Familiar Quotes - page 9
Depression is seductive: it offends and teases, frightens you and draws you in, tempting you with its promise of sweet oblivion, then overwhelming you with a nearly sexual power, squirming past your defenses, dissolving your will, invading the tired spirit so utterly that it becomes difficult to recall that you ever lived without it...or to imagine that you might live that way again. With all the guile of Satan himself, depression persuades you that its invasion was all your own idea, that you wanted it all along. It fogs the part of the brain that reasons, that knows right and wrong. It captures you with its warm, guilty, hateful pleasures, and, worst of all, it becomes familiar. All at once, you find yourself in thrall to the very thing that most terrifies you. Your work slides, your friendships slide, your marriage slides, but you scarcely notice: to be depressed is to be half in love with disaster.
Stephen L. Carter
Vague expression permits the hearer to imagine whatever suits him and what he already thinks in any case. Rigorous formulation demands unequivocal comprehension, conceptual effort, to which people are deliberately disencouraged, and imposes on them in advance of any content a suspension of all received opinions, and thus an isolation, that they violently resist. Only what they do not need first to understand, they consider understandable; only the word coined by commerce, and really alienated, touches them as familiar.
Theodor Adorno
In some respects the use of sexual obsessions as a subject for literature resembles the use of a literary subject whose validity for fewer people would contest: religious obsessions. So compared, the familiar fact of pornography's definite, aggressive impact upon its readers looks somewhat different. Its celebrated intention of sexually stimulating readers is really a species of proselytizing. Pornography that is serious literature aims to "excite” in the same way that books which render an extreme form of religious experience aim to "convert.”.
Susan Sontag
Just as soon as the great and glorious Revolution broke out [1918 - after World War 1. ] I gave notice and now live entirely for art. For a while, I tried to create new forms of art from the remains of the old culture. From this Merz painting emerged, painting that happily used every material – Pelikan [was a famous ink mark, then] colors or the rubbish from the rubbish heap. So I experienced the Revolution in the most delightful way and pass for a Dadaist, without being one. As a result, I could introduce Dadaism in Holland [together with Theo van Doesburg and his wife Nele] with complete impartiality. In Holland I became familiar with architecture for the first time.
Kurt Schwitters
It is most important that we should rid art of all that it has contained of ‘recognizable material' to date, all familiar subject matter, all traditional ideas, all popular symbols must be banished forthwith. More important still, we must hold enormous faith in ourselves; it is essential that the revelation we receive, the conception of an image which embraces a certain thing, which has no sense in itself, which has no subject, which means ‘absolutely nothing' from the logical point of view.... should speak so strongly in us, evoke such agony or joy, that we feel compelled to paint.
Giorgio de Chirico
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
My current situation is, I always want to find a new possibility. China is in a changing stage, and that puts me in a very difficult situation, because anytime a new condition is announced there is a lot of struggle between the new and the old. So the establishment really becomes extremely nervous because they are refusing to meet very basic human rights or values. I don't know how long I can still struggle in China, but I will try my best. Because this is a land I am very familiar with, and we have been in the same kind of struggle for generations. I think it's a time for change.
Ai Weiwei
The most important tool the artist fashions through constant practice is the faith in his ability to produce miracles when they are needed. Pictures must be miraculous; the instant one is completed, the intimacy between the creation and the creator is ended. He is an outsider. The picture must be for him, as for anyone experiencing it later, a revelation, an unexpected and unprecedented resolution of an eternally familiar need.
Mark Rothko
The romantics were prompted to seek exotic subjects and to travel to far off places. They failed to realize that, though the transcendental must involve the strange and unfamiliar, not everything strange or unfamiliar is transcendental. The unfriendliness of society to his activity is difficult for the artists to accept. Yet this very hostility can act as a lever for true liberation... Both the sense of community and of security depend on the familiar. Free of them, transcendental experiences become possible.
Mark Rothko
In my tender years and bairn-age, at schools, having on the one part contracted a loving familiaritie with a certain gentleman a papist, and on the other part being attentive to the sermons of that worthy man of God, Maister Christopher Goodman, teaching upon the Apocalyps, I was moved in admiration against the blindness of papists that could not most evidentlie see their seven hilled Citie of Rome, painted out there so lively by Saint John, as the Mother of all Spiritual Whoredome: that not onlie bursted I oute in continuall reasoning against my said familiar, but also from thence forth I determined with myself by the assistance of God's spirit to employ my study and diligence to search out the remanent mysteries of that holy booke (as to this houre praised be the Lord I have bin doing at all such times as convenientlie I might have occasion) &c.
John Napier
Many people are familiar with the campaign to abolish the death penalty. In fact, it has already been abolished in ost countries. Even the staunchest advocates of capital punishment acknowledge the fact that the death penalty faces serious challenges. Few people find life without the death penalty difficult to imagine.
Angela Davis
Our days are a kaleidoscope. Every instant a change takes place in the contents. New harmonies, new contrasts, new combinations of every sort. Nothing ever happens twice alike. The most familiar people stand each moment in some new relation to each other, to their work, to surrounding objects. The most tranquil house, with the most serene inhabitants, living upon the utmost regularity of system, is yet exemplifying infinite diversities.
Henry Ward Beecher
When we met in Berlin [1910], I arranged with Heckel and Kirchner that the three of us would go and work together on the lakes of Moritzburg near Dresden. We had long been familiar with the region, and we knew that we would have the opportunity tp paint nudes in the open air without interference... We had to find two or three people who were not professional models and would therefore pose for us without falling into studio routines.... we artists set out early every morning, laden with our equipment, followed by the models with bags full of good things toe at and drink. We lived in complete harmony, we worked and went swimming.... each of us [three] executed a great number of paintings and drawings.
Max Pechstein
My being Jewish does not inform the things I do, necessarily. 'Exodus' is a wonderful piece, no matter what religion you are. 'The Shiva Club,' which is a movie I am attempting to make sometime soon, is about crashing a shiva, if you will. A couple of comics crash a shiva. I could have, I suppose, made it an Irish wake, but the shiva I was more familiar with.
William Shatner
With the black ones [his 'Black Paintings'] I was interested in getting complexity without their revealing much – in the fact that there was much to see but not much showing. I wanted to show a painting that could have the dignity of not calling attention to itself. In both the blacks and the whites [paintings] there was none of the familiar aggressiveness of art that says, 'Well, here it is, whether you like it or not.
Robert Rauschenberg
