Wire Quotes - page 2
Before, the wire studies were subjective, portraits, caricatures, stylized representations of beasts and humans. But these recent things have been viewed from a more objective angle and although their present size is diminutive, I feel that there is no limitation to the scale to which they can be enlarged....
Alexander Calder
In the Spring of 1926 I made some toy animals of curtain rods, broom handles, etc., and wire. Later, a few dolls, which I animated.... In the Winter of 1927–1928 I made some more toys for a friend to take home as gifts, and having shown them to De Creeft a Spanish sculptor with a very acute sense of humor, I was urged by him to make some more toys and to expose them at the Salon des Humoristes. I did this and then began to make more elaborate toys, with articulation, in which the movements got more and more realistic, always adhering to the same basic materials. In this way I have developed quite an elaborate circus of which animation is one of the chief characteristics....
Alexander Calder
At that time (last Spring) I did not consider this medium to be of any signal importance in the world of art; merely a very amusing stunt cleverly executed.... However, wishing to return to Paris, I felt it would be quite justifiable to have an exhibition here, where "clever stunts" are highly appreciated, so I came over 3 months ago and set to work, carving wood and twisting wire. These new studies in wire, however, did not remain the simple modest little things I had done in New York. They are still simple, more simple than before; and therein lie the great possibilities which I have only recently come to feel for the wire medium.
Alexander Calder
![When I first saw Calder's art very long ago [c. 1928 in Paris, Miro saw Calder performing his mechanical 'Circus' for the Paris' art scene, all puppets made from metal wire and wood] I thought it was good, but not art. (Joan Miró)](https://cdn.quotesdtb.com/img/quotes_images_webp/66/joan-mir-art-circus-451866.webp)
Then we went down to his work room, in the horrible beautiful Merz grotto [the 'Merz-Haus', built by Kurt Schwitters, where broken wheels paired with matchboxes, wire lattices with brushes without bristles, rusted wheels with curious Merz cucumbers... How often did we 'p-lay' in this room! Schwitters called playing, considering the sweat, working. There we glued together our paper pictures, and as I tossed away one of my glued-together works one morning, Schwitters asked, 'You don't like it? Can I have it?' – 'What do you want with this failed piece of toast?' Schwitters took a good look at it and said, 'I'll put what's on top on the bottom, I'll stick a little Merz nose in this corner and I'll sign the bottom Kurt Schwitters.' And, yes indeed, this collage became a wonderful picture by Kurt Schwitters. Schwitters was a wizard, just as Hokusai was a wizard.
Jean Arp
Merz paintings are abstract works of art. The word 'Merz' essentially means the totality of all imaginable materials that can be used for artistic purposes and technically the principle that all of these individual materials have equal value. Merz art makes use not just of paint and canvas, brush and palette, but all the materials visible to the eye and all tools needed.... the wheel off a pram, wire mesh, string and cotton balls – these are factors of equal value to paints. The artist creates by choosing, distributing and reshaping the materials.
Kurt Schwitters
I don't think so. I don't think any editor can make a difference to a daily paper because more than half, even three quarters is wire material and from correspondents in different places all over the country. And foreign news. And really the only thing the editor has is writing the editorials.
Khushwant Singh
I certainly do have this feeling of affection for the absolute sense of intellectual freedom that exists as a live nerve, a live wire, right through the center of American life. ... Every time I get totally discouraged with this country, I remind myself, "No, the fact is that finally we can really say what we think, and some extraordinary things have come out of that."
Norman Mailer
Let us not today cast blame on the murderers. Who are we to argue against their potent hatred for us? For eight years they have been sitting in the refugee camps in Gaza, and before their eyes we have been turning the land and villages in which they and their forefathers lived into our own inheritance... We are the generation of settlement, and without steel helmets and the maw of the cannon we will not be able to plant a tree or build a home. Our children will not live if we do not dig shelters, and without barbed wire fences and machine guns we will not be able to pave roads or drill for water. Millions of Jews, annihilated because they had no country, gaze at us from the dust of Jewish history and command us to settle and raise up a land for our people.
Moshe Dayan
