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Quote by John Finlay

“Our experiences shape the act of looking, so we all account for art in our own way.”

Quote by John Finlay

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John Finlay

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“I could never finally figure out if more things happened in the sixties because there was more awake time for them to happen in (since so many people were on amphetamine), or if people started taking amphetamine because there were so many things to do that they needed to have more awake time to do them in. I only slept two or three hours a night from '65 through '67, but I used to see people who hadn't slept for days at a time and they'd say things like "I'm hitting my ninth day and it's glorious!”

ArtSpeedSixtiesDrug CultureAmphetamine
Book:POPism: The Warhol Sixties
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“Why do you play such dreary music on Saturday afternoon, when tired mortally tired I long for a little reminder of immortal energy? All week long while I trudge fatiguingly from desk to desk in the museum you spill your miracles of Grieg and Honegger on shut-ins. Am I not shut in too, and after a week of work don’t I deserve Prokofieff? Well, I have my beautiful de Kooning to aspire to. I think it has an orange bed in it, more than the ear can hold.”

ArtEnergyMusicPoemTiredRadioMuseums
Book:Lunch Poems
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“वह लड़का एक सादा पाठ था। उसमें बूंद भर भी चटक अक्षर नहीं थे। दबे और पुराने किस्म के वर्ण थे वहाँ। 'उखड़ चुके और ताजा उगे' के बीच की छपाई थी उधर। वह ऐसा सरल भी न था कि तुकबंदी की शक्ल में उसे याद किया जा सके। कठिन तो बिल्कुल भी नहीं कि किसी मायने पर आकर ठिठका जाए। उसे उलट कर पढ़ें या कि सुलट कर, अक्षरों का हिसाब एक बराबर ठीक ही बैठता था। उस पर मोड़ थे पर निशान ऐसे नहीं कि कोई अपनी हथेली की किसी रेखा का जुड़वा मान बैठे उन लकीरों को। वह तरख भी हो सकता था पर ऐसा नहीं कि उस पर कोई स्मृति छोड़ देने को किसी का मन ही ललक जाए। कभी-कभी वह नष्ट हुआ सा भी दिखता था। कभी इतना तुरंत जन्मा सा कि उसे डर लगता था कि कहीं कच्ची स्याही ही न लेपा जाए उससे।”

ArtLiterature Quotes
Book:KHELA
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“In the summer of 1961, Segal taught an adult painting class in New Brunswick. The class was encouraged to make use of odd and unlikely materials in assemblages, and one woman brought to class a box of surgeon's bandages. Segal took some home, with the intention of wrapping them around one of his chicken wire framworks. Then a thought occurred to him: why not dip the cloth bandages in plaster, and apply them directly to the body? Segal sat on a chair and instructed his wife to cover him in soaked bandages. The new technique led to a few anxious moments when the plaster began to harden, heat up, and contract, and the artist lost a good portion of his body hair in the course of frantically removing the casts. With great difficulty, he was able to reassemble the pieces into a complete figure which he then placed on a chair. Next Segal provided an environment for his plaster effigy. The chair was moved up to a table, to which was nailed an old window frame. The result, entitled Man Sitting at a Table, marked the discovery of a new sculptural technique and a turning point in the artist's career. Segal has never looked back.”

ArtInspirationArtistSculptureArt TechniqueArtist TechniquesPlaster Sculpture
Book:George Segal
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