Better be careful, Jason warned himself. Why should I be careful? A nagging thought just below the surface of his mind gave him an uneasy feeling again, the feeling that something was wrong, that things were not what they seemed. Was that his imagination or just being in this small office, no air-conditioning, not even an electric fan? For some reason, the blank walls bothered him. No pictures. And no windows. I want to get out of here. He realized that he could get out of there. He could simply get up and leave. He didn't have to even speak to anybody. Hadn't they said this was voluntary? He was a volunteer. Well, he didn't feel like being a volunteer anymore. He wanted to go home.
Robert CormierRelated topics
anybody electric home leave mind nagging office reason say should small something speak surface thought well wrong things air-conditioning jasonRelated quotes
I still, when I judge my own pictures (either while I'm working or after I think it's finished) determine if they work in a certain kind of space through shape or color. I think all totally abstract pictures – the best ones that really come off – Newman, Pollock, Noland – have tremendous space; perspective space despite the emphasis on flat surface. For example, in Noland a band of yellow in relation to a band of blue and one of orange can move in depth although they are married to the surface. This has become a familiar explanation, but few people really see and feel it that way.... in my work, because of color and shape a lot is read in the landscape sense..
Helen Frankenthaler
You ever see tape of the Kehoe brothers from Ohio, those two guys that get out of that white Suburban, it's been on Cops a few times? Those guys, folks, have a shootout with the police, at point... blank... range-nobody gets hurt. I would love to have been at that office the next day when that guy's being interviewed by the police. "And then what happened?" "Well, at that point, I unloaded my semi-automatic 9 millimeter weapon at point blank range." "And then what happened?" "They... left." Nice shooting, Elmer Fudd. There was a kid in Detroit a few years ago, shot 8 bullets, hit 9 people. These cops fired 22 shots, didn't even hit the fuckin' Suburban!
Ron White
The Oriental heritage, due to the long sojourn of the Moors in Spain, had a profound influence on the taste of the people. From these Oriental invaders the Spaniards derived the great surfaces of blank wall with occasional spots of luxuriant ornament that characterize nearly all their work. From them also comes the love of bright color shown in the use of polychrome tiles and rich fabrics and in the painting and gilding of sculpture and ornamental motives. While the large constructive forms, particularly vaults and domes, are frankly and simply expressed, the ornament as in the work of the Orient, is rather an incrustation, a mere surface decoration, than a pretense at logical construction.
Clarence Stein
"You kids think you invented sex," my mother was fond of saying. But hadn't we? With no instruction manual or federally enforced training period, didn't we all come away feeling we'd discovered something unspeakably modern? What produced in others a feeling of exhilaration left Jason and me with a mortifying sense of guilt. We fled the room as if, in our fumblings, we had uncapped some virus we still might escape if we ran fast enough. Had one of the counselors not caught me scaling the fence, I felt certain I could have made it back to Raleigh by morning, skittering across the surface of the ocean like one of those lizards often featured on television wildlife programs.
David Sedaris
But there was something else that the Abstract Expressionists taught us: they began to use something besides the conventional means of art; to want other kinds of paint, or kinds of canvas, or ways of making pictures that weren't the usual ways. Some of the next generation, the Pop Art artists [like Roy Lichtenstein and Andy Warhol, picked up this attitude and began to put actual things into art. We [=w:Morris Louis and Noland] were making abstract art, but we wanted to simplify the selection of materials, and to use them in a very economical way. To get to raw canvas, to use the canvas un-stretched – to use it in more basic or fundamental ways, to use it as fabric rather than as a stretched surface.
Kenneth Noland
