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Quote by Arthur Urbane Dilley

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Arthur Urbane Dilley

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“No man can roan or inhabit the Canadian North without it affecting him, and the artist, because of his constant habit of awareness and his discipline in expression, is perhaps more understanding of its moods and spirit than others are. He is thus better equipped to interpret it to others, and then, when her has become one with its spirit, to create living works in their own right, by using forms, colors, rhythms and moods, to make a harmonious home for the imaginative and spiritual meaning it has evoked in him.”

Art
Book:The Best of the Group of Seven
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“Because this law could mean so much or so little, it held potential for causing great mischief in the world of art and politics. We needed to reduce its uncertainty, and the best way to do that, I believed, was to force a court to interpret it, which would either void or narrow the law. To make it as broad a target as possible and to assure that someone would sue us, I reproduced the Helms amendment verbatim in the terms and conditions for grant recipients. It could not be ignored there, and if it was to be declared unconstitutional, it had to appear where the courts could not ignore it either.”

ArtLawPolitics
Book:Leaving Town Alive
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“In 2004, the Animals in War monument outside Hyde Park in London was created by the English sculptor David Backhouse. The monument includes two life-sized bronze mules carrying supplies, as well as statues of a horse and a dog and bas-relief carvings of other animals such as camels, elephants and birds who have been used in warfare. The inscription reads: *Animals in War. This monument is dedicated to all the animals that served and died alongside British and allied forces in wars and campaigns throughout time. They had no choice.* ~ John Sorenson”

ArtExploitationCoercionAnimal EthicsCommemorationHuman Animal RelationsAnimals In WarInstrumentalizationMulti SpeciesWar Monuments
Book:Animals and War: Confronting the Military-Animal Industrial Complex
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“I know not why, but all the noblest arts hold in perfection but for a very little moment. They soon reach a height from which they begin to decline, and when they have begun to decline it is a pity that they cannot be knocked on the head; for an art is like a living organism - better dead than dying. There is no way of making an aged art young again; it must be born anew and grow up from infancy as a new thing, working out its own salvation from effort to effort in all fear and trembling.”

ArtCritique
Book:Erewhon, or Over The Range
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