Surface Quotes - page 10
I want to take as the canvas for my next picture the entire surface of France. This picture will be called 'The Blue Revolution'. It isn't the fact of my taking power in France that interests me, but rather the possibility of creating a monochrome picture in my new manner: ‘The Refinement of Sensibility'.
Yves Klein
I made the flames lick the surface of the painting in such a way that is recorded the spontaneous traces of the fire. But what is it that provokes in me this pursuit of the impression of fire? Why must I search for its traces? Because every work of creation, quite apart from its cosmic position, is the representation of pure phenomenology – every phenomenon manifests itself of its own accord. This manifestation is always distinct from form, and is the essence of the immediate, the trace of the immediate.
Yves Klein
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
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
The growth and maintenance of new synaptic terminals makes memory persist. ...The ability to grow new synaptic connections as a result of experience appears to have been conserved throughout evolution. As an example... the cortical maps of the body surface are subject to constant modification in response to changing input from sensory pathways.
Eric Kandel
In Vienna, Modernism had three main characteristics. The first was the new view of the human mind as being largely irrational by nature. ...they questioned what constitutes reality, what lies below the surface appearances of people, objects, and events. ...They discovered that ...people harbor not only unconscious erotic feelings, but also unconscious aggressive impulses that are directed against themselves as well as against others. Freud later called these dark impulses the death instinct.
Eric Kandel
The structure of cities, the architecture of houses, squares, gardens, public walks, gateways, railway stations, etc – all these provide us with the basic principles of a great Metaphysical aesthetic.. .We, who live under the sign of the Metaphysical alphabet, we know the joy and sorrows to be found in a gateway, a street corner, a room, on the surface of a table, between the sides of a box...
Giorgio de Chirico
As I take man's last step from the surface, back home for some time to come - but we believe not too long into the future - I'd like to just (say) what I believe history will record. That America's challenge of today has forged man's destiny of tomorrow. And, as we leave the Moon at Taurus- Littrow, we leave as we came and, God willing, as we shall return, with peace and hope for all mankind. Godspeed the crew of Apollo 17.
Eugene Cernan
Interviewer: Love is certainly at the center of tolerance. They're intertwined, in a certain way. It helps you appreciate difference.
Hockney: Yes. And that's probably why I do portraits. Everybody's different; they look different, and are different. Maybe deep, deep down we're all the same. But on the surface we seem to be different, don't we?
David Hockney
Remember the rights of the savage, as we call him. Remember that the happiness of his humble home, remember that the sanctity of life in the hill villages of Afghanistan among the winter snows, are as sacred in the eye of Almighty God as are your own. Remember that He who has united you together as human beings in the same flesh and blood, has bound you by the law of mutual love, that that mutual love is not limited by the shores of this island, is not limited by the boundaries of Christian civilisation, that it passes over the whole surface of the earth, and embraces the meanest along with the greatest in its wide scope.
William Ewart Gladstone
That reform of the land laws, that abolition of the present system of entail, together with just facilities for the transfer of land, is absolutely necessary in order to do anything like common justice to those who inhabit the rural parts of this country, and whom, instead of seeing them, as we now see them, dwindle from one census to another, I, for my part, and I believe you, along with me, would heartily desire to see maintained, not in their present number only, but in increasing numbers over the whole surface of the land.
William Ewart Gladstone
It is true that we were cautious in our planning. There were many uncertainties about how well our Lunar module systems and our Pressure suit and backpack would match the engineering predictions in the hostile lunar environment. We were operating in a near perfect vacuum with the temperature well above 200 degrees Fahrenheit with the local gravity only one sixth that of Earth. That combination cannot be duplicated here on Earth, but we tried as best we could to test our equipment for those conditions. For example, because normal air conditioning is inadequate for lunar conditions, we were required to use cold water to cool the interior of our suits. We did not have any data to tell us how long the small water tank in our backpacks would suffice. NASA officials limited our surface working time to 2 and 3/4 hours on that first surface exploration to assure that we would not expire of hyperthermia.
Neil Armstrong
Perhaps the Doors, Curtains, Surface Pictures, Panes of Glass [like in his work '4 Panes of Glass', 1967], etc. are metaphors of despair, prompted by the dilemma that our sense of sight causes us to apprehend things, but at the same time restricts and partly precludes our apprehension of reality.
Gerhard Richter
We [Richter and w:Blinky Palermo ] could really just speak about painting. The main thing was about the surface of color or the proportion of color. It was impossible for me to talk to Sigmar Polke about the opacity of color. With Palermo, yes. We supported each other, we comforted each other a little bit. We thought this really could not be true that everything was supposed to be over ['painting' as an expression of art, in the 1970's). Art had to be relevant [in the 1970's], and our art was not relevant.
Gerhard Richter
The first law is the same for both light and material bodies; they both move in a straight line, as long as they are not deflected by an outside force.
The second law is also the same as that governing the reflection of an elastic ball from an impenetrable surface. Mechanics shows that such a ball is reflected from such a surface so that its angle of reflection equals its angle of incidence, as observed for light.
But the third law still requires a plausible explanation. The passage of light from one medium to another exhibits behavior that is totally different from a ball moving through different media.
Pierre Louis Maupertuis
My aim is always to get hold of the magic of reality and to transfer this reality in painting – to make the invisible visible through reality... What helps me most in this task is the penetration of space. Height, width and depth are the three phenomena which I must transfer into one plane to form the abstract surface of the picture, and thus to protect myself from the infinity of space. My figures come and go, suggested by fortune or misfortune. I try to fix them divested of their apparent accidental quality.
Max Beckmann
I think he Pollock responded to rhythm more than anything else in art. Indeed, perhaps it is not to much to assert that his greatest works are marked by the intensity and violence of his rhythm, modified by an incorruptible respect for the work's flat surface, an art masculine and lyrical and, as in a Celtic dance, measured, despite its original primitive impulse. That he also meant to me, his rhythm...
Robert Motherwell
