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Exhibitions Quotes

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Exhibitions Quotes

“For example, in one of my last exhibitions I had a 50-foot massive painting with I think perhaps a hundred thousand hand-painted small flowers. This was the Christ painting [The Dead Christ in the Tomb, 2008] in my Down exhibition [2008]. Now, I simply can't spend eight hours a day painting small, identical flowers. And so I've got a team that allows me to have these grand, sweeping statements.”

“I met Mary [Hamill] in New York at my exhibition and when I told her about my oral history project she asked, "Would it be possible to incorporate visual art?" My sister stitches pillowcases, which led to Mary suggesting using cyanotype on them. I originally thought of the idea of pillowcases because when people get married, they have the bride and the groom lay their hands on each other's pillows while their relatives tie ribbons on their wrists. And then on the bed you usually have two pillows - one for yourself and one for your loved one - so when one is gone, one pillow remains.”

“Bernard [Leach] had acquired many [Shoji] Hamada works. Some of them, it was interesting - first of all, Hamada worked in St. Ives for about four years before returning to Japan to start his own pottery. He had exhibitions in London, and if these exhibitions didn't sell out, the galleries were instructed to send the remaining work down to the Leach Pottery, where they would go into the showroom for sale. If Bernard saw one that hadn't sold that he really admired, then he would take it (he would buy it), and it would go into the house.”

“Some years ago I was working on some forms which were vase forms with a fairly narrow base, and it was after [Hans] Coper had died that I saw an exhibition of his, a catalogue from an exhibition, and he was showing some forms which were made by cutting and joining a lot of different parts together to create what he called a spade form, which you can imagine looks a little bit like a shovel upside down.”

“Men flocked to see it and ascended it as it was a novelty and of unique dimensions. It was the toy of the exhibition. So long as we are children we are attracted by toys, and the tower was a good demonstration of the fact that we are all children attracted by trinkets. That may be claimed to be the purpose served by the Eiffel Tower.”

“We are to have no pictures which the puritan and the narrow, animated by an obsolete dogma, cannot approve of. We are to have no theaters no motion pictures, no books, no public exhibitions of any kind, no speech even which will anyway contravene his limited view of life.”

“Offerings to propitiate the dead then were regarded as belonging to the class of funeral sacrifices, and these are idolatry. Idolatry, in fact, is a sort of homage to the departed, the one as well as the other is a service to dead men. Moreover, demons dwell in the images of the dead. ... this sort of exhibition has passed from honors of the dead to honors of the living; I mean, to quaestorships [financial overseers]and magistractes, to priestly offices of different kinds. Yet, since idolatry still cleaves to the dignity's name, whatever is done in its name partakes of its impurity.”

“As the component parts of all new machines may be said to be old[,] it is a nice discriminating judgment, which discovers that a particular arrangement will produce a new and desired effect. ... Therefore, the mechanic should sit down among levers, screws, wedges, wheels, etc. like a poet among the letters of the alphabet, considering them as the exhibition of his thoughts; in which a new arrangement transmits a new idea to the world.”

“No matter what the cause, even though it be to conquer with tanks and planes and modern artillery some defenseless black population, there will be no lack of poets and preachers and essayists and philosophers to invent the necessary reasons and gild the infamy with righteousness. To this righteousness there is, of course, never an adequate reply. Thus a war to end poverty becomes an unanswerable enterprise. For who can decently be for poverty? To even debate whether the war will end poverty becomes an exhibition of ugly pragmatism and the sign of an ignoble mind.”

“I remember when I was a child, being taken to the celebrated Barnum's Circus, which contained an exhibition of freaks and monstrosities, but the exhibit on the program which I most desired to see was the one described as ‘The Boneless Wonder’. My parents judged that the spectacle would be too demoralizing and revolting for my youthful eye and I have waited fifty years, to see The Boneless Wonder sitting on the Treasury Bench.”

“I knew that I would have to be brave. Not foolhardy, not in love with risk and danger, not making ridiculous exhibitions of myself to prove that I wasn't terrified--really genuinely brave. Brave enough to be quiet when quiet was called for, brave enough to observe before flinging myself into something, brave enough to not abandon my true self when someone else wanted to seduce or force me in a direction I didn't want to go, brave enough to stand my ground quietly.”