Quotes about work
page 92

Calvin Coolidge photo
Peter F. Drucker photo

“As with every phenomenon of the objective universe, the first step toward understanding work is to analyze it.”

Peter F. Drucker (1909–2005) American business consultant

Source: 1960s - 1980s, MANAGEMENT: Tasks, Responsibilities, Practices (1973), Part 1, p. 182

Trinny Woodall photo

“If you ask any of the women we've worked with, some of them would say it's a very tough journey, but I don't think any of them would say we'd been patronising.”

Trinny Woodall (1964) English fashion advisor and designer, television presenter and author

As quoted in "God's gift to women" by Barbara Ellen in The Guardian http://lifeandhealth.guardian.co.uk/fashion/story/0,,2168350,00.html (16 September 2007)

Richard Francis Burton photo
Fred Brooks photo
Howard Zahniser photo

“A wilderness, in contrast with those areas where man and his own works dominate the landscape, is hereby recognized as an area where the earth and its community of life are untrammeled by man, where man himself is a member of the natural community, a wanderer who visits but does not remain and whose travels leave only trails.”

Howard Zahniser (1906–1964) American environmentalist

From an early draft of the Wilderness Act (S. 1176, submitted to the Senate 11 February 1957, as reprinted in The Living Wilderness volume 21, number 59, Winter-Spring 1956-57, p. 26-36)

Edgar Froese photo
Arthur Young photo

“every one but an ideot knows that the lower classes must be kept poor, or they will never be industrious:: I do not mean that the poor in England are to be kept like the poor of France; but the state of the country considered, they must be (like all mankind) in poverty, or they will not work.”

Arthur Young (1741–1820) English writer

Arthur Young (1771), The Farmer's Tour through the East of England, v. 4, p. 361 https://archive.org/stream/farmerstourthrou04youn#page/360/mode/2up.

Albert Marquet photo

“I do not know how to write or speak but only to paint and draw. Look at what I have done. Whether I have succeeded in explaining myself or not, in any case, if you do not understand my work, through your fault or mine, I can do no more.”

Albert Marquet (1875–1947) French artist

Marcelle Marquet, Marquet Fernand Hazan Editions, Paris 1955, p. 6; as quoted in 'Appendix – Marquet Speaks on his Art', in "Albert Marquet and the Fauve movement, 1898-1908", Norris Judd, published 1976, - translation Norris Judd - Thesis (A.B.)--Sweet Briar College, p. 116

Antonio Negri photo
Larry Wall photo

“The court finds everyone to be in contempt (including himself :-), and orders everyone sentenced to five years hard labor.”

Larry Wall (1954) American computer programmer and author, creator of Perl

Working on Perl, of course. [199807211548.IAA26184@wall.org, 1998]
Usenet postings, 1998

John Stossel photo
Vladimir Lenin photo
Julia Ward Howe photo
Barbara Kingsolver photo
George Washington Plunkitt photo
Newt Gingrich photo
George W. Bush photo
Shashi Tharoor photo
Jerry Goldsmith photo
Haruo Nakajima photo
Edgar Bronfman, Sr. photo

“There is nothing that makes the mind more elastic and expandable than discovering how the world works. Developing and rewarding curiosity will be where innovation finds its future.”

Edgar Bronfman, Sr. (1929–2013) Canadian-American businessman

From an editorial on Inside Higher Ed. http://www.insidehighered.com/views/2013/10/17/liberal-arts-are-best-preparation-even-business-career-essay.

Doug McIlroy photo
Gopal Krishna Gokhale photo
Berthe Morisot photo
Peter F. Drucker photo
Phil Brown (footballer) photo

“If you score first, you have a 75 per cent chance of not losing the game. It doesn't take a brain surgeon to work out that you have to get off to a good start and score.”

Phil Brown (footballer) (1959) English association football player and manager

06-Mar-2007, Hull City OWS
It's maths, not rocket science.

Julian of Norwich photo
Margaret Sanger photo
Henry M. Leland photo
Carroll Baker photo
Alberto Giacometti photo

“That's the terrible thing: the more one works on a picture, the more impossible it becomes to finish it.”

Alberto Giacometti (1901–1966) Swiss sculptor and painter (1901-1966)

Alberto Giacometti in: James Lord (1965), Giacometti Portrait, p. 11-12; as cited in: James Olney (1998), Memory and Narrative: The Weave of Life-Writing. p. 331

Dmitri Bulykin photo

“Everything is tres-chique in my life now. I've adapted, set up the house, moved the family in. Sometimes my wife visits me. The only thing left is to start playing football… but this hasn't worked out so far”

Dmitri Bulykin (1979) Russian association football player

Дмитрий Булыкин: «Хочу остаться в «Андерлехте» и доказать, что я – хороший футболист» http://www.sports.ru/football/6390016.html

“The biggest fool in the world is he who merely does his work supremely well, without attending to appearance.”

Michael Korda (1933) British writer

As quoted in Quote Unquote (A Handbook of Quotations) (2005) by M. P. Singh, p. 141

Gerald James Whitrow photo
Samuel Gompers photo
Spencer Tunick photo

“My work's an attempt to challenge notions about nudity in a public space and how the body is represented in our culture.”

Spencer Tunick (1967) American photographer

Over 1,700 men and women strip naked in square in Germany.. and not a sun lounger in sight, 2012

Paul Graham photo
Ernesto Che Guevara photo
Bran Ferren photo

“Technology is stuff that doesn’t work yet.”

Bran Ferren (1953) American technologist

Quoted by Douglas Adams, in How to Stop Worrying and Learn to Love the Internet, September 8, 2013 http://www.douglasadams.com/dna/19990901-00-a.html,

Paul Newman photo

“I cannot bear to look at a film that I made before 1990. Maybe 1985. There's no sense even trying to explain it. I really just can't watch myself. I see all the machinery at work and it just drives me nuts, so I don't look at anything.”

Paul Newman (1925–2008) American actor and film director

Quoted in John Hiscock, "Still the blue-eyed boy," http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2002/07/13/bfnewm13.xml The Telegraph (2002-07-13)

Pliny the Elder photo
Blake Schwarzenbach photo

“The muse lends me a lyre of myriad tunes,
her brush of myriad tints—I want to play
a wizard working wonders, magic tricks
with all the sounds and colors of the earth.”

Thế Lữ (1907–1989)

Source: An Anthology of Vietnamese Poems, trans. Huỳnh Sanh Thông (Yale University Press, 1996), ISBN 978-0300064100

Miho Mosulishvili photo
Shahrukh Khan photo

“I don’t sit down with the scripts. As long as I like the people I’m working with that’s enough for me.”

Shahrukh Khan (1965) Indian actor, producer and television personality

From interview with David Light

Julian of Norwich photo
Letitia Elizabeth Landon photo
Leo Tolstoy photo
Georg Cantor photo
Warren Farrell photo

“One grand fallacy of the women's movement: Expecting work to mean "power" and "self-fulfillment."”

Source: The Myth of Male Power (1993), Part II: The Glass Cellars of the disposable sex, p. 232.

Tivadar Csontváry Kosztka photo
Fred Brooks photo
Alfred Horsley Hinton photo

“Hence SELECTION in photography, or at least in landscape and some other branches of work, often takes the place of what in painting becomes voluntary COMPOSITION.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Methods - The practical application of means to end, p. 28

John Cage photo
Max Pechstein photo

“It was and still is fundamental: to begin the work with the same tools with which it will be ended, without making a preliminary drawing. on the wood, stone, or metal. Sketches and drawings done in advance clarify the intention, and with it ready in the head, the requisite tool realizes the idea.”

Max Pechstein (1881–1955) German artist

Buchheim, Künstlergemeinschaft Brücke, p. 304; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 54

Lil Wayne photo

“Out on bail work on the scale, put some change on your head, boy you on sale”

Lil Wayne (1982) American rapper, singer, record executive and businessman

Tunechi's back
Official Mix tapes, Sorry 4 the Wait (2011)

Hilary Duff photo
Mark Rothko photo
Recep Tayyip Erdoğan photo
John Lancaster Spalding photo
Fred Astaire photo

“I have had to do most of my choreography. I would say most of it, with help from various choreographers I have worked with.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Fred Astaire in "Reminiscences of Fred Astaire", Interview with Ronald L. Davis, Beverly Hills, July 31, 1978, SMU Oral History Project on the Performing Arts. (M).

Stanley Baldwin photo
Georges Braque photo

“Whatever is in common is true; but likeness is false. Trouillebert's work bears a likeness to that of Corot, but they have nothing in common.”

Georges Braque (1882–1963) French painter and sculptor

Braque admired Corot and frequently used Corot's young country-ladies as models, for instance in his painting 'Souvenirs de Corot' he made in 1922/23
Source: 1921 - 1945, p. 96 - quote of Braque from 'Cahiers d'art', No. 10, 1935, ed. Christian Zervos - quote of Braque is referring to Corot's impact on his painting art

Thomas Robert Malthus photo
Alexandra Kollontai photo
Ben Croshaw photo
Shirley Chisholm photo
Vitruvius photo
Hillary Clinton photo

“You have to stand up to bullies. You have to keep working to make things better, even when the odds are long and the opposition is fierce.”

Hillary Clinton (1947) American politician, senator, Secretary of State, First Lady

Presidential campaign (April 12, 2015 – 2016), (July 28, 2016)

Andrey Voznesensky photo
River Phoenix photo

“Factory workers are not working for capitalism, they are working for a living wage.”

Bernard Crick (1929–2008) British political theorist and democratic socialist

A Footnote To Rally Fellow Socialists, p. 240.
In Defence Of Politics (Second Edition) – 1981

John Lancaster Spalding photo

“Let not what thou canst not prevent, though it be the ruin of thy home or country, draw thee from thy proper work.”

John Lancaster Spalding (1840–1916) Catholic bishop

Source: Aphorisms and Reflections (1901), p. 98

Tjalling Koopmans photo
Fritz von Uhde photo

“Before commencing this work I had begun to realize how children follow the Spirit.”

Fritz von Uhde (1848–1911) German artist

In reference to his perceptions on the work Suffer Little Children to Come Unto Me. As quoted by Gustav Stickley (1911). The Craftsman http://digicoll.library.wisc.edu/cgi-bin/DLDecArts/DLDecArts-idx?type=article&did=DLDecArts.hdv20n06.i0027&id=DLDecArts.hdv20n06&isize=text, Volume 20. United Crafts, p. 631

Amartya Sen photo
William Shatner photo
Barry Boehm photo
Hema Malini photo

“I was cast opposite multiple heroes and as luck would have it, the chemistry worked with most.”

Hema Malini (1948) Indian actress, dancer and politician

In page=1977
MOTHER MAIDEN MISTRESS

Francis Crick photo
Bell Hooks photo

“The understanding I had by age thirteen of patriarchal politics created in me expectations of the feminist movement that were quite different from those of young, middle class, white women. When I entered my first women's studies class at Stanford University in the early 1970s, white women were revelling in the joy of being together-to them it was an important, momentous occasion. I had not known a life where women had not been together, where women had not helped, protected, and loved one another deeply. I had not known white women who were ignorant of the impact of race and class on their social status and consciousness (Southern white women often have a more realistic perspective on racism and classism than white women in other areas of the United States.) I did not feel sympathetic to white peers who maintained that I could not expect them to have knowledge of or understand the life experiences of black women. Despite my background (living in racially segregated communities) I knew about the lives of white women, and certainly no white women lived in our neighborhood, attended our schools, or worked in our homes When I participated in feminist groups, I found that white women adopted a condescending attitude towards me and other non-white participants. The condescension they directed at black women was one of the means they employed to remind us that the women's movement was "theirs"-that we were able to participate because they allowed it, even encouraged it; after all, we were needed to legitimate the process. They did not see us as equals. And though they expected us to provide first hand accounts of black experience, they felt it was their role to decide if these experiences were authentic. Frequently, college-educated black women (even those from poor and working class backgrounds) were dismissed as mere imitators. Our presence in movement activities did not count, as white women were convinced that "real" blackness meant speaking the patois of poor black people, being uneducated, streetwise, and a variety of other stereotypes. If we dared to criticize the movement or to assume responsibility for reshaping feminist ideas and introducing new ideas, our voices were tuned out, dismissed, silenced. We could be heard only if our statements echoed the sentiments of the dominant discourse.”

Bell Hooks (1952) American author, feminist, and social activist

Source: (1984), Chapter 1: Black Women: Shaping Feminist Theory, pp. 11-12.

Kage Baker photo
Hermann Weyl photo
Mickey Spillane photo
John Osborne photo
George Raymond Richard Martin photo

“Back at the Philadelphia Worldcon (which seems a million years ago), I announced the famous five-year gap: I was going to skip five years forward in the story, to allow some of the younger characters to grow older and the dragons to grow larger, and for various other reasons. I started out writing on that basis in 2001, and it worked very well for some of my myriad characters but not at all for others, because you can't just have nothing happen for five years. If things do happen you have to write flashbacks, a lot of internal retrospection, and that's not a good way to present it. I struggled with that essentially wrong direction for about a year before finally throwing it out, realizing there had to be another interim book. That became A Feast for Crows, where the action is pretty much continuous from the preceding book. Even so, that only accounts for one year. Why the four after that? I don't know, except that this was a very tough book to write -- and it remains so, because I've only finished half. Going in, I thought I could do something about the length of the second book in the series, A Clash of Kings, roughly 1,200 pages in manuscript. But I passed that and there was a lot more to write. Then I passed the length of the third book, A Storm of Swords, which was something like 1,500 pages in manuscript and gave my publishers all around the world lots of production problems. I didn't really want to make any cuts because I had this huge story to tell. We started thinking about dividing it in two and doing it as A Feast for Crows, Parts One and Two, but the more I thought about that the more I really did not like it. Part One would have had no resolution whatsoever for 18 viewpoint characters and their 18 stories. Of course this is all part of a huge megaseries so there is not a complete resolution yet in any of the volumes, but I try to give a certain sense of completion at the end of each volume -- that a movement of the symphony has wrapped up, so to speak.”

George Raymond Richard Martin (1948) American writer, screenwriter and television producer

Interview with Locus magazine (November 2005)