Lives of the Impressionists, Sue Roe; Harper Collins Publishers, New York, 2006, p. 155
Berthe wrote this letter after the second Impressionist exhibition of April 1876 where she was participating with 19 pictures (Monet with 18!)
1871 - 1880

Law, Art, Failure, Thinking

“While it is true that the white race exhibits some qualities of superiority over any other, we are to remember that there are wide differences in the same Caucasian (Semitic and Aryan) family; and also we should remember that some of the qualities which have given this branch of the human family its preeminence in the world are not such as can be pointed to as in all respects admirable…
The secret of the greater intelligence and aptitude of the Caucasian undoubtedly in great measure is to be attributed to the commingling of blood amongst its various branches; and this was evidently forced in large measure by circumstances under divine control.”

Charles Taze Russell (1852–1916) Founder of the Bible Student Movement

Zion's Watch Tower (July 15, 1902), pp. 215-216.

Secret, World, Family, Intelligence

“Soft systems viewpoints are those held by behavioural, management, social anthropology, social psychology and other science students concerned with observing the living world, and in particular the human world. Human activity systems (HASs) are messy, in that they do not exhibit a clear need or purpose - if they can be said to exhibit purpose at all. Indeed, so complex is the real world of people that the idea of driving towards optimal solutions may be a non-starter - perhaps we should see if we can simply understand and concern ourselves with improving the situation.”

Derek Hitchins (1935) British systems engineer

Source: Putting systems to work (1992), p. 7; as cited in: Stuart Anderson (2006)

People, World, Idea, Optimism

“Time is a corrosive fluid, dissolving motivation, destroying novelty, and leaching the joy from life. But forgetting is a fraught process, one that is prone to transcription errors and personality flaws. Delete the wrong pattern, and you can end up becoming someone else. Memories exhibit dependencies, and their management is one of the highest medical art forms.”

Charles Stross book Glasshouse

Source: Glasshouse (2006), Chapter 2, “Experiment” (p. 22)

Life, Art, Error, Motivation

“Natural" is a very dangerous word to use about sexuality … Our society's notions of normality are completely fake and meta-trendy, since they rely on the changing standards of superstition, religion, Christianity and gender bias to define themselves. Americans, in particular, exhibit very childish reactions to sexual practices that are new to them, much like little kids who are offered a vegetable they haven't seen before: "That's disgusting!" "But darling, you haven't even tried it!”

Susie Bright (1958) American writer and feminist

"I don't care, I hate it, I hate it!
Introduction, Nothing But the Girl, 1996 ISBN 186047005X.

Hate, Religion, Nature, Change

“Fulfilled philosophy vindicates our faith in the Personality of the Eternal Ideal, in the reality of God, by vindicating the reality of man the Mind, and exhibiting his legislative relation to Nature and thence to evolution. It thus secures a stable footing for freedom, and for immortality with worth, and thereby for the existence of the Living God who is Love indeed, because the Inspirer of an endless progress in moral freedom.”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Limits of Evolution, p.54

Love, God, Faith, Nature

“I once got engaged to his daughter Honoria, a ghastly dynamic exhibit who read Nietzsche and had a laugh like waves breaking on a stern and rockbound coast.”

P.G. Wodehouse book The Inimitable Jeeves

The Inimitable Jeeves (1923)

Reading, Daughters

“The actual evolution of mathematical theories proceeds by a process of induction strictly analogous to the method of induction employed in building up the physical sciences; observation, comparison, classification, trial, and generalisation are essential in both cases. Not only are special results, obtained independently of one another, frequently seen to be really included in some generalisation, but branches of the subject which have been developed quite independently of one another are sometimes found to have connections which enable them to be synthesised in one single body of doctrine. The essential nature of mathematical thought manifests itself in the discernment of fundamental identity in the mathematical aspects of what are superficially very different domains. A striking example of this species of immanent identity of mathematical form was exhibited by the discovery of that distinguished mathematician... Major MacMahon, that all possible Latin squares are capable of enumeration by the consideration of certain differential operators. Here we have a case in which an enumeration, which appears to be not amenable to direct treatment, can actually be carried out in a simple manner when the underlying identity of the operation is recognised with that involved in certain operations due to differential operators, the calculus of which belongs superficially to a wholly different region of thought from that relating to Latin squares.”

E. W. Hobson (1856–1933) British mathematician

Source: Presidential Address British Association for the Advancement of Science, Section A (1910), p. 290; Cited in: Moritz (1914, 27): The Nature of Mathematics.

Mathematics, Nature, Appearance, Science

“Holland's and Kauffman's work, together with Dawkins' simulations of evolution and Varela's models of autopoietic systems, provide essential inspiration for the new discipline of artificial life, This approach, initiated by Chris Langton (1989, 1992), tries to develop technological systems (computer programs and autonomous robots) that exhibit lifelike properties, such as reproduction, sexuality, swarming, and co-evolution.”

Francis Heylighen (1960) Belgian cyberneticist

" Complex Adaptive Systems http://pespmc1.vub.ac.be/CAS.html" on: Principia Cybernetica Web, Nov. 12, 1996 Principia Cybernetica Web, 1999-2003

Life

“In [18]35, I made a study trip about Utrecht and Nijmegen to Dusseldorf, Cologne and [w:Koblenz|Coblentz]], together with Samuel Verveer, who had already left the studio of van Hove. My painting 'View of the Moselle Bridge in Coblentz' – exhibited in the same year here - was bought by Schelfhout and, in addition to the satisfaction it gave me, I was allowed to find a counselor in him from then on; he became and remained my friend since then.”

Johannes Bosboom (1817–1891) Dutch painter

origineel citaat van Johannes Bosboom, in Nederlands: In [18]35 maakte ik met gekocht en, behalve de voldoening, die daarin voor mij was gelegen, mocht ik van toen af een raadsman in hem vinden, die mij sinds ook een vriend is geworden en gebleven.
p. 9
1880's, Een en ander betrekkelijk mijn loopbaan als schilder

Study, Painting

“Stow informs us, that the young Londoners, on holidays, after the evening prayer, were permitted to exercise themselves with their wasters and bucklers before their masters' doors…The bear-gardens were the usual places appropriated by the masters of defence for public trials of skill. These exhibitions were outrageous to humanity, and only fitted for the amusement of ferocious minds; it is therefore astonishing that they should have been frequented by females; for, who could imagine that the slicing of the flesh from a man's cheek, the scarifying of his arms, or laying the calves of his legs upon his heels, were spectacles calculated to delight the fair sex, or sufficiently attractive to command their presence.”

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

pg. 262
The Sports and Pastimes of the People of England (1801), Fencing

Sex, Exercises, Imagination, Holiday

“.. that dizzy seething of forms and acoustic lights, rowdy and smelly [visible in the paintings at the Futurist exhibition, February 1912 in Paris].... to obtain this total painting which calls for the active cooperation of all the senses: painting of the plastic mood of the universal, you have to paint the way drunkards sing and vomit, sounds, noises and smells.”

Carlo Carrà (1881–1966) Italian painter

Quote in The painting of Sounds, Noises and Smells Carrà, in 'Lacerba' vol. 1. no. 17, 1,Florence, 1 September 1913, pp. 186-187
1910's

Way, Mood, Sense, Light

“Instead of exhibiting talent in the hope that the world would forgive their eccentricities, they have exhibited only their eccentricities, in the hope that the world would give them credit for talent.”

Charles Caleb Colton (1777–1832) British priest and writer

Vol. I; XVI
Lacon (1820)

World, Hope, Forgiveness

“Starting with the Minnesota twin study thirty-five years ago, and now with a mountain of data from twin, sibling, and adoption studies, we know that pretty much anything you can quantify about human personality, behavior, and intelligence is to some degree heritable, average-average at around the fifty percent level but sometimes much higher. We now in fact have a busy and exciting field of study called “behavioral genetics.” Given that all these traits are heritable, it follows from the ordinary laws of biology that different races will exhibit different statistical profiles on them. That’s not astonishing, mysterious, or horrible: It’s just first-floor-level science.”

John Derbyshire (1945) writer

John Derbyshire On Why Race Realism Makes More Sense Than “Magic Dirt” Theory http://www.vdare.com/articles/john-derbyshire-on-why-race-realism-makes-more-sense-than-magic-dirt-theory, VDARE, November 1, 2015.

Law, Behavior, Mountain, Intelligence

“Hans Haacke's "Visitor's Profile" encouraged visitors to interact with a computer by inputting personal information, which was then tabulated to output statistical data on the exhibition's audience. Such demographic research - as art - opened up a critical discourse, following Foucault and others, on the exclusivity of cultural institutions and their patrons, revealing the myth of public service as a thin veneer justifying the hierarchical values that reify extant social relations. Similarly, "Interactive Paper Systems" by Sonia Sheridan, engaged museum-goers in a creative exchange with the artist and 3M's first commercially available color photocopying machine, dissolving conventional artist-viewer-object relations. In "The Seventh Investigation (Art as Idea as Idea)" Joseph Kosuth utilized multiple forms of mass media and distribution (a billboard, an newspaper advertisement, a banner, and a museum installation) to question the conceptual and contextual boundaries between art, philosophy, commerce, pictures, and texts.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken. " The House That Jack Built: Jack Burnham's Concept of "Software" as a Metaphor for Art http://www.artexetra.com/House.html" in Leonardo Electronic Almanac 6:10 (November, 1998)

Art, Color, Idea, Question

“The question is not merely what we can feel, but what we can do for Christ; not how many tears we can shed, but how many sins we can mortify; not what raptures we can experience, but what self-denial we can practice; not what happy frames we can enjoy, but what holy duties we can perform; not simply how much we can luxuriate at sermon or at sacrament, but how much we can exhibit of the mind of Jesus in our intercourse with our fellow men; not only how far above earth we can rise to the bliss of heaven, but how much of the love and purity of heaven we can bring down to earth; in short, not how much of rapt feeling we can indulge, but how much of religious principle we can bring to bear on our whole conduct.”

John Angell James (1785–1859) British abolitionist

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 126.

Love, Men, Feeling, Question

“I was in Rotterdam, but the exhibition there was horrible. Le Fauconnier has nothing to tell anymore. He has a dirty color now and has become a real academic. Mondrian is completely frozen, no poetry at all anymore. It's terrible that these people can not reach further with great ideals. To my taste Alma paints far too much naturalistic. A big difference, these three, compared to [Franz] Marc, Kandinsky, Filla etc..”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:)Ich war in Rotterdam, aber da war eine schreckliche Ausstellung. Le Fauconnier ist nichts mehr. Er hat jetzt eine schmutzige Farbe uns ist ein richtiger Akademiker. Mondrian ist ganz erstarrt, gar kein Poesie mehr. Es ist doch schrecklich, dass die Leute nicht weiter kommen mit grossen Idealen. Alma ist für meinen Geschmack viel zu viel Naturalist. Ein grösser Unterschied, die drei und [Franz] Marc, Kandinsky, Filla etc..
in a letter to Herwarth Walden, 9 Feb. 1915; as cited by Arend H. Huussen Jr. in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, p. 13
1910's

People, Color, Painting

“This is what has Gropius the director made the Bauhaus famous. Not its lamps or its furniture. They are all out of fashion already. But the way of approaching formal problems or material as such, that has made it famous. And the emphasis on material, especially its capacity is my contribution. That was never cleared between us teachers. Kandinsky did what he thought should be done. Klee developed an absolutely different method. Schlemmer developed absolutely something else. Klee was my so-called form master. In the workshops there they had a crafts master and a form master. The crafts master had to direct the practical work, the mechanics of the workshop. And the form master had to develop the, formal qualities. Klee was my form master in the glass workshop. He came to me and never criticized anything. He talked about something else. Never asked about any form problem with the windows I was working on. Never a word. He was too respectful. He was the nicest master I could ask for. He talked about exhibitions. He thought I should exhibit. That's another story. We had a good relationship because we never dealt with the same problems. He didn’t attack our problems. He never brought up a problem.”

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

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Way, Fashion, Problem, Teachers

“Guyana-Cult of the Damned has crawled out from under a rock and into local theaters, and will do nicely as this week's example of the depths to which people will plunge in search of a dollar. The movie is a gruesome version of the Jonestown massacre of 1978, so badly written and directed it illustrates a simple rule of movie exhibition: If a film is nauseating and reprehensible enough in the first place, it doesn't matter how badly it's made - people will go anyway.”

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

Review http://www.rogerebert.com/reviews/guyana-cult-of-the-damned-1980 of Guyana-Cult of the Damned (29 January 1980) Reviews, Zero star reviews

People, Search

“I have had a long talk with Renoir. He admitted that the whole crowd – Durand and his former admirers – were shouting at him, deploring his attempt to abandon his 'Romantic' period. He seems very sensitive to what we think of his exhibition. I told him that as far as we were concerned, the search for unity should be the aim of every intelligent artist. – that even in spite of serious faults, it was more intelligent and artistic than wallowing in romanticism.”

Camille Pissarro (1830–1903) French painter

Quote in a letter to his son Lucien, 14th May 1887, as quoted in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 189
1880's

Search, Intelligence, Thinking

“As we survey the various stages of evolution, from the simplest one-cell creatures up to man. we see a steady improvement in the methods of learning and adaptation to a hostile world. Each step in learning ability gives better adaptation and greater chance of survival. We are carried a long way up the scale by innate reflexes and rudimentary muscular learning faculties. Habits indeed, not rational thought, assist us to surmount most of life's obstacles. Most, but by no means all; for learning in the high mammals exhibits the unexplained phenomenon of "insight," which shows itself by sudden changes in behavior in learning situations -- in sudden departures from one method of organizing a task, or solving a problem, to another. Insight, expectancy, set, are the essentially "mind-like" attributes of communication, and it is these, together with the representation of concepts, which require physiological explanation. At the higher end of the scale of evolution, this quality we call "mind" appears more and more prominently, but it is at our own level that learning of a radically new type has developed -- through our powers of organizing thoughts, comparing and setting them into relationship, especially with the use of language. We have a remarkable faculty of forming generalizations, of recognizing universals, of associating and developing them. It is our multitude of general concepts, and our powers of organizing them with the aid of language in varied ways, which forms the backbone of human communication, and which distinguises us from the animals.”

Colin Cherry (1914–1979) British scientist

Source: Hebb, D. O., The Organization of Behavior, John Wiley & Sons, Inc., New York, 1949.
Source: On Human Communication (1957), On Cognition and Recognition, p. 304

Life, Hostility, World, Way

“When the Surrealist exhibition [in London, 1936] was held Barbara [Hepworth] was by then married to [the sculptor] w:Ben Nicholson, they were strongly against it [against Surrealism ], though I felt, and feel, that there needn't be the sort of division in art that sprang up then. And Ben had also been much influenced by Mondrian. He was devoted to abstract art and she became much more interested in the abstract form. But for me, the essence of sculpture has always been the human figure. Still, of course, one kept in touch and one met and one's paths crossed.”

Henry Moore (1898–1986) English artist

1970 and later
Source: 'The Sunday Times', 25 May 1975; as quoted in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, p. 121

Art, Feeling

Quotes about exhibit page 3

Quotes about exhibit
page 3