1
" Now she understood a few things: that the American academy, which one might have thought the place to defend freedom of speech, had been the seat and soul of abrogating freedom of speech, if the first assault on its freedom can be said to be restricting, or handcuffing speech. The day she heard “redneck” on NPR, she turned NPR off, not because broadcasters were still using the term, but because she knew one day they would not be. In fact, she had a vision of the quiet moment backstage at a Boston studio when a good, surprised correspondent was let go for saying “redneck” the last time it would be said. "
― Padgett Powell , Mrs. Hollingsworth's Men
3
" The poet is the sayer, the namer, and represents beauty. He is a sovereign, and stands on the centre. For the world is not painted, or adorned, but is from the beginning beautiful; and God has not made some beautiful things, but Beauty is the creator of the universe. Therefore the poet is not any permissive potentate, but is emperor in his own right. Criticism is infested with a cant of materialism, which assumes that manual skill and activity is the first merit of all men, and disparages such as say and do not, overlooking the fact, that some men, namely, poets, are natural sayers, sent into the world to the end of expression, and confounds them with those whose province is action, but who quit it to imitate the sayers. The poet does not wait for the hero or the sage, but, as they act and think primarily, so he writes primarily what will and must be spoken, reckoning the others, though primaries also, yet, in respect to him, secondaries and servants; as sitters or models in the studio of a painter, or as assistants who bring building materials to an architect. "
― Ralph Waldo Emerson , Collected Works of Ralph Waldo Emerson, Volume III: Essays: Second Series
5
" For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day....
To me, it's all art, inside the studio and out. At least it is if we approach our lives that way. "
― Terri Windling
8
" May 4, 2006
Blog Entry #1
There once was a girl who took everything for granted.
She had friends.
She had good friends—friends who saw her geeky exterior but loved her anyway, friends who had known her since before she knew herself. But she wanted more.
She had people who loved her. She had a huge house on a hill. A bedroom as big as a studio apartment. But she still wasn't satisfied. She moved to the ends of the earth … Long Island, New York.
She thought it would be exciting. And for a little while it was. But she soon found that life in the “city” wasn’t everything she hoped for. Before long, all the shops and landmarks were meaningless, and she realized that all the parties in the world meant nothing—especially if she didn't have the people to share them with. She decided to make a distress call. She lined up coconuts.
H–E–L–P
She spent one and a half years on her “deserted island.” Then, a moving truck finally answered her call.
But little did she know that she was returning to her home as a different person. She was returning with lessons of contentment that would stick with her forever. Lessons of gratitude, integrity, faith, and love. Exposure to things and ideas she would have never seen in Snellville, Georgia.
How she could be and how her life could be…
She drove back down only to find that she wasn't the only one who had changed. "
― Jacquelyn Nicole Davis , Trace The Grace: A Memoir
9
" When the woman you live with is an artist, every day is a surprise. Clare has turned the second bedroom into a wonder cabinet, full of small sculptures and drawings pinned up on every inch of wall space. There are coils of wire and rolls of paper tucked into shelves and drawers. The sculptures remind me of kites, or model airplanes. I say this to Clare one evening, standing in the doorway of her studio in my suit and tie, home from work, about to begin making dinner, and she throws one at me; it flies surprisingly well, and soon we are standing at opposite ends of the hall, tossing tiny sculptures at each other, testing their aerodynamics. The next day I come home to find that Clare has created a flock of paper and wire birds, which are hanging from the ceiling in the living room. A week later our bedroom windows are full of abstract blue translucent shapes that the sun throws across the room onto the walls, making a sky for the bird shapes Clare has painted there. It's beautiful.
The next evening I'm standing in the doorway of Clare's studio, watching her finish drawing a thicket of black lines around a little red bird. Suddenly I see Clare, in her small room, closed in by all her stuff, and I realize that she's trying to say something, and I know what I have to do. "
― Audrey Niffenegger , The Time Traveler's Wife
10
" Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso -- who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo's major tributaries.
It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism.
The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa's artists a freedom those in Europe had not yet discovered. "
― Adam Hochschild , King Leopold's Ghost
14
" Margrethe Mather, a photographer from Los Angeles, came to his studio in Glendale, California called Tropico, where Weston asked her to be his studio assistant. It didn’t take long before the two developed a passionate, lustful, relationship. Both Weston and Mather became active in the growing bohemian cultural scene in the greater Los Angeles area. She was extremely outgoing and artistic in a most flamboyant way. Her bohemian sexual values were new to Weston’s conventional thinking, but Mather excited him and presented him with a new outlook that he found enticing. Mather was beautiful, and being bisexual and having been a high-class prostitute, was delightfully worldly. Mather's uninhibited lifestyle became irresistible to Weston and her photography took him into a new and exciting art form. As Mather worked and overtly played with him, she presented a lifestyle that was in stark contrast to Weston’s conventional home life, and he soon came to see his wife Flora as a person with whom he had little in common. "
― Hank Bracker
15
" We stood there for a minute or two, with John swaying gently against my arm. 'I'm feeling better,' he announced. Then he looked up at the stars. 'Wow..' he intoned. 'Look at that! Isn't that amazing?" .I followed his gaze. The stars did look good but they didn't look that good. It was very unlike John to be over the top in that way. I stared at him. He was wired-pin-sharp and quivering, resonating away like a human tuning fork.No sooner had John uttered his immortal words about the stars than George and Paul came bursting out on the roof. They had come tearing up from the studio as soon as they found out where we were. They knew why John was feeling unwell. Maybe everyone else did, too - everyone except for father-figure George Martin here!It was very simple. John was tripping on LSD. He had taken it by mistake, they said - he had meant to take an amphetamine tablet. That hardly made any difference, frankly; the fact was that John was only too likely to imagine he could fly, and launch himself off the low parapet that ran around the roof. They had been absolutely terrified that he might do so. I spoke to Paul about this night many years later, and he confirmed that he and George had been shaken rigid when they found out we were up on the roof. They knew John was having a what you might call a bad trip. John didn't go back to Weybridge that night; Paul took him home to his place, in nearby Cavendish Road. They were intensely close, remember, and Paul would do almost anything for John. So, once they were safe inside, Paul took a tablet of LSD for the first time, 'So I could get with John' as he put it- be with him in his misery and fear.What about that for friendship? "
19
" Jaxton smiled and caught his hand, holding it tight in both of his. “Are you burnt out? Is it all too much?” he asked, getting straight to the root of the matter, in one go.
“Yes,” he sighed, hating that it was true.
“Then you'll stay home.”
“You know I can't. It's impossible,” Roman complained about the unfairness of it all.
He was due to return to the studio in two days times, to finalise the tracks he'd recorded yesterday. Then he had to sit down with Jalen next week, to pick out a new piece of his artwork for the next album cover. And two weeks after that, he had three interviews with three different music channels, to film.
“Try telling that to Ben.” Jaxton winked at him, then ducked down to kiss him.
~ From the Heart "
― Elaine White , Clef Notes