Using Quotes - page 19
Here was irrefutable proof that he was using the Holocaust to speak of the extermination of animal life. Doomed creatures that could not speak for themselves were being given the voice of a most articulate people who had been similarly doomed. He was seeing the tragic fate of animals through the tragic fate of Jews. The Holocaust as allegory.
Yann Martel
This consideration must alter the form of our proposed inquiry; for the question being thus at least partly decided, since it is ascertained that we have rays of heat which give no light, it can only become a subject of inquiry whether some of these heat-making rays may not have a power of rendering objects visible, superadded to their now already established power of heating bodies. This being the case, it is evident that the onus probandi [burden of proof] ought to lie with those who are willing to establish such an hypothesis, for it does not appear that Nature is in the habit of using one and the same mechanism with any two of our senses. Witness the vibration of air that makes sound, the effluvia that occasion smells, the particles that produce taste, the resistance or repulsive powers that affect the touch-all these are evidently suited to their respective organs of sense.
William Herschel
I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comics are interesting as subject matter. There are certain things that are usable, forceful, and vital about commercial art. We're using those things – but we're not really advocating stupidity, international teenagerism and terrorism.
Roy Lichtenstein
The Machine Age's commitment to cause and effect was the source of many dilemmas, including the one involving free will. At the turn of the century the American philosopher E. A. Singer, Jr., showed that science had, in effect, been cheating. It was using two different relationships but calling both cause and effect. He pointed out, for example, that acorns do not cause oaks because they are not sufficient, even though they are necessary, for oaks. An acorn thrown into the ocean, or planted in the desert or an Arctic ice cap does not yield an oak. To call the relationship between an acorn and an oak ‘probabilistic' or ‘non deterministic causality,' as many scientists did, was cheating because it is not possible to have a probability other than 1.0 associated with a cause; a cause completely determines its effect. Therefore, Singer chose to call this relationship ‘producer-product' and to differentiate it from cause-effect.
Russell L. Ackoff
Artists have never worked with the model – just with the painting. What you [G. R. Swenson, the interviewer] are really saying is that an artist like Cézanne transforms what we think the painting ought to look like into something he thinks it ought to look like. He's working with paint, not nature; he's making a painting, he's forming. I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art. What I do is form, whereas the comic strip is not formed in the sense I'm using the word; the comics have shapes but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify.
Roy Lichtenstein
I think my work is different from comic strip – but I wouldn't call it transformation... What I do is form, whereas the comic strip is not formed in the sense I'm using the word; the comics have shapes, but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify. And my work is actually different form comic strips in that every mark is really in a different place. However slight the difference seems to some.
Roy Lichtenstein
![With regard to the diagonal, too, I am in complete agreement with you [with Theo van Doesburg ]. As soon as it appears together with straight [horizontal and vertical] lines, I believe it should be condemned... A while back I started a thing entirely in diamonds [diamond-shape] like this [his sketch in the letter of several diamond-forms]. I have to find out if it's possible: intellectually I'm inclined to say it is. There's something to be said for the idea, because perpendicular and flat lines can be seen everywhere in nature; by using a diagonal line I would be canceling that out. But I'm inclined to say that this cannot be combined with perpendicular and flat lines or with different kinds of slanting lines. (Piet Mondrian)](https://cdn.quotesdtb.com/img/quotes_images_webp/86/piet-mondrian-agreement-believe-453286.webp)
It is said we go about the world waging war to promote peace, and yet the price paid is rarely weighed against the failed efforts to make the world a better place. Justifying conscription to promote the cause of liberty is one of the most bizarre notions ever conceived by man! Forced servitude, with the risk of death and serious injury as a price to live free, makes no sense. What right does anyone have to sacrifice the lives of others for some cause of questionable value? Even if well motivated it can't justify using force on uninterested persons. It's said that the 18 year old owes it to his country. Hogwash! It just as easily could be argued that a 50 year-old chickenhawk, who promotes war and places the danger on innocent young people, owes a heck of a lot more to the country than the 18 year-old being denied his liberty for a cause that has no justification.
Ron Paul
I'm able to paint so nice and thick with those big splodges that stay upright because I mix my own paint. I use the formula that the seventeenth-century painters used and I've added one or two things myself. A very important element is stand oil. I once got hold of a whole barrel full and I'm still using it. There are pots of it in all my studios, in New York, in Connecticut, in Monaco, and in Tuscany. [the oil had been found when an old paint shop closed down, in a] stock that had been there since the seventeenth century... I mix my oil paint with it, and I throw in a lot of eggs and some concentrated turpentine. It's as thick as homemade mayonnaise. When it dries it is as tough and hard as rubber.
Karel Appel
At present, I am particularly excited by 'bad taste'. I have the deep feeling that there exists in the very essence of bad taste a power capable of creating those things situated far beyond what is traditionally termed 'The Work of Art'. I wish to play with human feeling, with its 'morbidity' in a cold and ferocious manner. Only very recently I have become a sort of gravedigger of art (oddly enough, I am using the very terms of my enemies). Some of my latest works have been coffins and tombs. During the same time I succeeded in painting with fire, using particularly powerful and searing gas flames, some of them measuring three to four meters high. I use these to bathe the surface of the painting in such a way that it registered the spontaneous trace of fire.
Yves Klein
Two artists can suggest two different subject matters and two completely different pictures by using the same spot. Every picture demonstrates certain aspects from the inner life of the painter who made it. For this reason, the orthodox Tachist is wary of letting himself be influenced by Leonardo's famous wall... I grant the painter the right to speak, to laugh, to take a stand and to draw upon all his hallucinatory faculties. But I absolutely refuse to live like a Tachist.
Max Ernst
It all began with my painting a picture of an American flag. Using this design took care of a great deal for me because I didn't have to design it. So I want on to similar things like the targets things the mind already knows. That gave me room to work on other levels. For instance, I've always thought of a painting as a surface; painting it in one color made this very clear... A picture ought to be looked at the same way you look at a radiator.
Jasper Johns
(On 1941.7.2 Dimitrov handed Molotov a proposal, suggesting a help fund of 2 millions US Dollars be given to Chinese Communist Party. After discussion, the Soviet Communist Party had approved the sum of One million US Dollars.) Dimitrov then wrote to Molotov:"It is very important to let Chinese comrades to have at least half of the sum as soon as possible, we believe it is necessary to deliver the fund using illegal methods by planes through Mongolia.
Georgi Dimitrov
This is the visual world, using the most advanced advertising techniques that are familiar to the crowds in their daily life.... What kind of representational art do you want to inflict on these men then, when they're solicited everyday by the cinema, radio, huge photo montages and advertising hoardings? How can you compete with these enormous modern mechanisms, which give you art to the 1000th degree?
Fernand Léger
An example: if I compose a picture using as objects a scrap of bark, a scrap of butterfly wing and a purely imaginary form, you probably won't recognise the bark, or the butterfly wing, and you'll say: 'What does this stand for? It is an abstract picture. No it's a representational picture'.. .There is no such thing as 'abstract', or 'concrete' either. There is a good picture and a bad picture. There is the picture that moves you and the picture that leaves you cold.. .A picture has a value in itself, like a musical score, like a poem.
Fernand Léger
... Marx and Bakunin were engaged in a conflict in which it is hard to distinguish political from personal animosities. Marx did his best to persuade everybody that Bakunin was only using the International for his private ends, and in March 1870 he circulated a confidential letter to this effect. He also saw the hand of Bakunin (whom he never met after 1864) on every occasion when his own policies were opposed in the International. Bakunin, for his part, not only combated Marx's political programme but, as he often wrote, regarded Marx as a disloyal, revengeful man, obsessed with power and determined to impose his own despotic authority on the whole revolutionary movement. Marx, he said, had all the merits and defects of the Jewish character; he was highly intelligent and deeply read, but an inveterate doctrinaire and fantastically vain, an intriguer and morbidly envious of all who, like Lassalle, had cut a more important figure than himself in public life. (pp. 247-8)
Leszek Kołakowski
And in this sense [of using 'poor' material / arte povare] I've been influenced by or related to some Dadaist forerunner, Duchamp, Schwitters... But there are other aspects of the 'ascetic' function, of the 'sacralisation' of the world around us which I've referred to.... the 'supreme identity' of Samsara with Nirvana. The use of new materials, collage and assemblage, became quite widespread among some new artists of that time.
Antoni Tàpies
