Quotes about plastic

A collection of quotes on the topic of plastic, form, use, likeness.

Quotes about plastic

“Sometimes I think I should just buy a blow-up party doll. Same level of intelligence, plastic, and full of air.

The problem is, I'd probably fall in love.”

Nikki Sixx (1958) American musician

Source: The Heroin Diaries: A Year In The Life Of A Shattered Rock Star

Love, Intelligence, Problem, Thinking

“I nodded, looking at Rachel with respect. "You hit the Lord of the Titans in the eye with a blue plastic hairbrush.”

Rick Riordan (1964) American writer

“Later I had two green ones [alligator pears] — not so perfect. I painted them several times [c. 1920] when the men [American modernist artists, a. o. Marsden Hartley ] didn't think much of what I was doing. They were all discussing Paul Cézanne, with long involved remarks about the 'plastic quality' of his form and colour. I was an outsider. My colour and form were not acceptable. It had nothing to do with Cézanne or anything else. I didn't understand what they were talking about why one colour was better than another... Years later when I finally got to Cézanne's Mont Sainte-Victoire in the south of France, I remember sitting there thinking, 'How could they attach all those analytical remarks to anything he did with that mountain?”

Georgia O'Keeffe (1887–1986) American artist

All those entire words piled on top of that poor little mountain seemed too much.
1970 - 1986, Some Memories of Drawings (1976)

Men, Mountain, Understanding, Thinking

“Neo-Plasticism has its roots in Cubism. It could just as easy be called the Painting of Real Abstraction. Since the abstract can be expressed by a plastic reality... It achieves what all painting has tried to achieve but has been able to express only in a veiled manner. By their position and their dimension as well as by the importance of given to colour, the coloured planes express in a plastic way only relations and not forms. Neo-Plasticism imparts to these relations an aesthetic balance and thereby expresses universal harmony... For the moment what art had discovered must still be limited to art itself. Our environment cannot yet be realized as a creation of pure harmony. Art today is at the very point formerly occupied by religion. In its deepest meaning art was the transposition of the natural [into another plane]; in practice it always sought to achieve harmony between man and untransposed nature. Generally speaking, so do Theosophy and Anthroposophy, although these already possessed the original symbol of balance. And this is why they never were able to achieve equivalent relations, that is to say true harmony.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in Mondrian's letter to Rudolf Steiner, c. 1921-23; as cited in Abstract Painting, Michel Seuphor, Dell Publishing Co 1964, p. 83-85
1920's

Religion, Art, Way, Nature

“How deeply the perverse Jewish spirit has penetrated German cultural life is shown in the frightening and horrifying forms of the Exhibition Of Degenerate Art in München ….. This has nothing at all to do with the suppression of artistic freedom and modem progress. On the contrary, the botched art works which were exhibited there and their creators are of yesterday and before yesterday. They are the senile representatives, no longer to be taken seriously, of a period that we have intellectually and politically overcome and whose monstrous, degenerate creations still haunt the field of the plastic arts in our time.”

Joseph Goebbels (1897–1945) Nazi politician and Propaganda Minister

Von der Großmacht zur Weltmacht on the seizure of thousands of works of German art. (26 November 1937)
1930s

Life, Art, Freedom, Time

“Of the complete biological inferiority of the negro there can be no question—he has anatomical features consistently varying from those of other stocks, & always in the direction of the lower primates... Equally inferior—& perhaps even more so—is the Australian black stock, which differs widely from the real negro... In dealing with these two black races, there is only one sound attitude for any other race (be it white, Indian, Malay, Polynesian, or Mongolian) to take—& that is to prevent admixture as completely & determinedly as it can be prevented, through the establishment of a colour-line & the rigid forcing of all mixed offspring below that line. I am in accord with the most vehement & vociferous Alabaman or Mississippian on that point … Other racial questions are wholly different in nature—involving wide variations unconnected with superiority or inferiority. Only an ignorant dolt would attempt to call a Chinese gentleman—heir to one of the greatest artistic & philosophic traditions in the world—an "inferior" of any sort... & yet there are potent reasons, based on wide physical, mental, & cultural differences, why great numbers of the Chinese ought not to mix into the Caucasian fabric, or vice versa. It is not that one race is any better than any other, but that their whole respective heritages are so antipodal as to make harmonious adjustment impossible. Members of one race can fit into another only through the complete eradication of their own background-influences—& even then the adjustment will always remain uneasy & imperfect if the newcomer's physical aspect froms a constant reminder of his outside origin. Therefore it is wise to discourage all mixtures of sharply differentiated races—though the color-line does not need to be drawn as strictly as in the case of the negro, since we know that a dash or two of Mongolian or Indian or Hindoo or some such blood will not actually injure a white stock biologically.... As a matter of fact, most of the psychological race-differences which strike us so prominently are cultural rather than biological. If one could take a Japanese infant, alter his features to the Anglo-Saxon type through plastic surgery, & place him with an American family in Boston for rearing—without telling him that he is not an American—the chances are that in 20 years the result would be a typical American youth with very few instincts to distinguish him from his pure Nordic college-mates. The same is true of other superior alien races including the Jew—although the Nazis persist in acting on a false biological conception. If they were wise in their campaign to get rid of Jewish cultural influences (& a great deal can be said for such a campaign, when the dominance of the Aryan tradition is threatened as in Germany & New York City), they would not emphasize the separatism of the Jew but would strive to make him give up his separate culture & lose himself in the German people. It wouldn't hurt Germany—or alter its essential physical type—to take in all the Jews it now has.”

H.P. Lovecraft (1890–1937) American author

However, that wouldn't work in Poland or New York City, where the Jews are of an inferior strain, & so numerous that they would essentially modify the physical type.
Letter to Natalie H. Wooley (22 November 1934), in Selected Letters V, 1934-1937 edited by August Derleth and Donald Wandrei, p. 77
Non-Fiction, Letters

People, Youth, World, Family

“You know you've made it when you've been moulded in miniature plastic. But you know what children do with Barbie dolls - it's a bit scary, actually.”

Cate Blanchett (1969) Australian actress

11 Amazing Quotes From Cate Blanchett, Marie Claire, 13 November 2014 https://au.lifestyle.yahoo.com/marie-claire/news-and-views/celebrity/a/25503850/11-amazing-quotes-from-cate-blanchett/,

Children

“There have been mechanicals on the market with mini-computers for brains — plastic things without life, super-toys — but we have at last found a way to link computer circuitry with synthetic flesh.”

Brian W. Aldiss book Super-Toys Last All Summer Long

Super-Toys Last All Summer Long (1969)

Life, Way

“The problem with aging is not that it’s one damn thing after another—it’s every damn thing, all at once, all the time.
You can’t stop aging. Gene therapies and replacement organs and plastic surgery give it a good fight. But it catches up with you anyway. Get a new lung, and your heart blows a valve. Get a new heart, and your liver swells up to the size of an inflatable kiddie pool. Change out your liver, a stroke gives you a whack. That’s aging’s trump card; they still can’t replace brains.”

John Scalzi (1969) American science fiction writer

Source: Old Man’s War (2005), Chapter 1 (p. 14)

Age, Problem, Change, Time

“To realize this towering imperative vision in all its integral possibilities… I lived days of anxiety, torture, and delight alike, trembling all over with emotion as those railing[s] in the midst of the bridge vibrating at the continuous passage of the trains. I appealed for help to the soaring verse of Walt Whitman and to the fiery Poe’s plasticity. Upon the swarming darkness of the night, I rung all the bells of alarm with the blaze of electricity scattered in lightnings down the oblique cables, the dynamic pillars of my composition, and to render more pungent the mystery of the metallic apparition, through the green and red glare of the signals I excavated here and there caves as subterranean passages to infernal recesses.”

Joseph Stella (1877–1946) American artist

Biographical note; Quotes in: Horst Woldemar Janson, Anthony F. Janson, History of Art: The Western Tradition http://books.google.com/books?id=MMYHuvhWBH4C&pg=PT831&lpg=PT831, Prentice Hall Professional, 2004. p. 831

Help, Training, Night

“The relational model provides different categories, different underlying structures into which experience can be organized. Here the establishment of strong connections to others, in reality or in fantasy, is presumed to be primary. Forms of relationship are seen as fundamental, and life is understood largely as an array of metaphors for expressing and playing out relational patterns: discovery, penetration, domination, surrender, control, longing, evasion, revelation, envelopment, merger, differentiation, and so on. The body is still centrally important. Sexuality and bodily experiences are viewed as particularly apt arenas for this activity, since sexuality is enormously multiform and plastic. The number of different body parts, the variability of interactions, the poignancy of the sensations, the immense number of combinations — the almost infinite variety of human sexual possibilities make this an enormously fertile reservoir of metaphors for expressing different types of relationships, different configurations of connections, between self and others.”

Stephen Mitchell (1946–2000) American psychologist

Relational Concepts in Psychoanalysis (Cambridge, Massachusetts: Harvard University Press, 1988), p. 91

Life, Reality, Strong, Parting

“I’d send out an intergalactic invitation to other species. I guarantee they would not be like the aliens in the movies I did. I think if they can get here, they could be charming. Stephen Hawking said aliens would be coming for our resources. Well, I don’t know what planet he’s talking about, we don’t have any resources to give them! We’re plundering our own planet. Unless garbage and plastic is something they need, in which case, we could work out a good deal.”

Sigourney Weaver (1949) American actress

Stylist, "Queen of everything: Sigourney Weaver" https://www.stylist.co.uk/people/interviews-and-profiles/queen-of-everything-sigourney-weaver/173306, (2012).

Thinking

“Whatever is truly alive must die. Look at the flowers; only plastic flowers never die.”

Anthony de Mello (1931–1987) Indian writer

Flow
One Minute Wisdom (1989)

Flowers

“The directors of Synthank were eating an enormous luncheon to celebrate the launching of their new product. Some of them wore the plastic face-masks popular at the time. All were elegantly slender, despite the rich food and drink they were putting away. Their wives were elegantly slender, despite the food and drink they too were putting away. An earlier and less sophisticated generation would have regarded them as beautiful people, apart from their eyes.”

Brian W. Aldiss book Super-Toys Last All Summer Long

Super-Toys Last All Summer Long (1969)

People, Food, Beauty, Drink

“One of the main reasons for my interest early on in the art and technology relationship was that during my studies of movement and light in art I was struck by the technical components in this art. Contrary to most, if not all, specialists in the field who put the stress on purely plastic issues and in the first place on the constructivist tradition, I was convinced that the technical and technological elements played a decisive part in this art. One almost paradoxical experience was my encounter with the kinetic artist and author of the book Constructivism, George Rickey, and my discovery of the most subtle technical movements in his mobile sculptures. But what seemed to me still more decisive for my option towards the art and technology problematic was the encounter in the early 1950s with artists like Nicholas Schöffer and Frank Malina whose works were based on some first hand or second hand scientific knowledge and who effectively or symbolically employed contemporary technological elements that gave their works a prospective cultural meaning. The same sentiment prevailed in me when I encountered similar artistic endeavors from the 1950s onwards in the works of Piotr Kowalski, Roy Ascott and many others which confirmed me in the aesthetic option I had taken, particularly when I discovered that this option was not antinomic (contradictory) to another aspect of the creative works of the time, i. e. spectator participation.”

Frank Popper (1918) French art historian

Source: Joseph Nechvatal. in: " Origins of Virtualism: An Interview with Frank Popper http://www.mediaarthistory.org/refresh/Programmatic%20key%20texts/pdfs/Popper.pdf," in: Media Art History, 2004.

Books, Art, Knowledge, Decision

“Ugh! The plastic bag! Agreed. Not very aesthetic, but not so bad with a little a little prior practice to become accustomed to it.”

Derek Humphry book Final Exit

"The Final Act", p. 150
Final Exit

“[L]et us assign the figures that have come into being in our theory to fire and earth and water and air. To earth let us give the cubical form; for earth is least mobile of the four and most plastic of bodies: and that substance must possess this nature in the highest degree which has its bases most stable. Now of the triangles which we assumed as our starting-point that with equal sides is more stable than that with unequal; and of the surfaces composed of the two triangles the equilateral quadrangle necessarily is more stable than the equilateral triangle… Now among all these that which has the fewest bases must naturally in all respects be the most cutting and keen of all, and also the most nimble, seeing it is composed of the smallest number of similar parts… Let it be determined then… that the solid body which has taken the form of the pyramid [tetrahedron] is the element and seed of fire; and the second in order of generation let [octahedron] us say to be that of air, and the third [icosahedron] that of water. Now all these bodies we must conceive as being so small that each single body in the several kinds cannot for its smallness be seen by us at all; but when many are heaped together, their united mass is seen…”

Plato book Timaeus

Section 55e–56c, Tr. R. D. Archer-Hind, The Timaeus of Plato (1888) pp. 199-201. https://books.google.com/books?id=q2YMAAAAIAAJ&pg=PA199 Timaeus

Nature, Water, Parting

“Geometry is to the plastic arts what grammar is to the art of the writer.”

Guillaume Apollinaire (1880–1918) French poet

La géométrie est aux arts plastiques ce que la grammaire est à l'art de l'écrivain.
Les peintres cubistes (1913), reprinted in Oeuvres en prose complètes (Paris: Gallimard, 1991) vol. 2, p. 11; translation from Lionel Abel (trans.) The Cubist Painters (New York: Wittenborn, 1949) p. 13.

Art

“The anatomy of self-propelling objects is subject to universal laws. Those of cars and animals are similar in many ways. First of all, there's the stomach. Stomachs are like petrol tanks. It takes energy to move around, and that energy must accompany its user. All self-propelling objects carry provisions with them in a sealed-off space, a stomach or a tank. Self-propelling beach animals like Animaris Percipiere have a stomach too. This consists of recycled plastic bottles containing air that can be pumped up to a high pressure by the wind.”

Theo Jansen (1948) artist

Source: The Great Pretender. (2007), p. 153

Law, Cars, Way, Universe

“We have to remember that everything we do is a choice. We have a choice to make more sustainable decisions in the long term, whether it’s how much plastic we use or how much meat we eat – all these things will have an impact on our planet. If we can eat more sustainably, live more sustainably, we’ll have a lower carbon footprint on an individual level. Little things matter – people just need to be reminded of that.”

Austin Gallagher

Source: The Greatest Environmental Issue You’ve Never Heard Of https://hivelife.com/dr-gallagher-on-shark-conservation/ (December 10, 2018)

People, Making love, Decision

“Why are you still wearing…?" Aya began. "Oh, that's not smart plastic? You're really an ugly?"
David rolled his eyes and Shay said quietly, "David's never had any surge at all. But I wouldn't use the word ugly… Tally might eat you.”

Scott Westerfeld book Extras

Source: Extras

“Standing in the corridor was a large plastic bin on wheels. He looked inside. Empty tins of dog food. That explained the spaghetti with meat sauce. Oh well, he'd eaten worse.”

Charlie Higson book The Enemy

Source: The Enemy

Food, Dogs

“Life is half delicious yogurt, half crap, and your job is to keep the plastic spoon in the yogurt.”

Scott Adams (1957) cartoonist, writer

Dilbert Blog, Sleepless in California, 2006-07-21, http://web.archive.org/20060814050102/dilbertblog.typepad.com/the_dilbert_blog/2006/07/sleepless_in_ca.html, 2006-08-14 http://dilbertblog.typepad.com/the_dilbert_blog/2006/07/sleepless_in_ca.html,

Life

“She's as plastic as you are. If you ever have kids, they'll come out of the birth canal with Fisher-Price stamped on their butts.”

Susan Elizabeth Phillips (1948) American writer

Source: Match Me If You Can

Birth

“Everything in Los Angeles is too large, too loud and usually banal in concept… The plastic asshole of the world.”

William Faulkner (1897–1962) American writer

World, Angels

“We’re multigenerational Squires. (Carl)
Which means what? You prance around with tinfoil armor and plastic swords pretending to be knights? (Nick)”

Sherrilyn Kenyon (1965) Novelist

Source: Infinity

“The only other scenario that could explain everything, up to and including your own bizarre apperance, is a convoluted conspiracy theory involving the Russian Mafia and a crack team of plastic surgeons.”

Eoin Colfer (1965) Irish author of children's books

Source: The Eternity Code

“Isabelle was holding an umbrella. It was clear plastic, decorated with decals of colorful flowers. It was one of the girliest things Simon had ever seen, and he didn’t blame Alec for ducking out from under it and taking his chances with the rain.”

Cassandra Clare The City of Lost Souls

Source: City of Lost Souls

Color, Flowers, Chance

“I don’t need any plastic in my body to validate me as a woman.”

Courtney Love (1964) American punk singer-songwriter, musician, actress, and artist

“I love Los Angeles. I love Hollywood. They're beautiful. Everybody's plastic, but I love plastic. I want to be plastic.”

Andy Warhol (1928–1987) American artist

Love, Beauty, Angels

“The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side.”

Hunter S. Thompson (1937–2005) American journalist and author

Men, Money, Dogs, Music

“She took out a shiny folded pamphlet, the kind they kept stacked in clear plastic stands in hospital waiting rooms. "How to Come Out to Your Parents," she read out loud. "LUKE. Don't be ridiculous. Simon's not gay, he's a vampire.”

Cassandra Clare book City of Ashes

Source: City of Ashes

Parent, Waiting, Reading

“In a dung heap, even a plastic bead can gleam like a sapphire.”

Stephen Fry book The Hippopotamus

Source: The Hippopotamus

“How old do you have to get before wisdom descends like a plastic bag over your head and you learn to keep your big mouth shut? Maybe never. Maybe you get more frivolous with age.”

Margaret Atwood book The Robber Bride

Source: The Robber Bride

Wisdom, Age, Learning

“You hit the Lord of The Titans with a blue plastic hairbrush.”

Rick Riordan book The Battle of the Labyrinth

Source: The Battle of the Labyrinth

“Before going back to sleep I imagined (I saw) a plastic universe, changeable, full of wondrous chance, an elastic sky, a sun that suddenly is missing or remains fixed or changes its shape.”

Julio Cortázar book Hopscotch

Source: Hopscotch

Imagination, Sleep, Universe, Change

“She got her looks from her father. He's a plastic surgeon.”

Groucho Marx (1890–1977) American comedian

“Everything's plastic, we're all going to die sooner or later, so what does it matter.”

Elizabeth Wurtzel book Prozac Nation

Source: Prozac Nation

“We laughed about all the kids who believed in the Santa Clause myth and got nothing but a bunch of cheap plastic toys. 'Years from now, when all the junk they got is broken and long forgotten,' Dad said, ' you'll still have your stars.”

Jeannette Walls book The Glass Castle

Source: The Glass Castle

Star

“She said you were probably plastic and Uncle Kevin said he’d give you a feel and let her know and then Uncle Joe punched him in the shoulder and said the only thing he’d feel is his A-S-S getting kicked if he tried.”

Shannon Stacey (1972) american writer

Source: Exclusively Yours

Feeling

“Speed eliminates all doubt. Am I smart enough? Will people like me? Do I really look all right in this plastic jumpsuit?”

David Sedaris (1956) American author

People, Speed

“I could shove this swizzle stick through his heart, Min thought. She would'nt do it, of course. The stick was plastic and not nearly pointed enough on the end.”

Jennifer Crusie book Bet Me

Source: Bet Me

Heart

“Something will have gone out of us as a people if we ever let the remaining wilderness be destroyed; if we permit the last virgin forests to be turned into comic books and plastic cigarette cases; if we drive the few remaining members of the wild species into zoos or to extinction; if we pollute the last clear air and dirty the last clean streams and push our paved roads through the last of the silence, so that never again will Americans be free in their own country from the noise, the exhausts, the stinks of human and automotive waste. And so that never again can we have the chance to see ourselves single, separate, vertical and individual in the world, part of the environment of trees and rocks and soil, brother to the other animals, part of the natural world and competent to belong in it. … We need wilderness preserved — as much of it as is still left, and as many kinds — because it was the challenge against which our character as a people was formed. The reminder and the reassurance that it is still there is good for our spiritual health even if we never once in ten years set foot in it.”

Wallace Stegner (1909–1993) American historian, writer, and environmentalist

Wilderness Letter http://wilderness.org/bios/former-council-members/wallace-stegner (1960) Source: The Sound of Mountain Water

People, Health, Books, World

“If your life truths have to be protected like some people keep their couches in plastic then ciao. have a nice life. if we bump into eachoter at Target, i'm the one buying the sour gummy worms and thats all you need to know about me.”

Deb Caletti (1963) American writer

Source: Wild Roses

Life, People, Truth

“Die human, DIE!! Die nasty polluting person!!!!' yelled Grover. I turned him so he faced me. He kept on clicking his plastic gun towards me as if I was part of the game.”

Rick Riordan (1964) American writer

Game, Parting, Personality

“Love is a piano dropped from a four story window and you were in the wrong place at the wrong time.
-Two Little Girls (Little Plastic Castle)”

Ani DiFranco (1970) musician and activist

Love, Girl, Time

“Oh- and grab the plastic bag over by my suitcase."
I slug down the last of the coffee and get up. The bag contains panty hose. I put them on her desk.
"They're for you."
"You want me to look homeless, desperate, but also kind of fabulous?”

Holly Black book Red Glove

Source: Red Glove

Coffee

“There was a sad fellow over on a bar stool talking to the bartender, who was polishing a glass and listening with that plastic smile people wear when they are trying not to scream.”

Raymond Chandler book The Long Goodbye

Source: The Long Goodbye

People, Sadness, Smile

“The love of simplicity, precision and clarity, is totally Western. Today's rational plastic form does not come from the Mediterranean or the Orient; it comes from the North [of France]. The North, younger, quicker less subtle, has seen straight to the heart of the new problem of construction that is posed by modern life.”

Fernand Léger (1881–1955) French painter

Quote from: 'Actualités, Fernand Léger', in 'Varietés nr. 1', 1928, pp. 523-524
Quotes of Fernand Leger, 1920's

Love, Life, Problem, Heart

“You really could call the new TVR Cerbera heavy metal were it not fashioned from plastic. The best way to experience this car is to be about seven miles away. As it comes toward you, it's like being in a horror movie. The monster is getting closer. The Thing. The Blob. Terror has no shape. But God, what a noise.”

Jeremy Clarkson book Born to be Riled

Source: Born to be Riled (1999), p. 6

God, Cars, Way, Fashion

“I've had so much plastic surgery, when I die they will donate my body to Tupperware.”

Joan Rivers (1933–2014) American comedian, actress, and television host

On her plastic surgeries, quoted in The New York Times, 2008 (republished in The New York Daily News http://www.nydailynews.com/entertainment/joan-rivers-top-10-jokes-celebs-plastic-surgery-article-1.1928398#ixzz3CWeoRaTP

“I am interested primarily in the vast field of experience and sensation which neither literature nor a purely plastic art deals with.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

Letter to Charles Sawyer of Addison Gallery of Art October 19 , 1939
1911 - 1940

Art, Literature

“matter is plastic in the face of mind.”

Philip K. Dick book VALIS

VALIS (1981)

“There is an appreciated substance to the phrase "ALGOL-like" which is often used in arguments about programming, languages and computation. ALGOL appears to be a durable model, and even flourishes under surgery — be it explorative, plastic, or amputative.”

Alan Perlis (1922–1990) American computer scientist

The Synthesis of Algorithmic Systems, 1966

Appearance

“Plastic automatism.... as employed by modern masters, like Masson, Miro, [both artists of Surrealism] and Picasso, is actually very little a question of the unconsciousness. It is much more a plastic weapon with which to invent new forms. As such it is one of the twentieth century greatest formal inventions.”

Robert Motherwell (1915–1991) American artist

Modern Painter's World, Robert Motherwell , Dyn, Nov. 1942, p. 13
1940s

Question

“The premise of $600+ mobile device sales as a mainstream purchase by ordinary Americans, never mind overpriced $300 plastic-cased watches, appears to be a fantasy dream. The iFemineProduct has quite-clearly peaked and started its decline …”

Karl Denninger American businessman

Bubble, Meet Pin http://market-ticker.org/akcs-www?post=230072 in The Market Ticker (28 April 2015)

Dreams, Appearance

“The new plastic idea cannot, therefore, take the form of a natural or concrete representation, although the latter does always indicate the universal to a degree, or at least conceals it within.”

Piet Mondrian (1872–1944) Peintre Néerlandais

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

Idea, Nature, Universe

“In terms of composition the new plasticism is dualistic. Through the exact reconstruction of cosmic relations it is a direct expression of the universal; by its rhythm, by the material reality of its plastic form, it expresses the artist's individual subjectivity. It thus unfolds before us a whole world of universal beauty without thereby renouncing the human element.”

Piet Mondrian (1872–1944) Peintre Néerlandais

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

World, Beauty, Reality, Universe

“If you were to take a plastic bag and place it inside a large bowl, and then, using a wooden spoon, stir the bag around, you could use the expression 'a mixed bag' to describe what you had in front of you, but you would not be using the expression in the same way I am about to use it now. Although 'a mixed bag' sometimes refers to a plastic bag that has been stirred in a bowl, more often, it is used to describe a situation that has both good parts and bad parts. An afternoon movie theater, for example, would be a mixed bag if your favorite movie were showing, but if you had to eat gravel instead of popcorn. A trip to the zoo would be a very mixed bag if the weather were beautiful, but all the man and woman-eating lions were running around loose.”

Daniel Handler book The Ersatz Elevator

Lemony Snicket
The Ersatz Elevator (2001)

Beauty, Way, Parting, Weather

“Naturally, in order to find in this break [in the visual perception] with time-honored habits a basis for a new pictorial harmony and a plastic means of dealing with life and movement, there must be an artistic sensibility far in advance of the normal vision of the crowd.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 12
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Life, Nature, Time

“It may be noted that in Neo-Plastic art the crucial thing is the right angel, that is, the right-angle lines. And not whether the position of the lines is vertical or horizontal... So it is possible to make very beautiful things while placing the lines in a diagonal position.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In 'Neo-Plasticism: Home – Street – City', Piet Mondriaan, 'i 10', Jan. 1927
1920's

Beauty, Art, Angels

“The development of plastic art is determined by the will to visualize. Art of the past represented the subjective vision of 'naturalistic relationships'. Neoplasticism embodies a subjective vision of 'plastic' relationships… Pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships and abstract lines, is revealed conceptually (as Reason) by Chinese, Greek and German philosophy, and aesthetically by contemporary Neoplasticism [= De Stijl.”

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

Quote in Van Doesburg's art-review, published in: 'Thought – Vision – Creation', in De Stijl Vol ll, 2 December 1918; as quoted in 'Theo van Doesburg', Joost Baljeu, Studio Vista, London 1974, pp. 108–109
1912 – 1919

Art, Nature, Past

“Celebrities are people who spend more time in the plastic surgery clinic than they do outside trying to maintain an image of youth, glamour, and relevance, all while calling President Trump a narcissist.”

Bill Whittle (1959) author, director, screenwriter, editor

"Hot Mic - Hollywood Hypocrites" https://www.youtube.com/watch?v=XuxIdfyKzho (11 July 2017) 2010s

People, Youth, Time

“One must always paint in opposition to nature, and to one’s own 'mood'. To let oneself go is a weakness, a sort of hysterics. If you are full of red, choose a green or a blue; if you feel like yellow, choose grey or black. In this continuous opposition lies the entire secret of plastic creation… To create a great work of art demands self-mortification.”

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

Quote in his article 'Elementarism', as cited in De Stijl – Van Doesburg Issue, January 1932, pp. 17–19
1926 – 1931

Secret, Art, Feeling, Mood

“Elementarism has been born partly in reaction to an over-dogmatic and often narrow-minded application of NeoPlasticism [a critic on his former artist-companion Piet Mondrian, partly as its consequence but ultimately from what is primarily a radical correction of Neo-plastic ideas. Elementarism rejects the demands of pure statics which led to sterility and to the laming of creative potentialities. Instead of denying Time and Space, Elementarism acknowledge these elements to be the most elementary means for creating a new plastic expression... In contrast to the Neo-plastic [= De Stijl] manner of expression, which is restricted to two dimensions [the plane], Elementarism acknowledges a form of plastic expression in four dimensions, the realm of space-time. In opposition to the orthogonal style of plastic expression, which is 'homogeneous' with natural construction, Elementarism postulates a 'heterogeneous' contrasting, unstable manner of plastic expression based upon planes oblique in relation to the static, perpendicular axis of gravitation”

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

Quote of van Doesburg, in van 'Painting and plastic art': Elementarism – fragment of a manifesto' Paris, December 1926 – April 1927; in De Stijl, Theo van Doesburg – series XIII, 78, 1926–27, pp. 82–87
1926 – 1931

Idea, Nature, Time

“From the day that the impressionists liberated painting, the modern picture set out at once the structure itself on contrasts; instead of submitting to a subject, the painter makes an insertion and uses a subject in the service of purely plastic means.... [the contemporary painter] must prepare himself in order to confer a maximum of plastic effect on means that have not yet been used. He must not become an imitator of the new visual objectivity, but be a sensibility completely subject to the new state of things.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 14
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Painting

“Many thanks for your letter and the Gauguin woodcuts... One can see, incidentally, that Gauguin had Persian miniatures, Indian batik and Chinese art in his very blood. The shapes of the birds and the horse show that clearly. But although it looks very well, Gauguin can't stimulate us present-day artists much. We need a direct route from life to plastic form. And we get it by perpetually drawing everything we see.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Letter to Nele van de Velde ((daughter of Henry van de Velde), Frauenkirch, 29 November 1920; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 224-225
1920's

Life, Art, Bird, Horse

“Most people think of pterosaurs as "flying dinosaurs". When I was a boy, I remember the other kids called them "dinosaur-birds", but they were neither dinosaurs or birds. The first problem is that most people don't know any more about the fossil record than what they've seen in a few plastic pieces in a prehistoric playset. Not only do they typically think that all these things are dinosaurs, they might even think that these are all the fossil forms that are known. They have no idea how rich the fossil record is.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

Youtube, Other, Pterosaurs are Terrible Lizards https://www.youtube.com/watch?v=3_htQ8HJ1cA (December 3, 2013)

People, Boy, Idea, Problem

“Only a male intellect clouded by the sexual drive could call the stunted, narrow-shouldered, broad-hipped and short-legged sex the fair sex: for it is with this drive that all its beauty is bound up. More fittingly than the fair sex, women could be called the unaesthetic sex. Neither for music, nor poetry, nor the plastic arts do they possess any real feeling or receptivity: if they affect to do so, it is merely mimicry in service of their effort to please. This comes from the fact that they are incapable of taking a purely objective interest in anything whatever, and the reason for this is, I think, as follows. Man strives in everything for a direct domination over things, either by comprehending or by subduing them. But woman is everywhere and always relegated to a merely indirect domination, which is achieved by means of man, who is consequently the only thing she has to dominate directly. Thus it lies in the nature of women to regard everything simply as a means of capturing a man, and their interest in anything else is only simulated, is no more than a detour, i. e. amounts to coquetry and mimicry.”

Arthur Schopenhauer book Parerga and Paralipomena

Vol. 2 "On Women" as translated in Essays and Aphorisms (1970), as translated by R. J. Hollingdale
Parerga and Paralipomena (1851), Counsels and Maxims

Women, Beauty, Art, Music

“…ignorant of all that man had ever thought or hoped, their minds burst open like flowers at the sunlight of a suggestion. They were quick to respond; plastic to a mould; and incapable of fatigue. Their faith in education was so full of pathos that one dared not ask them what they thought they could do with education when they got it.”

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

The Education of Henry Adams (1907)

Education, Faith, Hope, Flowers

“In fact the only times we could read funny books was when my father was in the Navy. Nothing would infuriate him more than to catch us browsing through Captain Marvel or Plastic Man. Men, after all, didn’t waste their time reading funny books. Men, he’d tell us, took life seriously. Nothing could be learned from books that were funny.”

Oscar Zeta Acosta book Autobiography of a Brown Buffalo

Source: Autobiography of a Brown Buffalo (1972), p. 75.

Life, Men, Books, Learning

“Adaptive system — whether on the biological, psychological, or sociocultural level — must manifest (1) some degree of "plasticity" and "irritability" vis-a-vis its environment such that it carries on a constant interchange with acting on and reacting to it; (2) some source or mechanism for variety, to act as a potential pool of adaptive variability to meet the problem of mapping new or more detailed variety and constraints in a changeable environment; (3) a set of selective criteria or mechanisms against which the "variety pool" may be sifted into those variations in the organization or system that more closely map the environment and those that do not; and (4) an arrangement for preserving and/or propagating these "successful" mappings.”

Walter F. Buckley (1922–2006) American sociologist

Source: Sociology and modern systems theory (1967), p. 491.

Problem, Success

“[jazz and Neo-Plasticism are] highly revolutionary phenomena: they are destructive constructive. They do not destroy the actual content of form, but rather deepen form only in order to elevate it to a new order. They break the bonds of 'form as individuality' in order to make possible a universal unity.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in: 'De Jazz en de Neo-plastiek', Piet Mondriaan, in 'i 10', 1927 pp. 421-427
1920's

Universe

“The two motor driven "mobiles" which I am exhibiting [August, 1933] are from among the more successful of my earliest attempts at plastic objects in motion. The orbits are all circular arcs or circles. The supports have been painted to disappear against a white background to leave nothing but the moving elements..”

Alexander Calder (1898–1976) American artist

1930s - 1950s, Statement from Modern Painting and Sculpture', (1933)

Support, Success, Painting

“Therefore, why not plastic forms in motion?... one can compose motions.”

Alexander Calder (1898–1976) American artist

1930s - 1950s, Statement from Modern Painting and Sculpture', (1933)

“Our time has produced a need for contrast. This has been achieved not only in the external appearance of plastic expressions of coulor and matter, but also, and chiefly, in the tempo of life and in the techniques related to the daily, mechanical functions of life; namely standing, walking, driving, to lying and sitting – in short, every action which determines the content of architecture.”

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

1926 – 1931
Source: 'Painting: from composition towards counter-composition'; in 'Painting and plastic art', De Stijl, series XIII, 73-4, 1926, pp. 17–18

Life, Lying, Appearance, Time

“The new plastic idea thus correctly represents actual aesthetic relationships. To the modern artist, it is a natural consequence of all the plastic ideas of the past. This is particularly true of painting, which is the art least bound to contingencies. The picture can be a pure reflection of life in its deepest essence.”

Piet Mondrian (1872–1944) Peintre Néerlandais

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

Life, Art, Idea, Nature

“In the Pregluton, there were no animals of plastic tubing yet. This initial period was marked by an absence of matter. Life then consisted exclusively of dreaming about life.”

Theo Jansen (1948) artist

Source: The Great Pretender. (2007), p. 9 ; Paragraph "Memory in reverse"

Life, Dreams, Animals

“After your high-handed improvement(?) of 'Neo-plasticism' any co-operation is quite impossible for me... For the rest sans rancune - Piet Mondriaan.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian in a letter to Van Doesburg, 4 Dec. 1927; 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. 27 Mondrian's answer to Theo van Doesburg's retrospective article in 'De Stijl' magazine in 1929, where he wrote: 'By the lively and most articulate evolution the principles, developed mainly by P. Mondriaan in 'De Stijl' could not any longer be considered as generally characteristic of the opinion of the group.' 1920's

“Futurism, as it has developed over six years, has solidified and surpassed Impressionism, has proposed plastic dynamism, atmospheric modeling, and the interpenetration of planes and states of mind.”

Giacomo Balla (1871–1958) Italian artist

The Futurist Reconstruction of the Universe (1915)

Future

“I saw Larry King and he was interviewing Pam Anderson. And it was really fun because Pam Anderson…remember when Pam Anderson did her hepatitis tour? Remember when she got hepatitis and then she did a press tour about it, because she is very conscious of woman's issues, and she went on Larry King and she's talking about it. Oh, and by the way, she said she got it from Tommy Lee, which, of course, she did. And Tommy Lee said she got it from a door knob. And…I'm sure that's at least what she got from Tommy Lee. I saw Tommy Lee at an award show two weeks before, I got crabs just from looking at him. So, anyway, she's talking a minute and then she had had her boobs reduced, you know, she keeps getting reduced and bigger and stuff. And then, Larry has the balls to say to her (imitating Larry King), "Aren't you afraid of that plastic surgery?"”

Kathy Griffin (1960) American actress and comedian

and, in the meantime, his ears meeting at the back of his neck.
Allegedly (2004)

Way

“Clay masonry, like concrete, is a "plastic" material that permits the pouring in situ of large monoliths of any shape or form, with certain limitations and by using special methods. Its economical possibilities when used in walls of popular housing, its excellent heat and sound insulation, as well as its aesthetic possibilities, should not be underestimated. Its resistance and durability can be substantially improved by using modern techniques and methods, for example, admixture of small amounts of Portland cement in accordance with granulometric investigation, petrographic composition, and rheological behaviour of all constituents.”

Eduardo Torroja (1899–1961) Spanish architect

Philosophy of Structures (1958)

Housing

“Laughing at the clueless mouthfarts of cute twenty somethings who spent their high-school years with vocal coaches or plastic surgeons is another variation on the theme "Are we getting dumber?"”

Laura Penny (1975) Canadian journalist

Source: More Money than Brains (2010), Chapter six, More is Less, p. 184

School

“Under the warm breath of religious faith all social institutions become plastic.”

Walter Rauschenbusch (1861–1918) United States Baptist theologian

Source: Christianity and the Social Crisis (1907), Introduction, p.xii

Faith

Lawrence K. Frank (1890–1968) American cyberneticist

Source: Projective methods for the study of personality (1939), p. 402-403; As cited in: Edwin Inglee Megargee, Charles Donald Spielberger (1992) Personality assessment in America: a retrospective on the occasion of the fiftieth anniversary of the Society for Personality Assessment. p. 20-21

Life, World, Way, Feeling

“The imperative of plasticity requires that advances in productive or destructive powers be achieved through the subversion of fixed plans of social division and hierarchy and of stark contrasts between task setting and task following. All possible combinations have to be tried out, as quickly and as freely as possible. The only structure that can be allowed to subsist is one that offers the fewest obstacles to this principle of pitiless recombination.”

Roberto Mangabeira Unger (1947) Brazilian philosopher and politician

Source: Plasticity Into Power: Comparative-Historical Studies on the Institutional Conditions of Economic and Military Success (1987), p. 208

“Here's an interesting experiment: Empty your garage of every piece of metal, wood, paint, rubber, and plastic. Make sure nothing is there. Nothing. Then wait for ten years and see if a Mercedes evolves. Try it. If it doesn't appear, leave it for 20 years. If that doesn't work, try it for 100 years. Then try leaving it for 10,000 years.”

Ray Comfort (1949) New Zealand-born Christian minister and evangelist

God doesn't believe in atheists (2002)

Appearance, Waiting, Painting

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

Alexander Calder (1898–1976) American artist

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

Art, Color, Home, Nature

“A thought that has found a plastic expression must continue to expand in keeping with its own plastic idiom. A plastic idea must be expressed with plastic means just as a musical idea is expressed with musical means, or a literary idea with verbal means. Neither music nor literature are wholly translatable into other art forms; and so a plastic art cannot be created through a superimposed literary meaning. The artist who attempts to do so produces nothing more than a show-booth. He contents himself with visual story-telling. He subjects himself to a mechanistic kind of thinking which disintegrates into fragments.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 40-46
Search for the Real and Other Essays (1948)

Art, Music, Literature, Idea

“I had one little glimpse in the mirror and it was like an electric shock. Horrifying. It took me three or four days to get over it. On air, the plastic surgeon said: "Would you have anything done?" Oh no, I said. "Do you smoke?" No, never. Soon as the camera was off I took his card and had a cigarette.”

Susannah Constantine (1962) British fashion designer and journalist

Reaction to being aged to a 70-year-old by prosthetics.
God's gift to women (2007)

“I was supremely confident my flair for atmosphere and characterization would sparkle alongside the numbing mulch ground out by studio hacks. Certainly the space atop my mantel might be better festooned by a gold statuette than by the plastic dipping bird that now bobbed there ad infinitum.”

Woody Allen book Mere Anarchy

Mere Anarchy (2007)

Confidence, Bird

“You should remember that my things are still intended to be paintings, that is to say, they are plastic representations, in and by themselves, not part of a building. Furthermore, they have been made in a small room. Also, that I use subdued colours for the time being, adapting myself to the present surroundings and to the outer world; this does not mean that I should not prefer a pure colouring. Otherwise you might think that I contradict myself in my work.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian in a letter to Theo van Doesburg, 13 Feb. 1917; as cited in 'Stijl' catalogue, 1951, p. 72; 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, pp 13-14 1910's

World, Thinking, Time, Parting

“The truly modern artist is aware of abstraction in an emotion of beauty; he is conscious of the fact that the emotion of beauty is cosmic, universal. This conscious recognition has for its corollary an abstract plasticism, for man adheres only to what is universal.”

Piet Mondrian (1872–1944) Peintre Néerlandais

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

Beauty, Universe

“I found America the friendliest, most forgiving, and most generous nation I had ever visited. We South Americans tend to think of things in terms of convenience, whereas people in the United States approach things ethically. This — amateur Protestant that I am — I admired above all. It even helped me overlook skyscrapers, paper bags, television, plastics, and the unholy jungle of gadgets.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

Autobiographical Notes (1970)

People, Forgiveness, Thinking, Help

“When asked to play a 12-bar blues, Ornette Coleman fingered his plastic saxophone and played nothing…he's felt more nothing than you or I know.”

Ornette Coleman (1930–2015) American jazz musician

Richard_Fariña
About

“On a personal level, I chose not to look at the eclipse but rather sat outside during it and listened and appreciated nature, instead of participating in it like a pop festival. My decision was based partly on belief but also I have to contemplate the mass production of glasses and how they will only be used once, polluting our earth with plastics and harmful metals.”

Lorin Morgan-Richards (1975) American poet, cartoonist, and children's writer

Speaking about the solar eclipse on August 21, 2017.

Nature, Decision, Personality

“The sixteenth century transformed Middle English into modern English. Grammar was up for grabs. People made up vocabulary and syntax as they went along. Not until the eighteenth century would rules of English usage appear. Shakespearean language is a bizarre super-tongue, alien and plastic, twisting, turning, and forever escaping. It is untranslatable, since it knocks Anglo-Saxon root words against Norman and Greco-Roman importations sweetly or harshly, kicking us up and down rhetorical levels with witty abruptness. No one in real life ever spoke like Shakespeare’s characters. His language does not “make sense,” especially in the greatest plays. Anywhere from a third to a half of every Shakespearean play, I conservatively estimate, will always remain under an interpretive cloud. Unfortunately, this fact is obscured by the encrustations of footnotes in modern texts, which imply to the poor cowed student that if only he knew what the savants do, all would be as clear as day. Every time I open Hamlet, I am stunned by its hostile virtuosity, its elusiveness and impenetrability. Shakespeare uses language to darken. He suspends the traditional compass points of rhetoric, still quite firm in Marlowe, normally regarded as Shakespeare’s main influence. Shakespeare’s words have “aura.””

Camille Paglia (1947) American writer

This he got from Spenser, not Marlowe.
Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 195

Life, Hostility, People, Sense

“Are you proud o' yourself, Jeff? I could have been seriously injured last week. And you got a lot of nerve faking an eye injury and leaving me to fend for myself, especially considering you're the one who injured my eye in the first place. As far as what you said earlier about me making the whole thing up, coming out here with your cute eye patch mocking me: I wanna show you something, Jeff." (takes out a little plastic jar of some sort of liquid eye medicine)
"This, is polymoxin bisulfate. I have to apply this to my eye three times a day. The only way you obtain this is with a prescription, from a doctor. Now, I know, you know a thing or two about prescription medication, but I don't think you realize is that you have to go to a doctor to legally obtain some. Unlike you, Jeff, this is the only foreign substance I will allow in my body. So if you wanna imitate me, why don't you try living a clean lifestyle? Why don't you try living, a straightedge lifestyle? "Jeff… you've got two strikes. You know how many I have? Zero. Jeff, you know how many times I've been suspended? Zero. You know how many times I've been to a rehab facility? That's right- zero. And do you know what your chances are of beating me at Night of Champions?”

Phil Brooks (1978) American professional wrestler and mixed martial artist

(long pause)
"Zero."
Addressing Jeff Hardy before his match with the Great Khali, both to prove that his eye injury is real (in storyline) and to drive home a point about the drug-related mistakes of Jeff's past as recently as 16 months ago. July 10, 2009.
Friday Night SmackDown

Way, Thinking, Chance, Time

“I believe democracy is our greatest export. At least until China figures out a way to stamp it out of plastic for three cents a unit.”

Stephen Colbert (1964) American political satirist, writer, comedian, television host, and actor

White House Correspondents' Association Dinner (2006)

Way, Democracy

“Whereas certain people start with a recollection or an experience and paint that experience, to some of us the act of doing is the experience; so that we are not quite clear why we are engaged on a particular work. And because we are more interested in plastic matters than we are in matters of words, once can begin a painting and carry it through and stop it and do nothing about the title at all. All pictures are full of association.”

William Baziotes (1912–1963) American painter

Source: 1950s, Artists' Session at Studio 35, (1950), p. 217

People, Painting