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Tiffany Madison

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“Only those who have had to leave home know the unspeakable pain involved. No words can describe it. Much as the situation was ugly in South Africa, and still ugly today, South Africa is my home. I love it. No place in the world is like that country to me. For all its ugliness, it is my home, the place where my roots are, and I love it. This is what is so painful. Even now it is still my hope that I'll go back to live there. It is the only place where my soul can find rest and peace.”

ExileSouth African AuthorPhyllis NtantalaPhyllis Ntantala Jordan
Book:A Life's Mosaic: The Autobiography of Phyllis Ntantala
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“I left because the ground in which I could operate was shrinking, getting smaller and smaller. I felt it was better to carry on the struggle outside, rather than risk going to jail to rot there doing nothing. This I have done. But the struggle for liberation cannot be carried on outside the country; it is inside the country. That is where the battle is and where it will be won. When Fikile Bam came out of Robben Island after ten years, in his first letter to me he wrote: 'Mama, we have decided to remain in the country. The struggle is here and not outside.' This was in response to my efforts trying to get him out of the country. Fikile was right,”

South African AuthorPhyllis NtantalaPhyllis Ntantala JordanA Life S MosaicSouth African WriterSouth African Book
Book:A Life's Mosaic: The Autobiography of Phyllis Ntantala
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“In my previous murals, I had tried to achieve a harmony in my painting with the architecture of the building. But to attempt such a harmony in the garden of the Institute would have defeated my purposes. For the walls here were of an intricate Italian baroque style, with little windows, heads of satyrs, doorways, and sculpturesque mouldings. It was within such a frame that I was to represent the life of an age which had nothing to do with baroque refinements -- a new life which was characterized by masses, machines, and naked mechanical power. So I set to work consciously to over-power the ornamentation of the room.”

ArtArchitectureMachineryDetroitMechanicsDiego RiveraMuralsDetroit Institute Of ArtsFrescoes
Book:My Art, My Life
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“As [William] Valentiner noted in his uncompleted memoirs Remembering Artists, [Diego] Rivera’s [Detroit Industry] murals rooted the Detroit Institute of Arts to the many-faceted jewel of its central court because of the harmonious, fertile relationship between "the industrialist" and "the artist." Rivera remarked to Valentiner how especially struck he was that "Edsel had none of the characteristics of the exploiting capitalist, that he had the simplicity and directness of a workman in his won factories and was like one of the best of them." Their relationship was like the murals themselves, a superb expression of pluralism, toleration, and empathy for the other, and of a cosmopolitan sense of all the Americas, not just of the United States of America or Detroit alone.”

ArtBusinessDetroitDiego RiveraMuralsDetroit Institute Of ArtsFrescoesEdsel FordWilliam Valentiner
Author:John Dean
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