Quotes about exhibit
page 4

“Well, it's the only picture I ever wanted to own ['Three Bathers' of Cézanne ]. It's a Cézanne and the joy of my life. I saw it about a year ago in an exhibition and I was stunned by it. I didn’t sleep for two or three nights trying to decide whether to... To me it is marvelous. Monumental... It's not perfect, it’s a sketch. But then I don't like absolute perfection. I believe one should make a struggle towards something one can't do rather than do the thing that comes easily. Perhaps another reason is why I fell for it is that the type of woman he portrays is the same kind as I like. Each of the figures I could turn in into a piece of sculpture, very simple. Not young girls but that wide, broad, mature woman. Matronly.”

Henry Moore (1898–1986) English artist

1955 - 1970

Life, Girl, Sleep, Joy

“I claim that many patterns of Nature are so irregular and fragmented, that, compared with Euclid — a term used in this work to denote all of standard geometry — Nature exhibits not simply a higher degree but an altogether different level of complexity … The existence of these patterns challenges us to study these forms that Euclid leaves aside as being "formless," to investigate the morphology of the "amorphous."”

Benoît Mandelbrot (1924–2010) Polish-born, French and American mathematician

As quoted in a review of The Fractal Geometry of Nature by J. W. Cannon in The American Mathematical Monthly, Vol. 91, No. 9 (November 1984), p. 594

Nature, Study

“So it was that my most impressionable years of boyhood were spent gazing at not a whale, but a whale's penis. Whenever I tired of strolling through the chill aisles of the aquarium, I'd steal off to my place on the bench of the high-ceilinged stillness of the exhibition room and spend hours on end there contemplating this whale's penis.”

Haruki Murakami (1949) Japanese author, novelist

Source: A Wild Sheep Chase: A Novel (1982), Chapter 4: The Whale's Penis and the Woman with Three Occupations

“After so many great men have worked on this subject, I almost do not dare to say that I have discovered the universal principle upon which all these laws are based, a principle that covers both elastic and inelastic collisions and describes the motion and equilibrium of all material bodies.
This is the principle of least action, a principle so wise and so worthy of the supreme Being, and intrinsic to all natural phenomena; one observes it at work not only in every change, but also in every constancy that Nature exhibits. In the collision of bodies, motion is distributed such that the quantity of action is as small as possible, given that the collision occurs. At equilibrium, the bodies are arranged such that, if they were to undergo a small movement, the quantity of action would be smallest.
The laws of motion and equilibrium derived from this principle are exactly those observed in Nature. We may admire the applications of this principle in all phenomena: the movement of animals, the growth of plants, the revolutions of the planets, all are consequences of this principle. The spectacle of the universe seems all the more grand and beautiful and worthy of its Author, when one considers that it is all derived from a small number of laws laid down most wisely. Only thus can we gain a fitting idea of the power and wisdom of the supreme Being, not from some small part of creation for which we know neither the construction, usage, nor its relationship to other parts. What satisfaction for the human spirit in contemplating these laws of motion and equilibrium for all bodies in the universe, and in finding within them proof of the existence of Him who governs the universe!”

Pierre Louis Maupertuis (1698–1759) French mathematician, philosopher and man of letters

Les Loix du Mouvement et du Repos, déduites d'un Principe Métaphysique (1746)

Wisdom, Men, Law, Beauty

“The first law is the same for both light and material bodies; they both move in a straight line, as long as they are not deflected by an outside force.
The second law is also the same as that governing the reflection of an elastic ball from an impenetrable surface. Mechanics shows that such a ball is reflected from such a surface so that its angle of reflection equals its angle of incidence, as observed for light.
But the third law still requires a plausible explanation. The passage of light from one medium to another exhibits behavior that is totally different from a ball moving through different media.”

Pierre Louis Maupertuis (1698–1759) French mathematician, philosopher and man of letters

Accord de différentes loix de la nature qui avoient jusqu’ici paru incompatibles (1744)

Law, Behavior, Light

“One can do such lovely things with so little. Subjects that are too beautiful end by appearing theatrical – take Switzerland, for example. Think of all the beautiful little things Corot did at Gisors; two willows, a little water, a bridge, like the picture in the Universal Exhibition. What a masterpiece!... Everything is beautiful, all that matters is to be able to interpret.”

Camille Pissarro (1830–1903) French painter

In a letter to his son Lucien, 26 July 1892, as quoted in Letters of the great artists – from Blake to Pollock - , Richard Friedenthal, Thames and Hudson, London, 1963, p. 146
Quote of Pissarro, referring to a willow-painting of his former art-teacher Camille Corot
1890's

Love, Beauty, Thinking, Universe

“I went to an art exhibition recently, and the guy had a quote of mine from that song there — "The only way to change things is to shoot men who arrange things." I wouldn't agree with shooting people at all. I was just anti-love. I feel differently now. But, you know. It's OK. That's how it was then, and it's good.”

Kevin Rowland (1953) English singer-songwriter

Tangents 2001 interview

Love, Men, People, Art

““It's been such a short visit, I haven't had time to make sense of why you have become so intense about the animal business.”
She watches the wipers wagging back and forth. “A better explanation,” she says, “is that I have not told you why, or dare not tell you. When I think of the words, they seem so outrageous that they are best spoken into a pillow or into a hole in the ground, like King Midas.”
“What is it you can't say?”
“It's that I no longer know where I am. I seem to move around perfectly easily among people, to have perfectly normal relations with them. Is it possible, I ask myself, that all of them are participants in a crime of stupefying proportions? Am I fantasizing it all? I must be mad! Yet every day I see the evidences. The very people I suspect produce the evidence, exhibit it, offer it to me. Corpses. Fragments of corpses that they have bought for money. It is as if I were to visit friends, and to make some polite remark about the lamp in their living room, and they were to say, ‘Yes, it's nice, isn't it? Polish-Jewish skin it's made of, we find that's best, the skins of young Polish-Jewish virgins.’ And then I go to the bathroom and the soap-wrapper says, ‘Treblinka— 100% human stearate.’ Am I dreaming, I say to myself?””

J.M. Coetzee book The Lives of Animals

Source: The Lives of Animals (1999), p. 69

Money, People, Dreams, Business

“Artificial Life is concerned with tuning the behaviors of such low-level machines that the behavior that emerges at the global level is essentially the same as some behavior exhibited by a natural living system… Artificial Life is concerned with generating lifelike behavior.”

Christopher Langton (1949) American computer scientist

Source: Artificial Life (1989), p.4-5 as cited in: Luis M. Rocha (2012) " The logical mechanisms of life http://informatics.indiana.edu/rocha/i-bic/lec02.html" on indiana.edu, August 27, 2012

Life, Behavior, Nature

“Had Adam tenderly reproved his wife, and endeavored to lead her to repentance instead of sharing in her guilt, I should be much more ready to accord to man that superiority which he claims; but as the facts stand disclosed by the sacred historian, it appears to me that to say the least, there was as much weakness exhibited by Adam as by Eve. They both fell from innocence, and consequently from happiness, but not from equality.”

Sarah Grimké (1792–1873) American abolitionist

Letter 1 (July 11, 1837).
Letters on the Equality of the Sexes and the Condition of Woman (1837)

Appearance, Happiness

“One advantage of exhibiting a hierarchy of systems in this way is that it gives us some idea of the present gaps in both theoretical and empirical knowledge. Adequate theoretical models extend up to about the fourth level, and not much beyond. Empirical knowledge is deficient at practically all levels.”

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

Source: 1950s, General Systems Theory - The Skeleton of Science, 1956, p. 201, quoted in: John P. Cole, Cuchlaine A. M. King (1969) Quantitative geography: techniques and theories in geography. p. 575

Way, Idea, Knowledge

“A certain type of outdoor activity has been much developed in recent years and calls great throngs together, which may properly be designated as exhibition games. Under this head comes first in importance baseball, which is often known as the national game. Football and polo come in the same class. These activities require such long and intensive training that participation in them is necessarily confined to a class and can not be said to be open to the general public. But for creating an interest which extends to every age and every class, for giving an opportunity for a few hours in the open air which will provide a change of scene, a new trend of thought, and the arousing of new enthusiasm for the great multitude of our people, these have no superior.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, The Democracy of Sports (1924)

People, Age, Game, Change

“Minds are in limited supply, and each mind has a limited capacity for memes, and hence there is considerable competition among memes for entry in as many minds as possible. This competition is the major selective force in the memosphere, and, just as in the biosphere, the challenge has been met with great ingenuity. For instance, whatever virtues (from our perspective) the following memes have, they have in common the property of having phenotypic expressions that tend to make their own replication more likely by disabling or preempting the environmental forces that would tend to extinguish them: the meme for faith, which discourages the exercise of the sort of critical judgment that might decide that the idea of faith was, all things considered a dangerous idea; the meme for tolerance or free speech; the meme of including in a chain letter a warning about the terrible fates of those who have broken the chain in the past; the conspiracy theory meme, which has a built-in response to the objection that there is no good evidence of a conspiracy: "Of course not — that's how powerful the conspiracy is!" Some of these memes are "good" perhaps and others "bad"; what they have in common is a phenotypic effect that systematically tends to disable the selective forces arrayed against them. Other things being equal, population memetics predicts that conspiracy theory memes will persist quite independently of their truth, and the meme for faith is apt to secure its own survival, and that of the religious memes that ride piggyback on it, in even the most rationalistic environments. Indeed, the meme for faith exhibits frequency-dependent fitness: it flourishes best when it is outnumbered by rationalistic memes; in an environment with few skeptics, the meme for faith tends to fade from disuse.”

Daniel Dennett book Consciousness Explained

Consciousness Explained (1991)

Fate, Truth, Faith, Exercises

“[Their] things [works of Die Brücke-artists] must be exhibited. But I think it is incorrect to immortalize them in the document [Almanac] of our modern art (and, this is what our book ought to be) or as a more or less decisive, leading factor. At any rate I am against large reproductions”

Wassily Kandinsky (1866–1944) Russian painter

of Die Brücke paintings in The Blaue Reiter Almanac
Quote from his letter to Franz Marc, 2 Febr. 1912, as cited in 'Lankheit 20'; quoted in Movement, Manifesto, Melee: The Modernist Group, 1910-1914, Milton A. Cohen, Lexington Books, Sep 14, 2004, p. 71
1910 - 1915

Books, Art, Thinking, Decision

“During my stay in Germany in 1922 I collaborated with the writer Ehrenburg, on the Magazine 'Veshch' (Gegenstand) [= Object] (first pro-Soviet edition). [I] Took part in organizing the First Russian Art Exhibition 1922-23 in Berlin and Amsterdam. My works were purchased by European and American collectors and museums. The museum in New York acquired a 'Proun' from the Soviet Exhibition. At this time, in 1923, I contracted pulmonary tuberculosis.”

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

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

Art, Time, Parting

“The following work is not a republication of a former treatise by the Author, entitled, "The Mathematical Analysis of Logic." Its earlier portion is indeed devoted to the same object, and it begins by establishing the same system of fundamental laws, but its methods are more general, and its range of applications far wider. It exhibits the results, matured by some years of study and reflection, of a principle of investigation relating to the intellectual operations, the previous exposition of which was written within a few weeks after its idea had been conceived.”

George Boole (1815–1864) English mathematician, philosopher and logician

Source: 1850s, An Investigation of the Laws of Thought (1854), p. i; Preface, lead paragraph

Law, Mathematics, Idea, Study

“In October 1945 I returned from America, where I had stayed during the war. I arrived in Le Havre, full of ruins, a carcass of a city. It took one night to reach Paris on a train with no windows. That night I got the idea for the monument. I sketched it on paper and forgot about it, until I visited Rotterdam for the first time in 1947. I saw a city without a heart. I saw a crater in the body of a city. And I remembered that night, the sketches. I made a small terracotta model and sent it to an exhibition of French art in Germany.”

Ossip Zadkine (1890–1967) French sculptor

Quote of Zadkine from interview in 'Het Vrije Volk', (Dutch newspaper), 4 July 1950; as cited in 'Unveiling of the Dutch City https://www.wederopbouwrotterdam.nl/en/tijdlijn/unveiling-of-the-destroyed-city/ Ossip Zadkine explained in 1950 the genesis of his large bronze sculpture 'Destroyed City', commissioned by the city Rotterdam 1940 - 1960

War, Art, Idea, Time

“There seems to be little doubt that the factor of sheer size is a very important element in concrete bureaucratic structures. However, because of the patterns exhibited in the behavior of agents in small organized groups and because of the implications for greater generality, the formulation used here does not make the factor of size crucial for the existence of bureaucratic behavior patterns.”

Philip Selznick (1919–2010) American sociologist

Source: "An Approach to a Theory of Bureaucracy," 1943, p. 50

Behavior

“Congress in session is Congress on public exhibition, whilst Congress in its committee-rooms is Congress at work.”

Woodrow Wilson Congressional Government

Congressional Government, A Study in American Politics (1885; republished 1981), chapter 2, p. 69 (1981)
1880s

“After leaving [the International Exposition in Paris, with a lot of new machines], I went to see Courbet's exhibition; he has reduced the admission to ten cents. I stay there alone for nearly an hour and discover that the picture [ 'L'atélier' / the Painter's Studio - 1855] of his which they refused [for exposing on the official Salon in Paris ] is a masterpiece; I simply could not tear myself away from the sight of it.”

Eugène Delacroix (1798–1863) French painter

Quote in Delacroix's Journal of 3 August, 1855; as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 236
1831 - 1863

Tear

“Not all monotheisms are exactly the same, at the moment. They're all based on the same illusion, they're all plagiarisms of each other, but there is one in particular that at the moment is proposing a serious menace not just to freedom of speech and freedom of expression, but to quite a lot of other freedoms too. And this is the religion that exhibits the horrible trio of self-hatred, self-righteousness and self-pity. I am talking about militant Islam. Globally it's a gigantic power. It controls an enormous amount of oil wealth, several large countries and states, with an enormous fortune it's pumping the ideologies of wahhabism and salafism around the world, poisoning societies where it goes, ruining the minds of children, stultifying the young in its madrassas, training people in violence, making a cult of death and suicide and murder. That's what it does globally, it's quite strong. In our societies it poses as a cringing minority, whose faith you might offend, who deserves all the protection that a small and vulnerable group might need. Now, it makes quite large claims for itself, doesn't it? It says it's the Final Revelation. It says that God spoke to one illiterate businessman – in the Arabian Peninsula – three times through an archangel, and that the resulted material, which as you can see as you read it is largely plagiarized ineptly from the Old…and The New Testament, is to be accepted as the Final Revelation and as the final and unalterable one, and that those who do not accept this revelation are fit to be treated as cattle infidels, potential chattel, slaves and victims. Well I tell you what, I don't think Muhammad ever heard those voices. I don't believe it. And the likelihood that I am right – as opposed to the likelihood that a businessman who couldn't read, had bits of the Old and The New Testament re-dictated to him by an archangel, I think puts me much more near the position of being objectively correct. But who is the one under threat? The person who promulgates this and says I'd better listen because if I don't I'm in danger, or me who says "no, I think this is so silly you can even publish a cartoon about it"? And up go the placards and the yells and the howls and the screams – this is in London, this is in Toronto, this is in New York, it's right in our midst now – "Behead those who cartoon Islam". Do they get arrested for hate speech? No. Might I get in trouble for saying what I just said about the prophet Muhammad? Yes, I might. Where are your priorities ladies and gentlemen? You're giving away what is most precious in your own society, and you're giving it away without a fight, and you're even praising the people who want to deny you the right to resist it. Shame on you why you do this. Make the best use of the time you've got left. This is really serious. … Look anywhere you like for the warrant for slavery, for the subjection of women as chattel, for the burning and flogging of homosexuals, for ethnic cleansing, for antisemitism, for all of this, you look no further than a famous book that's on every pulpit in this city, and in every synagogue and in every mosque. And then just see whether you can square the fact that the force that is the main source of hatred, is also the main caller for censorship.”

Christopher Hitchens (1949–2011) British American author and journalist

https://www.youtube.com/watch?v=jyoOfRog1EM&feature=youtu.be&t=16m36s
"Be It Resolved: Freedom of Speech Includes the Freedom to Hate", 15/11/2006.
2000s, 2006

Death, Women, God, Hate

“Different subunits within an organization may confront different external demands. To cope with these various environments, organizations create specialized subunits with differing structural features. For example, some subunits may exhibit higher levels of formalization than others; some may be more centralized in decision making; some may be oriented to longer planning horizons. The more varied the types of environments confronted by an organization, the more differentiated its structure needs to be.”

W. Richard Scott (1932) American sociologist

Source: Institutions and Organizations., 1995, p. 89 (2001: 103)

Decision

“In the late 1950s, experiments such as the cybernetic sculptures of Nicolas Schöffer or the programmatic music compositions of John Cage and Iannis Xenakis transposed systems theory from the sciences to the arts. By the 1960s, artists as diverse as Roy Ascott, Hans Haacke, Robert Morris, Sonia Sheridan, and Stephen Willats were breaking with accepted aesthetics to embrace open systems that emphasized organism over mechanism, dynamic processes of interaction among elements, and the observer’s role as an inextricable part of the system. Jack Burnham’s 1968 Artforum essay “Systems Aesthetics” and his 1970 “Software” exhibition marked the high point of systems-based art until its resurgence in the changed conditions of the twenty-first century.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken. Systems https://books.google.nl/books?id=Ip_0rQEACAAJ, 2015. Overview

Art, Music, Science, Change

“I was just at the newly opened Creationist Museum in Kentucky…. And they have this exhibit of a giant dinosaur…with a saddle on its back. Because the world is only 5000 years old, so man and the dinosaurs had to coexist, and, of course, we rode them. A theory I thought laughable at the age of eight when I saw it on THE FLINTSTONES!”

Bill Maher (1956) American stand-up comedian

The Decider (21 July 2007)

Age, World

“"Heaven helps those who help themselves" is a well-tried maxim, embodying in a small compass the results of vast human experience. The spirit of self-help is the root of all genuine growth in the individual; and, exhibited in the lives of many, it constitutes the true source of national vigour and strength. Help from without is often enfeebling in its effects, but help from within invariably invigorates. Whatever is done for men or classes, to a certain extent takes away the stimulus and necessity of doing for themselves; and where men are subjected to over-guidance and over-government, the inevitable tendency is to render them comparatively helpless.”

Samuel Smiles (1812–1904) Scottish author

Source: Self-Help; with Illustrations of Character and Conduct (1859), Ch. I : Self-Help — National and Individual; earlier variant of the proverb quoted: God helps them who help themselves; recorded in Jacula Prudentum (1651) by George Herbert

Men, Help

“My definition of art has always been the same. It is about freedom of expression, a new way of communication. It is never about exhibiting in museums or about hanging it on the wall. Art should live in the heart of the people. Ordinary people should have the same ability to understand art as anybody else. I don’t think art is elite or mysterious. I don’t think anybody can separate art from politics. The intention to separate art from politics is itself a very political intention.”

Ai Weiwei (1957) Chinese concept artist

2010-, Ai Weiwei: ‘Shame on Me.’, 2011

People, Art, Way, Communication

“There is a world of difference, psychologically speaking, between the passive observation that Things Don't Work Out Very Well, and the active, penetrating insight that. Complex Systems Exhibit Unexpected Behavior.”

John Gall (1925–2014) American physician

Source: General systemantics, an essay on how systems work, and especially how they fail..., 1975, p. 33 cited in: Stanley A. Clayes, David Gelvin Spencer, Martin S. Stanford (1979) Contexts for composition. p. 94

World, Behavior

“The Pre-Lutheran German Bible. The precise origin of the mediaeval German Bible is still unknown. Dr. Ludwig Keller of Münster first suggested in his Die Reformation und die älteren Reformparteien, Leipzig, 1885, pp. 257-260, the hypothesis that it was made by Waldenses (who had also a Romanic version); and he tried to prove it in his Die Waldenser und die deutschen Bibelübersetzungen, Leipzig, 1886 (189 pages). Dr. Hermann Haupt, of Würzburg, took the same ground in his Die deutsche Bibelübersetzung der mittelalterlichen Waldenser in dem Codex Teplensis und der ersten gedruckten Bibel nachgewiesen, Würzburg, 1885 (64 pages); and again, in self-defense against Jostes, in Der waldensische Ursprung des Codex Teplensis und der vor-lutherischen deutschen Bibeldrucke, Würzburg, 1886. On the other hand, Dr. Franz Jostes, a Roman Catholic scholar, denied the Waldensian and defended the Catholic origin of that translation, in two pamphlets: Die Waldenser und die vorlutherische Bibelübersetzung, Münster, 1885 (44 pages), and Die Tepler Bibelübersetzung. Eine zweite Kritik, Münster, 1886 (43 pages). The same author promises a complete history of German Catholic Bible versions.
The hostility of several Popes and Councils to the circulation of vernacular translations of the Bible implies the existence of such translations, and could not prevent their publication, as the numerous German editions prove. Dutch, French, and Italian versions also appeared among the earliest prints. See Stevens, Nos. 687 and 688 (p. 59 sq.). The Italian edition exhibited in 1877 at London is entitled: La Biblia en lingua Volgare (per Nicolo di Mallermi). Venetia: per Joan. Rosso Vercellese, 1487, fol. A Spanish Bible by Bonif. Ferrer was printed at Valencia, 1478 (see Reuss, Gesch. der heil. Schr. N. T., II. 207, 5th Ed.).
The Bible is the common property and most sacred treasure of all Christian churches. The art of printing was invented in Catholic times, and its history goes hand in hand with the history of the Bible. Henry Stevens says (The Bibles in the Caxton Exhibition, p. 25): ""The secular history of the Holy Scriptures is the sacred history of Printing. The Bible was the first book printed, and the Bible is the last book printed. Between 1450 and 1877, an interval of four centuries and a quarter, the Bible shows the progress and comparative development of the art of printing in a manner that no other single book can; and Biblical bibliography proves that during the first forty years, at least, the Bible exceeded in amount of printing all other books put together; nor were its quality, style, and variety a whit behind its quantity.""”

Philip Schaff (1819–1893) American Calvinist theologian

Roman Catholic rival German versions of the Bible

Hostility, Books, Art, History

“My first concert - apart from Beethoven at School and Erik Satie at the opening of my exhibition in Kleve in 1960 - was at the gallery Parnass in Wuppertal in 1963. Dressed like a regular pianist in dark grey flannel, black tie and no hat, I played the piano all over – not just the keys – with many pairs of old shoes until it disintegrated. My intention was neither destructive nor nihilistic. 'Heal like with like' – similia similibus curantur – in the homeopathic sense. The main intention was to indicate a new beginning…. or simply a revolutionary act. This was my first public Fluxus appearance.”

Joseph Beuys (1921–1986) German visual artist

Quoted in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993, p. 128; Comment on his first Fluxus performance in 1963 'Heal like with like'.
1970's, Interviews with Caroline Tisdall, 1974 & 1978

School, Shoe, Sense, Appearance

“On May 17, 1969, a show which was to become the seminal exhibition of video art in the U. S. opened at the Howard Wise Gallery in New York City. That exhibition, "TV as a Creative Medium," effectively pointed to the diverse potential of a new art form and social tool. Subsequently, the show became renowned for the inspiration it provided for many artists and future advocates of video. The artists represented in the show, a few of whom are still involved in the medium today, came from varied backgrounds-painting, filmmaking, nuclear physics, avant-garde music and performance, kinetic and light sculpture-and their approaches presented a primer of the directions which video would soon take. Theoretically, they variously saw video as viewer participation, a spiritual and meditative experience, a mirror, an electronic palette, a kinetic sculpture, or acultural machine to be deconstructed. Ripe with ideas and armed with a heady optimism about the future of communications, these artists used video as an information tool and as a means of gaining understanding and control of television, not solely as an art form. In "TV as a Creative Medium" alternative television was presented as a stepping stone to the promised communications utopia.”

Marita Sturken (1957) American academic

Marita Sturken. " TV as a Creative Medium: Howard Wise and Video Art http://www.vasulka.org/archive/4-30c/AfterImageMay84(1004).pdf," in: Afterimage, May 1984

Art, Music, Communication, Idea

“.. a yellow square, a red and blue avenue, an Eiffel tower with a camouflaged silhouette…. that would all be lit up at night, instead of fireworks. [a proposal to Trotsky of a 'polychrome Moscow', for the 1937 exhibition].”

Fernand Léger (1881–1955) French painter

Quote from Fernand Léger – The Later Years -, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988; p. 60
Quotes of Fernand Leger, 1930's

Night

“Few men exhibit greater diversity, or, if we may so express it, greater antithesis of character than the native warrior of North America. In war, he is daring, boastful, cunning, ruthless, self-denying, and self-devoted; in peace, just, generous, hospitable, revengeful, superstitious, modest, and commonly chaste.”

James Fenimore Cooper book The Last of the Mohicans

The Last of the Mohicans (1826), Introduction

Men, War, Peace, Revenge

“So far from the posterior lobe, the posterior cornu, and the hippocampus minor, being structures peculiar to and characteristic of man, as they have been over and over again asserted to be, even after the publication of the clearest demonstration of the reverse, it is precisely these structures which are the most marked cerebral characters common to man with the apes. They are among the most distinctly Simian peculiarities which the human organism exhibits.”

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

Source: 1860s, Evidence as to Man's Place in Nature (1863), Ch.2, p. 119

“That the root of love is a thirst for disaster is exhibited throughout its erratic course. At its most elementary love is driven by a longing to be cruelly unrequited; fostering every kind of repellent self-abasement, awkwardness, and idiocy. Sometimes this provokes the contempt that is so obviously appropriate, and the tormented one can then luxuriate in the utter burning loss that each gesture becomes. One wastes away; expending health and finance in orgies of narcosis, breaking down one’s labour-power to the point of destitution, pouring one’s every thought into an abyss of consuming indifference. At the end of such a trajectory lies the final breakage of health, ruinous poverty, madness, and suicide. A love that does not lead such a blasted career is always at some basic level disappointed (…)”

Nick Land (1962) British philosopher

Source: The Thirst for Annihilation: Georges Bataille and Virulent Nihilism (1992), Chapter 11: "Inconclusive communication", p. 134 (original emphasis)

Love, Health, Disappointment, Suicide

“What I have created here in Italy is neither very big nor profound (in the old sense of the word), but formidable. This summer I painted paintings that are the most profound that exist in the absolute. Let me explain these things somewhat…. profoundness as I understand it, and as Nietzsche intended it, is elsewhere than where it has been searched for until now. – My paintings are small (the biggest is 50 x 70 cm), but each of them is an enigma, each contains a poem, an atmosphere (Stimmung) and a promise that you can not find in other paintings. It brings me immense joy to have painted them – when I exhibit them, possibly in Munich this spring, it will be a revelation for the whole world”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Chirico's letter to Mr. Fritz Gartz, Florence, 26 Jan. 1910; from LETTERS BY GIORGIO DE CHIRICO, GEMMA DE CHIRICO AND ALBERTO DE CHIRICO TO FRITZ GARTZ, MILAN-FLORENCE, 1908-1911 http://www.fondazionedechirico.org/wp-content/uploads/559-567Metafisica7_8.pdf, p. 562 1908 - 1920

World, Search, Spring, Understanding

“It [his participating in the 7th exhibition of the Impressionists, combined with showing his work on the official Salon] isn't exactly a joy, but as I have said, it lets me out of the revolutionary side of the business, which I'm nervous of... It's a little weakness which I hope will be forgiven me [by the other impressionists]... Delacroix used to say, quite rightly, that a painter should win as many honours as possible.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Quote of Renoir's letter to Durand-Ruel, end of Feb. 1882; as cited in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 172
1880's

Hope, Business, Joy

“Our society, it turns out, can use modern art. A restaurant, today, will order a mural by Míro in as easy and matter-of-fact a spirit as, twenty-five years ago, it would have ordered one by Maxfield Parrish. The president of a paint factory goes home, sits down by his fireplace—it looks like a chromium aquarium set into the wall by a wall-safe company that has branched out into interior decorating, but there is a log burning in it, he calls it a firelace, let’s call it a fireplace too—the president sits down, folds his hands on his stomach, and stares at two paintings by Jackson Pollock that he has hung on the wall opposite him. He feels at home with them; in fact, as he looks at them he not only feels at home, he feels as if he were back at the paint factory. And his children—if he has any—his children cry for Calder. He uses thoroughly advanced, wholly non-representational artists to design murals, posters, institutional advertisements: if we have the patience (or are given the opportuity) to wait until the West has declined a little longer, we shall all see the advertisements of Merrill Lynch, Pierce, Fenner, and Smith illustrated by Jean Dubuffet.
This president’s minor executives may not be willing to hang a Kandinsky in the house, but they will wear one, if you make it into a sport shirt or a pair of swimming-trunks; and if you make it into a sofa, they will lie on it. They and their wives and children will sit on a porcupine, if you first exhibit it at the Museum of Modern Art and say that it is a chair. In fact, there is nothing, nothing in the whole world that someone won’t buy and sit in if you tell him it is a chair: the great new art form of our age, the one that will take anything we put in it, is the chair. If Hieronymus Bosch, if Christian Morgenstern, if the Marquis de Sade were living at this hour, what chairs they would be designing!”

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

“The Taste of the Age”, pp. 19–20
A Sad Heart at the Supermarket: Essays & Fables (1962)

Children, Lie, Age, World

“How glad I was to paint that for the soldiers it is very beautiful, how much respect and even love for art there is in human beings, in spite of everything, and who would have thought that my style, which seemed so modern and incomprehensible to critics and public at rotten exhibitions in the cities, would now be able to speak and convey something to men to whom I make a gift of it.”

Erich Heckel (1883–1970) German artist

In a letter to de:Gustave Schiefler, from Flanders, at Christmas 1915; as quoted by de:Wolf-Dieter Dube, in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 62 Heckel wrote Schiefler about his 'Madonna'-painting, he painted in Ostende, Flander in 1915. Heckel was a medical orderly in Flanders together with Max Beckmann, in World War 1. Both artists got a lot of free time in the army for their artistic activities. The 'Madonna' got destroyed in World War 2. https://www.bildindex.de/document/obj00001491

Love, Men, Beauty, Art

Ray Harryhausen (1920–2013) American animator

Source: An Animated Life (2003), p. 195

Death, History, Nature

“Though I do, of course agree with the principles you have mentioned, I am returning the paper unsigned, as I do not want to belong to a group. A group of people with one aim is not as yet a single-minded group and as this does not exist, a consistent group remains impossible. And a larger group only makes sense for joint exhibitions and for spreading ideas. I will therefore not participate in the other group either, but I have promised my collaboration in this respect. If you definitely want to form a group, you can always invite myself and others who are proved to be suitable. Only on such a basis I will collaborate with the other group as well.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian, in a letter to Theo van Doesburg, 1930; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 30 Van Doesburg had attempted to form a small union of Parisian painters and sculptors who all subscribed to the principles of abstraction, the group was to be called 'Abstraction-création'. A periodical of this group appeared under the title 'Art Concret' 1930's

People, Idea, Sense

“We are mainly interested in the processes… not… in presenting mathematics in its most abstract form. …we will often begin with concrete forms and then exhibit the process of abstraction.”

Richard Hamming (1915–1998) American mathematician and information theorist

Methods of Mathematics Applied to Calculus, Probability, and Statistics (1985)

Mathematics

“According to the second law of thermodynamics, the sum of the entropies of the participating bodies must increase. Yet, living organisms seem to exhibit a deliberate anti-entropic force that hints at “by design” rather than “by chance.””

Newton Lee American computer scientist

Google It: Total Information Awareness, 2016

Law, Chance

“The Sultan then asked, "How are Hindus designated in the law, as payers of tributes or givers of tribute? The Kazi replied, "They are called payers of tribute, and when the revenue officer demands silver from them, they should tender gold. If the officer throws dirt into their mouths, they must without reluctance open their mouths to receive it. The due subordination of the zimmi is exhibited in this humble payment and by this throwing of dirt in their mouths. The glorification of Islam is a duty. God holds them in contempt, for he says, "keep them under in subjection". To keep the Hindus in abasement is especially a religious duty, because they are the most inveterate enemies of the Prophet, and because the Prophet has commanded us to slay them, plunder them, enslave them and spoil their wealth and property. No doctor but the great doctor (Hanafi), to whose school we belong, has assented to the imposition of the jizya (poll tax) on Hindus. Doctors of other schools allow no other alternative but Death or Islam.”

Ziauddin Barani (1285–1357) Indian Muslim historian and political thinker (1285–1357)

Tárikh-i Firoz Sháhi, of Ziauddin Barani in Elliot and Dowson, Vol. III : Elliot and Dowson, History of India as told by its own Historians, 8 Volumes, Allahabad Reprint, 1964. pp. 184, chapter 15. Tárikh-i Firoz Sháhi, of Ziauddin Barani https://archive.org/stream/cu31924073036737#page/n199/mode/2up Tarikh-i-Firuz Shahi

Death, God, School, Law

“But my motivation was more a matter of wanting to create order – to keep track of things. All those boxes full of photographs and sketches weigh you down, because they have something unfinished, incomplete, about them. So it's better to present the usable material in an orderly fashion and throw the other stuff away. That's how the Atlas came to be, and I exhibited it a few times.”

Gerhard Richter (1932) German visual artist, born 1932

Quote of an interview with Stefan Koldehoff, 1999; as cited on collected quotes on the website of Gerhard Richter: 'on Atlas' https://www.gerhard-richter.com/en/quotes/atlas-4 1990's

Motivation, Fashion, Time, Box

“Neither quarks nor leptons exhibit any structure on a scale of about 10-16 cm, the currently attained resolution. We thus have no experimental reason but tradition to suspect that they are not the ultimate elementary particles. Accordingly, we idealize the quarks and leptons as pointlike particles, remembering that elementarity is subject to experimental test.”

Chris Quigg (1944) American physicist

[Gauge theories of the strong, weak, and electromagnetic interactions, Princeton University Press, 2013, 2, https://books.google.com/books?id=Lt6thfc1gAgC&pg=PA2]

“My dear Zola, - I am making up my mind to hold a private show. I have at least two score pictures to exhibit. I've already already been offered a site in a very good location near the Champ de Mars. I am going to stake the lot and seconded by men like yourself, am hopeful of success. See you soon. Cordially, yours ever, All of us here are delighted with your article, and I am instructed to send you thanks.”

Edouard Manet (1832–1883) French painter

Quote of Manet's letter to Zola, Wednesday, 2 January 1867; as quoted on: SCRIBD - 'Manet's letters' https://www.scribd.com/document/344176445/manets-letters-worksheet 1850 - 1875

Men, Hope, Success

“Now let us consider how many relics of the true cross there are in the world. An account of those merely with which I am acquainted would fill a whole volume, for there is not a church, from a cathedral to the most miserable abbey or parish church, that does not contain a piece. Large splinters of it are preserved in various places, as for instance in the Holy Chapel at Paris, whilst at Rome they show a crucifix of considerable size made entirely, they say, from this wood. In short, if we were to collect all these pieces of the true cross exhibited in various parts, they would form a whole ship's cargo. The Gospel testifies that the cross could be borne by one single individual;..”

John Calvin (1509–1564) French Protestant reformer

Traité des reliques http://www.gutenberg.org/files/32136/32136-h/32136-h.html, translators: Krasinski, Valerian, Count, approximately 1780-1855. P. 233.

World, Parting

“There remains the final reflection, how shallow, puny, and imperfect are efforts to sound the depths in the nature of things. In philosophical discussion, the merest hint of dogmatic certainty as to finality of statement is an exhibition of folly.”

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

Preface, p. 16 (Corrected Edition)
1920s, Process and Reality: An Essay in Cosmology (1929)

Nature, Effort

“One day, almost exactly 25 years ago - it was at the beginning of the bleak winter of 1940 - I entered André Lwoff’s office at the Pasteur Institute. I wanted to discuss with him some of the rather surprising observations I had recently made.
I was working then at the old Sorbonne, in an ancient laboratory that opened on a gallery full of stuffed monkeys. Demobilized in August in the Free Zone after the disaster of 1940, I had succeeded in locating my family living in the Northern Zone and had resumed my work with desperate eagerness. I interrupted work from time to time only to help circulate the first clandestine tracts. I wanted to complete as quickly as possible my doctoral dissertation, which, under the strongly biometric influence of Georges Teissier, I had devoted to the study of the kinetics of bacterial growth. Having determined the constants of growth in the presence of different carbohydrates, it occurred to me that it would be interesting to determine the same constants in paired mixtures of carbohydrates From the first experiment on, I noticed that, whereas the growth was kinetically normal in the presence of certain mixtures (that is, it exhibited a single exponential phase), two complete growth cycles could be observed in other carbohydrate mixtures, these cycles consisting of two exponential phases separated by a-complete cessation of growth.”

Jacques Monod (1910–1976) French biologist

Introduction
From enzymatic adaptation to allosteric transitions (1965)

Family, Study, Winter, Time

“I was called a formalist, and in East Germany that meant you could be denied a chance to exhibit. So I knew I had to leave [to West-Germany], not because I was worried about the controversy but because I knew the controversy was about a bad picture. It wasn't good enough to be controversial. I was getting all the wrong reactions. Friends said the work was wonderful, and the attacks made it seem more important than it was. I had started to earn money with the murals. I earned enough to get a car. That was a big deal. So it was not easy to give up. But I knew I had to leave.”

Gerhard Richter (1932) German visual artist, born 1932

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

Money, Cars, Chance

“Navy Department, Washington, Sept. 16, 1879.
General Order: The Acting Secretary of the Navy announces, with regret, to the Navy and Marine Corps, the death of Rear-Admiral Charles Boarman, on the 13th instant, at his home in Martinsburg, West Virginia, in the eighty-fourth year of his age, and after an honorable service of over sixty-eight years. Rear-Admiral Boarman entered the Navy, June 9, 1811, and at the time of his death had been longer in the service than any other Officer borne on the Navy Register. He was a participant in the War of 1812, and during his long career in the Navy had many important commands. On March 4, 1879, he was promoted from a Commodore to a Rear-Admiral on the retired list, from August 15, 1876, under the law authorizing such promotion, where an officer, being at the outbreak of the Rebellion, a citizen of a State engaged in such rebellion, exhibited marked fidelity to the Union in adhering to the flag of the United States. In respect to his memory it is hereby ordered, that, on the day after the receipt hereof, the flags of the Navy Yards and Stations, and vessels in commission, be displayed at half mast, from sunrise to sunset, and thirteen minute guns be fired at noon from the Navy Yards and Stations, flagships, and vessels acting singly.”

Charles Boarman (1795–1879) US Navy Rear Admiral

William N. Jeffers, Acting Secretary of the Navy 1879
Historical Records and Studies, Vol. VI (1911)

Death, War, Age, Law

“We lived like that “Happy Family“ you sometimes see in traveling zoos: a lion caged with a lamb. It is a startling exhibit but the lamb has to be replaced frequently.”

Robert A. Heinlein book Have Space Suit—Will Travel

Source: Have Space Suit—Will Travel (1958), Chapter 7

Family, Travel, Happiness

“I have thought it my duty to exhibit things as they are, not as they ought to be.”

Alexander Hamilton (1757–1804) Founding Father of the United States

Letter to Robert Morris (13 August 1782)

“Personally, I don't believe in having expectations, but I can say that, regarding my exterior sculptures, I will only exhibit sculptures in the future that will enrich their surroundings.”

Isa Genzken (1948) German sculptor

after 2010, Isa Genzken, the artist who doesn't do interviews' (2014)

Future, Personality

“When Indian nationalists in their non-violent resistance to Britain rule permit themselves to be beaten prostrate to the ground without retaliatory acts on their part, they are exhibiting coercion and suffering in a form that is not provocative but redemptive.”

Kirby Page (1890–1957) American clergyman

Individualism and Socialism (1933)

Suffering, Parting

“To get straight to the point, the local group of artist called Die Brücke would reckon it a high honour to be able to welcome you as a member. Of course you will know as little about Die Brücke as we knew about you before your ehibition at [Arnold’s [gallery Arnold at Dresden. Now, one of the aims of Die Brücke is to attract all the revolutionary and fermenting elements to itself – that’s the menaing of the name Brücke. The gruop also arranges several exhibitions a year, which it sends on tour in Germany... Now, dear Herr Nolde, think as you like and what you like, we hope this offer is the proper price for your tempests od colour.”

Karl Schmidt-Rottluff (1884–1976) German artist

In a letter of Schmidt-Rottluff from Dresden, 1906 to Emil Nolde; as quoted in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 32
Schmidt-Rottluff was one of the founders of Die Brücke and invited Emil Nolde to participate, and emphasized the group's spirit of experimentation which they recognized in Nolde's painting art

Hope, Thinking

“But let us not speak anymore of books and theories on paper. Now then, did you see my exhibition? As you may remember, 1 gathered in 'Cahiers d'Art' ten very recent paintings, twenty-five gouaches and watercolors, also recent, and twenty-eight drawings that span the period from 1910-1934. In the majority of the compositions on canvas I used a sand technique more or less consistently.... but I usually don't distinguish between traditional oil painting, gouache, tempera and watercolor, and I even simultaneously use the various techniques in the same work. What is essential for me is to be able to clearly convey what I want, to recount my dream. / consider both technique and form to be mere instruments of expression, and my stories, furthermore, are not narrative or historical in character, but purely pictorial.”

Wassily Kandinsky (1866–1944) Russian painter

From an interview, 28 July 1935, in the Italian daily newspaper 'Lavoro fascista'; as quoted in Kandinsky in Paris: 1934-1944 - exhibition catalog, published by The Solomon K. Guggenheim Foundation, New York, 1985, p. 30
1930 - 1944

Books, Dreams, Drawing, Painting

“As a result of high levels of male parental investment, humans evolved into a somewhat “androgynous” species - a species in which human females exhibit traits generally found only in males (e. g., competition for mates) and human males exhibit traits generally found only in females (e. g., the provision of parental care; choosiness about mates).”

Steve Stewart-Williams (1971)

(p. 138)
The Ape that Thought It Was a Peacock: Does Evolutionary Psychology Exaggerate Human Sex Differences? (2013)

Parent

“It was there [India] I realised that engineering was not my cup of tea. I proceeded to London to look for avenues and got myself enrolled into Hornsey College of Art there. Initially, there was no hope for me, but one exhibition in 1979 made me. That proved to be extremely lucky for me.”

Anish Kapoor (1954) British contemporary artist of Indian birth

Anish Kapoor: An unknown Indian

Hope, Art, Tea

“I was commissioned [in 1906] to do a ceiling-painting and an altar painting for the Saxon pavilion at the third German Arts and Crafts exhibition... I varied my tulips. But when I went in before the opening I was horrified to see that the fiery red had been toned down with streaks of grey... I gave furious vent to my feelings. Suddenly there was someone at my side, seconding my vituperation. It was Erich Heckel.... joyfully we discovered our total accord in the drive towards liberation, an art which charged forwards, unimpeded by conventions. And that was how I joined Die Brücke.”

Max Pechstein (1881–1955) German artist

Quote of Pechstein in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 32-33

Art, Feeling, Painting

“Ultimately, discovery and invention are both problems of classification, and classification is fundamentally a problem of finding sameness. When we classify, we seek to group things that have a common structure or exhibit a common behavior.”

Grady Booch (1955) American software engineer

Source: Object-oriented design: With Applications, (1991), p. 133

Behavior, Problem

““We in the Handdara don’t want answers. It’s hard to avoid them, but we try to.”
“Faxe, I don’t think I understand.”
“Well, we come here to the Fastnesses mostly to learn what questions not to ask.”
“But you’re the Answerers!”
“You don’t see, Genry, why we perfected and practice Foretelling?”
“No—”
“To exhibit the perfect uselessness of knowing the answer to the wrong question.””

Ursula K. Le Guin Hainish Cycle

Source: Hainish Cycle, The Left Hand of Darkness (1969), Chapter 5 “The Domestication of Hunch” (pp. 69-70)

Understanding, Question, Thinking, Learning

“Wallace's emotions on discovering such marvels must surely be echoed by all of us who follow him. This is what he wrote:
"I thought of the long ages of the past during which the successive generations of these things of beauty had run their course. Year by year being born and living and dying amid these dark gloomy woods with no intelligent eye to gaze upon their loveliness, to all appearances such a wanton waste of beauty. It seems sad that on the one hand such exquisite creatures should live out their lives and exhibit their charms only in these wild inhospitable regions. This consideration must surely tell us that all living things were not made for man, many of them have no relation to him, their happiness and enjoyment's, their loves and hates, their struggles for existence, their vigorous life and early death, would seem to be immediately related to their own well-being and perpetuation alone."”

David Attenborough (1926) British broadcaster and naturalist

Closing lines, quoting from The Malay Archipelago (1869) by Alfred Russel Wallace.
Attenborough in Paradise (1996)

Love, Life, Death, Hate

“All animals feel Wonder, and many exhibit Curiosity. They sometimes suffer from this latter quality, as when the hunter plays antics and thus attracts them.”

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", page 42 http://darwin-online.org.uk/content/frameset?pageseq=55&itemID=F937.1&viewtype=image The Descent of Man (1871)

Feeling, Suffering, Animals

“For tho' it is certainly more laudable, and a thing of greater moment, to be generous, constant, and magnanimous, than merely to be polite and well bred; yet we find, from daily experience, that sweetness of manners, a genteel carriage, and, polite address are frequently of more advantage to those who are so happy as to be possessed of them, than any greatness of soul or brightness of parts are to those who are adorned with those more shining talents. For those slighter accomplishments are of more frequent, or rather of constant and daily use on every occasion; as we are under a necessity of conversing daily with other people: Whereas justice, fortitude, and those other more exalted virtues, are of much less frequent occurrence. For neither is a generous or a brave man obliged to exhibit those virtues, every hour of the day (which indeed would be impossible,) neither has a wise man, or a man of great genius, an opportunity of displaying those extraordinary talents, but very rarely. As much therefore as those greater qualities exceed those more trifling accomplishments in weight and importance; so much the latter exceed the former in number and more frequent use.”

Giovanni della Casa (1503–1556) Roman Catholic archbishop

Source: Galateo: Or, A Treatise on Politeness and Delicacy of Manners, p. 3

People, Justice, Soul, Parting

“The prerequisite of contrapuntal art, more conspicuous in the work of Bach than in that of any other composer, is an ability to conceive a priori of melodic identities which when transposed, inverted, made retrograde, or transformed rhythmically will yet exhibit, in conjunction with the original subject matter, some entirely new but completely harmonious profile.”

Glenn Gould (1932–1982) Canadian pianist

"So You Want To Write A Fugue", Glenn Gould Reader p240

Art

“Julia Hayden, the colored school teacher, one of the latest victims of the White man's League, was only seventeen years of age. She was the daughter of respectable parents in Maury County, Tennessee, and had been carefully educated at the Central College, Nashville, a favorite place for the instruction of youth of both sexes of her race. She is said to have possessed unusual personal attractions as well as intelligence. Under the reign of slavery as it is defined and upheld by Davis and Toombs, Julia Hayden would probably have been taken from her parents and sent in a slave coffle to New Orleans to be sold on its auction block. But emancipation had prepared for her a different and less dreadful fate. With that strong desire for mental cultivation which marked the colored race since their freedom, in all circumstances where there is an opportunity left them for its exhibition, the young girl had so improved herself as to become capable of teaching others. She went to Western Tennessee and took charge of a school. Three days after her arrival at Hartsville, at night, two white men, armed with their guns, appeared at the house where she was staying, and demanded the school teacher. She fled, alarmed, to the room of the mistress of the house. The White Leaguers pursued. They fired their guns I through the floor of the room and the young girl fell dead within. Her murderers escaped.”

Jefferson Davis (1808–1889) President of the Confederate States of America

"Louisiana and the Rule of Terror" http://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=EL18741010.2.9#, The Elevator (10 October 1874), Volume 10, Number 26.

Men, Fate, Youth, Age

“Hullo! What's this? What are these funny brown-and-olive landscapes doing in an impressionist exhibition? Brown! I ask you? Isn't it absurd for a man to go on using brown and call himself an impressionist painter?”

Frank Rutter (1876–1937) British art critic

Rutter, Frank. Art in My Time, p. 111. Rich & Cowan, London, 1933.
Rutter satirising the reaction of fans of impressionist art on seeing Cézanne's work in London in 1905.

“What’s odd about Friedman’s absolutism on the virtues of markets and the vices of government is that in his work as an economist’s economist he was actually a model of restraint. As I pointed out earlier, he made great contributions to economic theory by emphasizing the role of individual rationality—but unlike some of his colleagues, he knew where to stop. Why didn’t he exhibit the same restraint in his role as a public intellectual?
The answer, I suspect, is that he got caught up in an essentially political role. Milton Friedman the great economist could and did acknowledge ambiguity. But Milton Friedman the great champion of free markets was expected to preach the true faith, not give voice to doubts. And he ended up playing the role his followers expected. As a result, over time the refreshing iconoclasm of his early career hardened into a rigid defense of what had become the new orthodoxy.
In the long run, great men are remembered for their strengths, not their weaknesses, and Milton Friedman was a very great man indeed—a man of intellectual courage who was one of the most important economic thinkers of all time, and possibly the most brilliant communicator of economic ideas to the general public that ever lived. But there’s a good case for arguing that Friedmanism, in the end, went too far, both as a doctrine and in its practical applications. When Friedman was beginning his career as a public intellectual, the times were ripe for a counterreformation against Keynesianism and all that went with it. But what the world needs now, I’d argue, is a counter-counterreformation.”

Paul Krugman (1953) American economist

"Who Was Milton Friedman?", The New York Review of Books (February 15, 2007)
The New York Review of Books articles

Men, World, Faith, Communication

“I have already informed my readers, that bull-baiting, or worrying of bulls with dogs, was one of the spectacles exhibited by the jugglers and their successors. It is also necessary to observe, that this cruel pastime was not confined to the boundaries of the bear-gardens; but was universally practiced on various occasions, in almost every town or village throughout the kingdom, and especially in market towns, where we find it was sanctioned by the law; and in some of them, I believe, the bull-rings, to which the unfortunate animals were fastened, are remaining to the present hour. It may seem strange, that the legislature should have permitted the exercise of such a barbarous diversion, which was frequently productive of much mischief by drawing together a large concourse of idle and dissipated persons, and affording them an opportunity of committing many grross disorders with impunity. Indeed a public bull-baiting rarely ended without some riot and confusion.”

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

pg. 277
The Sports and Pastimes of the People of England (1801), Public entertainment

Law, Dogs, Exercises, Universe

“The problem which Mondrian undertook to solve in nr. 116 [a new painting of Mondrian, exhibited in a group-exhibition in the Stedelijk Museum in 1915 in Amsterdam] was handled very successfully. This work spiritually dominates all others. It gives the impression of Repose; the repose of the soul. Its predetermined structure embodies 'becoming' rather than 'being'. This represents a true element in art, for art is not 'being', but 'becoming'. The idea of 'becoming' has been expressed in black and white…. Through years of hard work my own experiences have led me, before I came to know the theories of Uexkuell or Picasso, to prefer the use of the white-black-grey palette in works of a purely spiritual content…”

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

Quote from Dutch art-magazine: 'Eenheid' (in Dutch: Unity) no. 283, 6 November 1915; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 105
1912 – 1919

Art, Soul, Idea, Problem

“And so I decided to actually start a street exhibition to show the images of the violence across the country and get people talking about it. We traveled the country and showed the images, and this was a journey that has started me to the activist path, where I decided to become silent no more, to talk about those things. … And what is most powerful is that the images have been picked by the media and amplified across the country, across the continent.”

Boniface Mwangi (1983) Kenyan photojournalist

The day I stood up alone

People, Travel, Country

“It's a shame that I haven't done an exhibition in India till now. But I am working on one in Delhi for January 2005. If things go well, there will be another in Mumbai too.”

Anish Kapoor (1954) British contemporary artist of Indian birth

Anish Kapoor: An unknown Indian

“What has been shown by Machiavelli, who is often (like Nietzsche) congratulated for tearing off hypocritical masks, brutally revealing the truth, and so on, is not that men profess one thing and do another (although no doubt he shows this too) but that when they assume that the two ideals are compatible, or perhaps are even one and the same ideal, and do not allow this assumption to be questioned, they are guilty of bad faith (as the existentialists call it, or of “false consciousness,” to use a Marxist formula) which their actual behavior exhibits. Machiavelli calls the bluff not just of official morality—the hypocrisies of ordinary life—but of one of the foundations of the central Western philosophical tradition, the belief in the ultimate compatibility of all genuine values. His own withers are unwrung. He has made his choice. He seems wholly unworried by, indeed scarcely aware of, parting company with traditional Western morality.”

Isaiah Berlin book Against the Current: Essays in the History of Ideas

Against the Current: Essays in the History of Ideas (1980), The Originality of Machiavelli (1971)

Life, Men, Truth, Faith

“The polemical tactic of exhibiting garish mugshot photos of women’s bruised faces evades the real issue. What led up to that moment in the emergency room? A video camera recording episode before and after the assault would upset the received black-and-white view of male ogres and female martyrs. This is not to excuse men for their scurrilous behavior; it is to awaken women their equal responsibility in dispute and confrontation.”

Camille Paglia (1947) American writer

Source: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 43

Women, Men, Behavior, Photo

“One has to see a painter in his own place to get an idea of his worth. I went back there [to Corot's studio, after the official exhibition] and I appreciate in a new light the paintings that I had seen in the Museum and that had struck me as middling... He told me to go a bit ahead of myself, abandoning myself to whatever might come; this is how he works most of the time... Corot delves deeply into a subject; ideas come to him and he adds while working; it's the right approach.”

Eugène Delacroix (1798–1863) French painter

Quote from entry of Delacroix's Journal, 14 March, 1847; as cited in Selected writings on Art and Artists, transl. P. E. Charvet – Cambridge University Press, Archive, 1981, p. 150, note 44
This visit of Delacroix was the beginning of an important friendship
1831 - 1863

Idea, Light, Time, Painting

“We have already discovered two species that are very intelligent but technically less advanced than us — the common chimpanzee and pygmy chimpanzee. Has our response been to sit down and try to communicate with them? Of course not. Instead we shoot them, stuff them, dissect them, cut off their hands for trophies, put them on exhibit in cages, inject them with AIDS virus as a medical experiment, and destroy or take over their habitat. That response was predictable, because human explorers who discovered technically less advanced humans also regularly responded by shooting them, decimating their populations with new diseases, and destroying or taking over their habitat. Any advanced extraterrestrials who discovered us would surely treat us in the same way…If there really are any radio civilizations within listening distance of us, then for heaven's sake let's turn off our own transmitters and try to escape detection, or we are doomed.”

Jared Diamond book The Third Chimpanzee

The Third Chimpanzee (1991)
The Third Chimpanzee: The Evolution and Future of the Human Animal (1991)

Disease, Way, Intelligence, Communication

“…it's not my job to preach a sermon. Art is anyhow a homily. My job is to speak in living images, not in arguments. I must exhibit life full-face, not discuss life.”

Nikolai Gogol (1809–1852) Russian writer

A letter to Zhukovsky, January 1848, quoted in Sculpting in Time (p49) by Andrei Tarkovsky

Life, Art

“Today I saw an exhibition of old Japanese paintings and sculpture [in Paris]. I was seized by the great strangeness of these things. It makes our own art seem all the more conventional to me. Our art is very meager in expressing the emotions we have inside. Old Japanese art seems to have a better solution for that... We must put more weight on the fundamentals!! When I took my eyes from these pictures and began looking at the people around me, I suddenly saw that human being are more remarkable, much more striking and surprising than they have been painted. A sudden realization like that comes only at moments.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Paris, 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 197
1898

People, Art, Painting

“In the film The Belly of an Architect, an architect from Chicago organizes an exhibition of his favourite architect Etienne-Lous Boullée (1728-1799). I wrote an account of this hypothetical exhibition as though it had been seen by an unlikely Boullée contemporary -- Jane Austen (1775-1817). She made a prim but perceptive account of her progress through the corridors and halls of the Vittoriano in the centre of Rome -- a building constructed long after both of these eminent personages were dead.”

Peter Greenaway (1942) British film director

Watching Water

Dead

“With savages, the weak in body or mind are soon eliminated; and those that survive commonly exhibit a vigorous state of health. We civilised men, on the other hand, do our utmost to check the process of elimination; we build asylums for the imbecile, the maimed, and the sick; we institute poor-laws; and our medical men exert their utmost skill to save the life of every one to the last moment. There is reason to believe that vaccination has preserved thousands, who from a weak constitution would formerly have succumbed to small-pox. Thus the weak members of civilised societies propagate their kind. No one who has attended to the breeding of domestic animals will doubt that this must be highly injurious to the race of man. It is surprising how soon a want of care, or care wrongly directed, leads to the degeneration of a domestic race; but excepting in the case of man himself, hardly any one is so ignorant as to allow his worst animals to breed.

The aid which we feel impelled to give to the helpless is mainly an incidental result of the instinct of sympathy, which was originally acquired as part of the social instincts, but subsequently rendered, in the manner previously indicated, more tender and more widely diffused. Nor could we check our sympathy, even at the urging of hard reason, without deterioration in the noblest part of our nature. The surgeon may harden himself whilst performing an operation, for he knows that he is acting for the good of his patient; but if we were intentionally to neglect the weak and helpless, it could only be for a contingent benefit, with an overwhelming present evil. We must therefore bear the undoubtedly bad effects of the weak surviving and propagating their kind; but there appears to be at least one check in steady action, namely that the weaker and inferior members of society do not marry so freely as the sound; and this check might be indefinitely increased by the weak in body or mind refraining from marriage, though this is more to be hoped for than expected.”

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

volume I, chapter V: "On the Development of the Intellectual and Moral Faculties during Primeval and Civilised Times" (second edition, 1874) pages 133-134 http://darwin-online.org.uk/content/frameset?pageseq=156&itemID=F944&viewtype=image The last sentence of the first paragraph is often quoted in isolation to make Darwin seem heartless. The Descent of Man (1871)

Life, Men, Marriage, Health

“It is said that life imitates art, and in FPJ's case that was true. He played tough, honest heroes who fought for the common tao; and as someone aspiring for the most powerful office in the land, he exhibited those same qualities, and was supported by millions of his countrymen.”

Francis Escudero (1969) Filipino politician

2009, Statement: Remembering the King

Life, Art, Support

“My first essay at making a steam engine was when I was fifteen. I then made a real working; steam-engine, 1 3/4 diameter cylinder, and 8 in. stroke, which not only could act, but really did some useful work; for I made it grind the oil colours which my father required for his painting. Steam engine models, now so common, were exceedingly scarce in those days, and very difficult to be had; and as the demand for them arose, I found it both delightful and profitable to make them; as well as sectional models of steam engines, which I introduced for the purpose of exhibiting the movements of all the parts, both exterior and interior. With the results of the sale of such models I was enabled to pay the price of tickets of admission to the lectures on natural philosophy and chemistry delivered in the University of Edinburgh. About the same time (1826) I was so happy as to be employed by Professor Leslie in making models and portions of apparatus required by him for his lectures and philosophical investigations, and I had also the inestimable good fortune to secure his friendship. His admirably clear manner of communicating a knowledge of the fundamental principles of mechanical science rendered my intercourse with him of the utmost importance to myself. A hearty, cheerful, earnest desire to toil in his service, caused him to take pleasure in instructing me by occasional explanations of what might otherwise have remained obscure.”

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

James Nasmyth in: Industrial Biography: Iron-workers and Tool-makers https://books.google.nl/books?id=ZMJLAAAAMAAJ, Ticknor and Fields, 1864. p. 337

Friendship, Pleasure, Communication, Nature

“Visitor: Monsieur Degas, were there any of Monet's pictures at the Durand-Ruel exhibition?
Degas: Why, I met Monet himself there, and I said to him, 'Let me get out of here. Those reflections in the water hurt my eyes!' His pictures were always too draughty for me. If it had been any worse I should have had to turn up my coat collar.”

Edgar Degas (1834–1917) French artist

"The Crime and the Punishment" (p. 46)
posthumous quotes, Degas: An Intimate Portrait' (1927)

Water, Hurt

“I believe the time is coming when this question must be laid hold of by a Government, and that Parliament will feel that it dare not treat it in future as it has treated it in the past. These great meetings, as Mr. Mill very justly said, were not meetings so much for discussion as they were meetings for demonstration of opinion, and, if you like, I will add for exhibition of force. (Cheers.) Such exhibitions, if they be despised and disregarded may become exhibitions of another kind of force…I have been insulted in past times…that I was in favour of peace at any price…I believe that however much any of us may abhor the thought that political questions in any country should ever again be settled by force, yet there is something in the constitution of our nature that when these evils are allowed to run on beyond a certain period unredressed, that the most peace-loving of men are unable to keep the peace. (Hear, hear.) And bear this in mind,—that, however much we may wish political questions to be settled by moral means, yet it is no more immoral for a people to use force in the last resort for the obtaining and the securing of freedom than it is for a Government by force to suppress and deny that freedom.”

John Bright (1811–1889) British Radical and Liberal statesman

Loud cheers, the audience rising.
Speech in Manchester (25 September 1866), quoted in The Times (26 September 1866), p. 9.
1860s

Love, Men, People, Peace

“At the time when I was working on the exhibitions I was also very active as a book artist and in photo montage (for I could carry out those assignments when my sickness obliged me remain lying down).”

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

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

Books, Photo, Lying, Time

“[Fox] exhibited two pictures of this country; the one representing her at the end of the last glorious war, the other at the present moment. At the end of the last war this country was raised to a most dazzling height of splendour and respect. The French marine was in a manner annihilated, the Spanish rendered contemptible; the French were driven from America; new sources of commerce were opened, the old enlarged; our influence extended to a predominance in Europe, our empire of the ocean established and acknowledged, and our trade filling the ports and harbours of the wondering and admiring world. Now mark the degradation and the change, We have lost thirteen provinces of America; we have lost several of our Islands, and the rest are in danger; we have lost the empire of the sea; we have lost our respect abroad and our unanimity at home; the nations have forsaken us, they see us distracted and obstinate, and they leave us to our fate. Country! …This was your situation, when you were governed by Whig ministers and by Whig measures, when you were warmed and instigated by a just and a laudable cause, when you were united and impelled by the confidence which you had in your ministers, and when they were again strengthened and emboldened by your ardour and enthusiasm. This is your situation, when you are under the conduct of Tory ministers and a Tory system, when you are disunited, disheartened, and have neither confidence in your ministers nor union among yourselves; when your cause is unjust and your conductors are either impotent or treacherous.”

Charles James Fox (1749–1806) British Whig statesman

Speech in the House of Commons (27 November 1781), reprinted in J. Wright (ed.), The Speeches of the Rt. Hon. C. J. Fox in the House of Commons. Volume I (1815), p. 429.
1780s

Fate, War, World, Home

“Idealism is constituted by the metaphysical value it sets upon ideals, not by the aesthetic or the ethical, and rather by its method of putting them on the throne of things than by the mere intent to have them there. It is always distinct from mysticism (which at the core is simply emotionalism), and still more so from voluntarism. Its method is, at bottom, to vindicate the human ideals by showing them to be not merely ideals but realities, and to effect this by exhibiting conscious being as the only absolute reality;”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), Appendix C: The System vs. The View of the Oxford Essayists, p.407

Reality

“Surrounded by countless people who murmur my name and call me 'maître', I am about to inaugurate the exhibition of my one hundred illustrations of the Divine Comedy at the Galliera Museum.”

Salvador Dalí (1904–1989) Spanish artist

Source: Quotes of Salvador Dali, 1961 - 1970, Diary of a Genius (1964), p. 189 - Prologue

People

“Signac, definitively won over and who had just modified the paintings 'The Milliner', [1885] and 'Appreteuse et garnisseuse Modes' [exhibited in May 1886], Rue de Caire, p. 174J, following my technique at the same time as I was finishing the 'Jatte'... You'll agree that there's a nuance here and that if I was unknown in [18]85 [ Félix Fénéon did not mention Seurat in his article as leader / initiator of Neo-Impressionism I nonetheless existed, I and my vision that you have described in an impersonal fashion so superbly, aside from one or two insignificant details.”

Georges Seurat (1859–1891) French painter

version B of the 'Letter to Félix Fénéon', June 1890
Quotes from version B of his letter to Félix Fénéon, Seurat provided more important information
Quotes, 1881 - 1890, Letter to Félix Fénéon', June 1890

Fashion, Time, Painting

“What can one say about a country where a museum of science in a great city can feature an exhibit in which people fire machine guns from a helicopter at Vietnamese huts, with a light flashing when a hit is scored? What can one say about a country where such an idea can even be considered? You have to weep for this country. […] To me it seems that what is needed is a kind of denazification.”

Noam Chomsky book American Power and the New Mandarins

Quotes 1960s-1980s, 1960s, American Power and the New Mandarins, 1969

People, Idea, Light, Science

“The human mind gets used to strangeness very quickly if it does not exhibit interesting behavior.”

Dan Simmons book The Rise of Endymion

Source: The Rise of Endymion (1997), Chapter 12 (p. 227)

Behavior

“Exceptionally good memory exhibited by some people may stem from genetic differences in CREB-2 that limit the activity of this repressor protein in relation to CREB-1.”

Eric R. Kandel (1929) American neuropsychiatrist

In Search of Memory (2006)

People, Memory

“Perched on the southern tip of Africa, far from the centre of anything, many writers have lamented the cultural backwardness, the oppression of living in a divided city. Even as Cape Town evolves, grows more cosmopolitan, holds its first Picasso exhibition, becomes an international convention hub, acquires its very own fashion week … I still can’t help feeling the old unease. Is it the parochialism and cliquishness that outsiders comment on, joking that only third-generation Capetonians are really accepted? Is it the self-satisfied airheads basking at Camps Bay cafés, flicking golden curls and agonising over which cocktail to order? Is it the smug self-sufficiency that comes with having so much beauty on your doorstep that you don’t need to connect with your neighbour? Is it something to do with the schizophrenia of the city not being quite African, of holding onto Europe’s apron strings, of not knowing who or what it really is? Or is it the crime, that ubiquitous topic of so much conversation and so little action, which makes this one of the most violent cities on earth?”

Justin D. Fox (1967) South African author, photojournalist, lecturer and editor

Cape Town Calling (2007)

Beauty, Feeling, Fashion, Help

“The very idea of philosopher as art curator deeply interests me. One swiftly dreams of what Gilles Deleuze might have done with the opportunity to curate an art exhibition at MoMA: Art and Alloverness perhaps? Or Michel Foucault: the New Panopticons at the Centre Georges Pompidou? What would Susan Sontag or Roland Barthes have done at the International Center of Photography or at the Tate? What could Friedrich Nietzsche have done at the Louvre Museum? What indeed could Georges Bataille have haughtily done at the Metropolitan Museum of Art?”

Joseph Nechvatal (1951) American artist

Joseph Nechvatal. " Painting and Philosophy: An Assessment http://hyperallergic.com/90646/painting-and-philosophy-an-assessment/," at hyperallergic.com, October 28, 2013

Dreams, Art, Idea

“Grant of patience (from Allah) is in proportion to the extent of calamity you are passing through. If you exhibit fretfulness, irritation, and despair in calamities, then your patience and your exertions are wasted.”

Ali book Nahj al-Balagha

Nahj al-Balagha

Patience, Despair

“The next level in moral behavior higher than that exhibited by the baboon is that in which duty and loyalty are shown toward a group of your own kind too large for an individual to know all of them. We have a name for that. It is called "patriotism."”

Robert A. Heinlein (1907–1988) American science fiction author

Behaving on a still higher moral level were the astronauts who went to the Moon, for their actions tend toward the survival of the entire race of mankind. The door they opened leads to the hope that H. sapiens will survive indefinitely long, even longer than this solid planet on which we stand tonight. As a direct result of what they did, it is now possible that the human race will never die.
Many short-sighted fools think that going to the Moon was just a stunt. But the astronauts knew the meaning of what they were doing, as is shown by Neil Armstrong's first words in stepping down onto the soil of Luna: "One small step for a man, one giant leap for mankind."
The Pragmatics of Patriotism (1973)

Behavior, Loyalty