Means Quotes - page 94
Dada; knowledge of all the means rejected up until now... Dada; abolition of logic, which is the dance of those impotent to create: Dada; of every social hierarchy and equation set up for the sake of values by our valets: Dada; every object, all objects, sentiments, obscurities, apparitions and the precise clash of parallel lines are weapons for the fight: Dada; abolition of memory: Dada; abolition of archaeology: Dada; abolition of prophets: Dada; abolition of the future: Dada; absolute and unquestionable faith in every god that is the immediate product of spontaneity:* Dada; elegant and unprejudiced leap from a harmony to the other sphere... Freedom: Dada Dada Dada, a roaring of tense colors, and interlacing of opposites and of all contradictions, grotesques, inconsistencies: LIFE.
Tristan Tzara
Contact with like-minded painters, a group means a great deal to me: nothing comes in isolation. We have worked out our ideas largely by talking them through... One depends on one's surroundings. And so the exchange with other artists – and especially the collaboration with Lueg and Polke – matters a lot to me.
Gerhard Richter
It was no accident that I found my way to Götz at the time [c. 1960-62]. This 'Informal' element runs through every picture I've painted, whether it's a landscape, or a family painted from a photograph, or the Colour Charts or a Grey picture. And so now it is a pursuit of the same objectives by other means.. .As I now see it, all my paintings are 'Informal'.. ..except for the landscapes, perhaps.. .The 'Informal' is the opposite of the constructional quality of classicism – the age of kings, of clearly formed hierarchies.
Gerhard Richter
I was surprised by photography, which we all use so massively every day. Suddenly, I saw it in a new way, as a picture that offered me a new view, free of all the conventional criteria I had always associated with art. It had no style, no composition, no judgment. It freed me from personal experience. For the first time, there was nothing to it: it was pure picture. That's why I wanted to have it, to show it - not use it as a means to painting, but use painting as a means to photography.
Gerhard Richter
Art's means of representing a thing – style, technique and the object represented – are circumstances of art, just as the artist's individual qualities (way of life, abilities, environment and so on) are circumstances of art. Art can just as well be made in harmony with the circumstances of its making as in defiance of them. In itself art is neither visible nor definable: all that is visible and imitable is its circumstances, which are easily mistaken for the art itself.
Gerhard Richter
There is no excuse whatever for uncritically accepting what one takes over from others. For no thing is good or bad in itself, only as it relates to specific circumstances and to our own intentions. This fact means that there is nothing guaranteed or absolute about conventions; it gives us the daily responsibility of distinguishing good from bad.
Gerhard Richter
I don't feel any direct relationship between what I do and existing art. Though there is unavoidable progression: the things all paintings have in common are paint, and color, and some means of application. With the standard you can make any two pictures appear either alike of different. I don't think whether they're alike or different is really very interesting.
Robert Rauschenberg
The refraction of light agrees with the grand principle that Nature always uses the simplest means to accomplish its effects. From this principle, can be derived whenever light passes from one medium to another, the ratio of the sine of the angle of refraction to the sine of the angle of refraction equals the inverse ratio of the speeds at which light moves in each medium.
But this "budget", this expense of action that Nature minimizes in the refraction of light, is it also minimized in the direct propagation and reflection of light? Yes, it always has the smallest possible value.
Pierre Louis Maupertuis
People are fulfilled only to the extent that they create their world (which is a human world), and create it with their transforming labor. The fulfillment of humankind as human beings lies, then, in the fulfillment of the world. If for a person to be in the world of work is to be totally dependent, insecure, and permanently threatened--if their work does not belong to them--the person cannot be fulfilled. Work that is not free ceases to be a fulfilling pursuit and becomes an effective means of dehumanization.
Paulo Freire
I intrepret the revolutionary process as dialogical cultural action which is prolonged in 'cultural revolution' once power is taken. In both stages a serious and profound effort at conscientização--by means of which the people, through a true praxis, leave behind the status of objects to assume the status of historical Subjects--is necessary.
Paulo Freire
For if the people join to their presence in the historical process critical thinking about that process, the threat of their emergence materializes in a revolution. Whether one calls this correct thinking 'revolutionary consciousness' or 'class consciousness,' it is an indispensable precondition of revolution. The dominant elites are so well aware of this fact that they instinctively use all means, including physical violence, to keep people from thinking.
Paulo Freire
![I mean, the official definition of Surrealism is to make a work automatically without a priori aesthetic or moral conditions, which is exactly what we do [artist in New York School / Abstract Expressionism]. At the same time Surrealism was an assault, - with a few exceptions: Giacometti, Arp and Miro - on the 'purity' of painting. I mean mean, on making painting - means themselves speak, without reliance on literature; and that second insistence of Surrealism, Americans really rejected. So that historically.... Abstract Expressionism is in part, I think, a fusion of certain Surrealist means, above all plastic 'automatism' with the Cubist's insistence that the picture speaks as a picture in strictly pictorial language. (Robert Motherwell)](https://cdn.quotesdtb.com/img/quotes_images_webp/53/robert-motherwell-above-abstract-455153.webp)
Well, Mondrian is absolute, and is pure, and those are real aspirations of our [American Abstract Expressionism art]. When I say 'pure', I don't mean 'clean'. I don't think Mondrian himself did; I knew him when he was here [New York] during the war. He went to an exhibition by the Surrealist, Tanguy, and was asked what he thought, and he said he would like Tanguy's pictures better if they were dirtier, that for him they were to clean.... I think he meant that when they were to 'clean', they were essentially lifeless, statuesque, unrevised. As for me, I must say, Mondrian's painting is intensely rhythmic, warm, passionate - restricted as the means ostensibly seem to me.
Robert Motherwell
The truth is this The march of Providence is so slow and our desires so impatient the work of progress is so immense and our means of aiding it so feeble the life of humanity is so long, that of the individual so brief, that we often see only the ebb of the advancing wave and are thus discouraged. It is history that teaches us to hope.
Robert E. Lee
