Question Quotes - page 89
"What is the Unpardonable Sin?" asked the lime-burner; and then he shrank farther from his companion, trembling lest his question should be answered. "It is a sin that grew within my own breast," replied Ethan Brand, standing erect with a pride that distinguishes all enthusiasts of his stamp. "A sin that grew nowhere else! The sin of an intellect that triumphed over the sense of brotherhood with man and reverence for God, and sacrificed everything to its own mighty claims!
Nathaniel Hawthorne
As for 'taste' as a criterion of painting I find that it is most frequently applied to work that is essentially insensitive, brutal or vulgar beyond question. Could it now be a term with political undertones to seduce, or cover profounder motives of exploitation? I propose it be kept to the wine cellar. There it deceives no one but him who over-indulges.
Clyfford Still
[On the question: 'What was your main stylistic influence up to this time']: The Renaissance chiefly - Piero, Mantegna, Uccello - but I was attracted also by the modern idioms - Léger, Picasso - and was close to the abstract painters on the project such as Stuart Davis, Burgoyne Diller, Arshile Gorky, Balcomb Greene, etc. At the time I did the Queens project, there was already a marked change in my work - it was becoming more concerned with cubist concepts of treating space.
Phillip Guston
I have two thoughts [on the question of interviewer Joseph S. Trovato: 'Were the projects a good thing for American art?']. That practically all of the best painters of my generation developed on the projects such as Pollock, de Kooning, Brooks, Hague (sculptor), B. Greene, and Baziotes. I could go on and on. My second thought is that the reason it was good is that it had a broad base due to the economic situation we were in - the depression - and all kinds of art and styles, plus all degrees of talent were employed. Everybody was given an opportunity to prove himself. The many painters I mentioned above who have come such a long way is proof of this.
Phillip Guston
To answer your first question - most significantly the [ Federal Art Project ] project was my training ground in the real sense of the word. I feel very strongly about this. We were all poor, or most of us, and to have the time and opportunity to continue working - I was then in my twenties which is the important period - the crucial period for the young painter. This was most important and figures significantly in my own development. Although I feel that my personal image as a painter did not come about until I began my easel painting with personal imagery which was about 1941. The project kept me alive and working - it was my education.
Phillip Guston
For philosophy, the whisper of the serpent is no longer a resistible temptation. It is instead a constitutive principle, or foundation. If there is a difference between a Socratic daemon and a diabolical demon, it is not one that matters philosophically. There can be no refusal of any accessible information. This is an assumption so basic that philosophy cannot exist until it has passed beyond question. Ultimate religious transgression is the initiation.
Nick Land
In the early 20th century, cosmological physics was returned to the edge of time, and the question: what ‘came before' the Big Bang? For cosmology no less than for transcendental philosophy - or even speculative theology - this ‘before' could not be precedence (in time), but only (non-spatial) outsideness, beyond singularity. It indicated a timeless non-place cryptically adjacent to time, and even inherent to it. The carefully demystified time of natural science, calculable, measurable, and continuous, now pointed beyond itself, re-activated at the edges.
Nick Land
We are in no position to withstand a prolonged static war. Wherever the allies concentrate their forces they will break through. For us there can be no question of military victory or of winning the war. Our only hope is to hold on long enough to allow some development on the political front to save Germany from complete collapse.
Gerd von Rundstedt
History teaches us that everything is in flux. Our fight to redress the material crimes of 1948 is scarcely begun, and adversity has taught us patience. As for the Israeli state and its Spartan culture of permanent war, it is all too vulnerable to time, fatigue and demographics: In the end, it is always a question of our children and those who come after us.
Mahmoud al-Zahar
I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it. Dada Johann Fuchsgang Goethe. Dada Stendhal. Dada Dalai Lama, Buddha, Bible, and Nietzsche. Dada m'dada. Dada mhm dada da. It's a question of connections, and of loosening them up a bit to start with. I don't want words that other people have invented..
Hugo Ball
Some people misconstrue our band just to be just a commercial venture, they question the soulfulness of Coldplay because we've done okay. Maybe it's because I'm English, but in terms of how people perceive us I only pick up on the negative side of it. I always feel like the big bad outside world just fucking hates us.
Chris Martin
