Art Collector Quotes

Sometimes he wakes so far from himself that he can’t even remember who he is. “Where am I?” he asks, desperate, and then, “Who am I? Who am I?” And then he hears, so close to his ear that it is as if the voice is originating inside his own head, Willem’s whispered incantation. “You’re Jude St. Francis. You are my oldest, dearest friend. You’re the son of Harold Stein and Julia Altman. You’re the friend of Malcolm Irvine, of Jean-Baptiste Marion, of Richard Goldfarb, of Andy Contractor, of Lucien Voigt, of Citizen van Straaten, of Rhodes Arrowsmith, of Elijah Kozma, of Phaedra de los Santos, of the Henry Youngs. “You’re a New Yorker. You live in SoHo. You volunteer for an arts organization; you volunteer for a food kitchen. “You’re a swimmer. You’re a baker. You’re a cook. You’re a reader. You have a beautiful voice, though you never sing anymore. You’re an excellent pianist. You’re an art collector. You write me lovely messages when I’m away. You’re patient. You’re generous. You’re the best listener I know. You’re the smartest person I know, in every way. You’re the bravest person I know, in every way. “You’re a lawyer. You’re the chair of the litigation department at Rosen Pritchard and Klein. You love your job; you work hard at it. “You’re a mathematician. You’re a logician. You’ve tried to teach me, again and again. “You were treated horribly. You came out on the other end. You were always you.

Who am I? Who am I?” “You’re Jude St. Francis. You are my oldest, dearest friend. You’re the son of Harold Stein and Julia Altman. You’re the friend of Malcolm Irvine, of Jean-Baptiste Marion, of Richard Goldfarb, of Andy Contractor, of Lucien Voigt, of Citizen van Straaten, of Rhodes Arrowsmith, of Elijah Kozma, of Phaedra de los Santos, of the Henry Youngs. You’re a New Yorker. You live in SoHo. You volunteer for an arts organization; you volunteer for a food kitchen. You’re a swimmer. You’re a baker. You’re a cook. You’re a reader. You have a beautiful voice, though you never sing anymore. You’re an excellent pianist. You’re an art collector. You write me lovely messages when I’m away. You’re patient. You’re generous. You’re the best listener I know. You’re the smartest person I know, in every way. You’re the bravest person I know, in every way. You’re a lawyer. You’re the chair of the litigation department at Rosen Pritchard and Klein. You love your job; you work hard at it. You’re a mathematician. You’re a logician. You’ve tried to teach me, again and again. You were treated horribly. You came out on the other end. You were always you.” "And who are you?" "I'm Willem Ragnarsson. And I will never let you go.

When you draw something it lives and when you photograph it it dies

Mister Dresden," he said. "And Miss Rodriguez, I believe. I didn't realize you were an art collector." "I am the foremost collector of velvet Elvii in the city of Chicago," I said at once. "Elvii?" Marcone inquired. "The plural could be Elvises, I guess," I said. "But if I say that too often, I start muttering to myself and calling things 'my precious,' so I usually go with the Latin plural.

Art's cruel. You can get away with murder with words. But a picture is like a window straight through to your inmost heart.

When I was a younger man, art was a lonely thing. No galleries, no collectors, no critics, no money. Yet, it was a golden age, for we all had nothing to lose and a vision to gain. Today it is not quite the same. It is a time of tons of verbiage, activity, consumption. Which condition is better for the world at large I shall not venture to discuss. But I do know, that many of those who are driven to this life are desperately searching for those pockets of silence where we can root and grow. We must all hope we find them.

Do you know that every great thing in the history of art and every beautiful thing in life is actually what you call nasty or has been caused by feelings that you would call nasty? By passion, by love, by hatred, by truth. Do you know that?

The artist is a collector of things imaginary or real. He accumulates things with the same enthusiasm that a little boy stuffs his pockets. The scrap heap and the museum are embraced with equal curiosity. He takes snapshots, makes notes and records impressions on tablecloths or newspapers, on backs of envelopes or matchbooks. Why one thing and not another is part of the mystery, but he is omnivorous.

I am the foremost collector of velvet Elvii in the city of Chicago," I said at once. "Elvii?" Marcone inquired. "The plural would be Elvises, I guess," I said. "But if I say that too often, I start muttering to myself and calling things 'my precious,' so I usually go with the Latin plural.

But however good you get at translating personality into line or paint it's no go if your personality isn't worth translating.

It’s rather like your voice. You put up with your voice and speak with it because you haven’t any choice. But it’s what you say that counts. It’s what distinguishes all great art from the other kind.

They pay thousands and thousands for the Van Goghs and Modiglianis they'd have spat on at the time they were painted. Guffawed at. Made coarse jokes about.

But criticism, for the most part, comes from the opposite place that book-enjoying should come from. To enjoy art one needs time, patience, and a generous heart, and criticism is done, by and large, by impatient people who have axes to grind. The worst sort of critics are (analogy coming) butterfly collectors - they chase something, ostensibly out of their search for beauty, then, once they get close, they catch that beautiful something, they kill it, they stick a pin through its abdomen, dissect it and label it. The whole process, I find, is not a happy or healthy one. Someone with his or her own shit figured out, without any emotional problems or bitterness or envy, instead of killing that which he loves, will simply let the goddamn butterfly fly, and instead of capturing and killing it and sticking it in a box, will simply point to it - "Hey everyone, look at that beautiful thing" - hoping everyone else will see the beautiful thing he has seen. Just as no one wants to grow up to be an IRS agent, no one should want to grow up to maliciously dissect books.

8. You hate the political buisness of nationality. You hate everything, in politics and art and everything else, that is not genuine and deep and necessary. You don't have time for silly trivial things. You live seriously. You don't go to silly films, even if you want to; you don't read cheap newspapers; you don't listen to trash on the wireless and the telly; you don't waste time talking about nothing. You use your life.

Dear Collector: We hate you. Sex loses all its power and magic when it becomes explicit, mechanical, overdone, when it becomes a mechanistic obsession. It becomes a bore. You have taught us more than anyone I know how wrong it is not to mix it with emotion, hunger, desire, lust, whims, caprices, personal ties, deeper relationships that change its color, flavor, rhythms, intensities. "You do not know what you are missing by your micro-scopic examination of sexual activity to the exclusion of aspects which are the fuel that ignites it. Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. You are shrinking your world of sensations. You are withering it, starving it, draining its blood. If you nourished your sexual life with all the excitements and adventures which love injects into sensuality, you would be the most potent man in the world. The source of sexual power is curiosity, passion. You are watching its little flame die of asphyxiation. Sex does not thrive on monotony. Without feeling, inventions, moods, no surprises in bed. Sex must be mixed with tears, laughter, words, promises, scenes, jealousy, envy, all the spices of fear, foreign travel, new faces, novels, stories, dreams, fantasies, music, dancing, opium, wine. How much do you lose by this periscope at the tip of your sex, when you could enjoy a harem of distinct and never-repeated wonders? No two hairs alike, but you will not let us waste words on a description of hair; no two odors, but if we expand on this you cry Cut the poetry. No two skins with the same texture, and never the same light, temperature, shadows, never the same gesture; for a lover, when he is aroused by true love, can run the gamut of centuries of love lore. What a range, what changes of age, what variations of maturity and innocence, perversity and art . . . We have sat around for hours and wondered how you look. If you have closed your senses upon silk, light, color, odor, character, temperament, you must be by now completely shriveled up. There are so many minor senses, all running like tributaries into the mainstream of sex, nourishing it. Only the united beat of sex and heart together can create ecstasy.

He said, it's rather like your voice. You put up with your voice and speak with it because you haven't any choice. But it's what you say that counts. It's what distinguishes all great art from the other kind.

He said, one has to learn that painting well - in the academic and technical sense - comes right at the bottom of the list. I mean, you've got that ability. So have thousands.

Who hasn't thought about killing themselves, as a kid? How can you grow up in this world and not think about it? It's an option taken by a lot of successful people: Ernest Hemingway, Socrates, Jesus. Even before high school, I thought that it would be a cool thing to do if I ever got really famous. If I kept making my maps, for instance, and some art collector came across them and decided to make them worth hundreds of thousands of dollars, if I killed myself at the height of that, they'd be worth millions of dollars, and I wouldn't be responsible for them anymore. I'd have left behind something that spoke for itself.

He said, I suppose there are people who are purely moved by great art. I never met a painter who was. I'm not. All I think of when I see that picture is that it has the supreme mastery I have spent all my life trying to attain. And shall not. Ever.

Sang Ly, we are literature-our lives, our hopes, our desires, our despairs, our passions, our strengths, our weaknesses. Stories express our longing not only to make a difference today but to see what is possible for tomorrow. Literature has been called a handbook for the art of being human.

I hate people who collect things and classify things and give them names and then forget all about them. That’s what people are always doing in art. They call a painter an impressionist or a cubist or something and then they put him in a drawer and don’t see him as a living individual painter any more.

I mean most women just want to be good at something, they’ve got good-at minds, and they mean deftness and a flair and good taste and what-not. They can’t ever understand that if your desire is to go to the furthest limits of yourself then the actual form your art takes doesn’t seem important to you. Whether you use words or paint or sounds.

Orna Davidzon : the avant-garde queen of private art collection ...

Sometimes he wakes so far from himself that he can’t even remember who he is. “Where am I?” he asks, desperate, and then, “Who am I? Who am I?” And then he hears, so close to his ear that it is as if the voice is originating inside his own head, Willem’s whispered incantation. “You’re Jude St. Francis. You are my oldest, dearest friend. You’re the son of Harold Stein and Julia Altman. You’re the friend of Malcolm Irvine, of Jean-Baptiste Marion, of Richard Goldfarb, of Andy Contractor, of Lucien Voigt, of Citizen van Straaten, of Rhodes Arrowsmith, of Elijah Kozma, of Phaedra de los Santos, of the Henry Youngs. “You’re a New Yorker. You live in SoHo. You volunteer for an arts organization; you volunteer for a food kitchen. “You’re a swimmer. You’re a baker. You’re a cook. You’re a reader. You have a beautiful voice, though you never sing anymore. You’re an excellent pianist. You’re an art collector. You write me lovely messages when I’m away. You’re patient. You’re generous. You’re the best listener I know. You’re the smartest person I know, in every way. You’re the bravest person I know, in every way. “You’re a lawyer. You’re the chair of the litigation department at Rosen Pritchard and Klein. You love your job; you work hard at it. “You’re a mathematician. You’re a logician. You’ve tried to teach me, again and again. “You were treated horribly. You came out on the other end. You were always you.” ― Hanya Yanagihara, A Little Life

Although the art world reveres the unconventional, it is rife with conformity. Artists make work that "looks like art" and behave in ways that enhance stereotypes. Curators pander to the expectations of their peers and their museum boards. Collectors run in herds to buy work by a handful of fashionable painters. Critics stick their finger in the air to see which way the wind is blowing so as to "get it right". Originality is not always rewarded, but some people take real risks and innovate, which gives a raison d'être to the rest.

Henri Rousseau was a simple, poorly educated man with an air of innocent naïveté. The Montmartre crowd gave him the nickname “Le Douanier,” meaning “customs officer,” referring to his job as a tax collector.

Hence the saying: If you know the enemy and know yourself, you need not fear the result of a hundred battles. If you know yourself but not the enemy, for every victory gained you will also suffer a defeat. If you know neither the enemy nor yourself, you will succumb in every battle.

Collections do not leave the collector unaffected. The art of collecting results in a certain turn of mind.

Look, Miranda, he said, those twenty long years that lie between you and me. I've more knowledge of life than you, I've lived more and betrayed more and seen more betrayed. At your age one is bursting with ideals. You think that because I can sometimes see what's trivial and what's important in art that I ought to be more virtuous. But I don't want to be virtuous. My charm (if there is any) for you is simply frankness. And experience. Not goodness. I'm not a good man. Perhaps morally I'm younger even than you are. Can you understand that?

And now, a word on naughty monkeys.

If the choice is between investment in old masters or an artwork of Raphael Perez, I'd go for the Raphael Perez every time ..

Like the rich boarding school kid who gets away with a hit-and-run, getting away with it doesn’t mean that you’re lawless but that you are above the law. The bad-boy artist can do whatever he wants because of who he is. Transgressive bad-boy art is, in fact, the most risk-averse, an endless loop of warmed-over stunts for an audience of one: the banker collector.

Everywhere you walk, every place you go is full of art, explicit or hidden! If you can see them, you will be the richest art collector and your memory will be the richest art gallery!

You’re a swimmer. You’re a baker. You’re a cook. You’re a reader. You have a beautiful voice, though you never sing anymore. You’re an excellent pianist. You’re an art collector. You write me lovely messages when I’m away. You’re patient. You’re generous. You’re the best listener I know. You’re the smartest person I know, in every way. You’re the bravest person I know, in every way.

You despise the real bourgeois classes for all their snobbishness and their snobbish voices and ways. You do, don't you? Yet all you put in their place is a horrid little refusal to have nasty thoughts or do nasty things or be nasty in any way. Do you know that every great thing in the story of art and every beautiful thing in life is actually what you call nasty or has been caused by feelings that you would call nasty? By passion, by love, by hatred, by truth. Do you know that?

Hostile armies may face each other for years, striving for the victory which is decided in a single day. This being so, to remain in ignorance of the enemy's condition simply because one grudges the outlay of a hundred ounces of silver in honors and emoluments, is the height of inhumanity.

People take for granted what is in fact an art. To live well, to live comfortably by one’s own standards takes a certain maturity of spirit, exceptional character, truly refined taste, and—’ ‘And money.

Neoliberalism insists that if we work hard enough, we can earn as much money as anyone else. Of course, the concept of meritocracy is integral to neoliberalism and erases the reality of capital itself, that capitalism is not just material capital but also, importantly, social and cultural capital. Without these forms of capital, (p. 77) one cannot, in fact, “succeed” in a capitalist culture. One obvious example is the art world, where one can only have their work shown in a gallery if they have connections to that gallery (galleries do not, for the most part, accept unsolicited submissions). All the cash in the world can’t create the generations of social connections of a middle-class family, whose circle might include art collectors, gallerists, critics, and artists. It is also the values and unspoken rules of the ruling class that distinguish who is allowed in and who is not.

A great private collection is a material concentrate that continually stimulates, that overexcites. Not only because it can always be added to, but because it is already too much. The collector’s need is precisely for excess, for surfeit, for profusion. It’s too much—and it’s just enough for me. … A collection is always more than is necessary.

but art is not relative to perfection in any tangible sense. It is our coarse antennae trembling blindly as it traces the form of Origin, tastes the ephemeral glue welding us, yearning after the secret of ineluctable evolution, and wonders what this transformation will mean. In my mind, here was the best kind of art—the kind hoarded by rich and jealous collectors in their locked galleries; hidden from the eyes of the heathen masses, waiting to be shared with the ripe few

In my experience, when we surrender all to the greatest Artist, that Artist fills us with the Spirit and makes us even more. creative and aware of the greater reality all about us. By "giving up" our "art," we are, paradoxically, made into true artists of the Kingdom. This is the paradox Blake was addressing. Unless we become makers in the image of the Maker, we labor in vain. Whether we are plumbers, garbage collectors, taxi drivers, or CEOs, we are called by the Great Artist to co-create. The Artist calls us little-'a' artists to co-create, to share in the "heavenly breaking in" to the broken earth.

Edward genially enough did not disagree with what I said, but he didn't seem to admit my point, either. I wanted to press him harder so I veered close enough to the ad hominem to point out that his life—the life of the mind, the life of the book collector and music lover and indeed of the gallery-goer, appreciator of the feminine and occasional boulevardier—would become simply unlivable and unthinkable in an Islamic republic. Again, he could accede politely to my point but carry on somehow as if nothing had been conceded. I came slowly to realize that with Edward, too, I was keeping two sets of books. We agreed on things like the first Palestinian intifadah, another event that took the Western press completely off guard, and we collaborated on a book of essays that asserted and defended Palestinian rights. This was in the now hard-to-remember time when all official recognition was withheld from the PLO. Together we debated Professor Bernard Lewis and Leon Wieseltier at a once-celebrated conference of the Middle East Studies Association in Cambridge in 1986, tossing and goring them somewhat in a duel over academic 'objectivity' in the wider discipline. But even then I was indistinctly aware that Edward didn't feel himself quite at liberty to say certain things, while at the same time feeling rather too much obliged to say certain other things. A low point was an almost uncritical profile of Yasser Arafat that he contributed to Interview magazine in the late 1980s.

I want to paint like Berthe Morisot, I don’t mean with her colours or forms or anything physical, but with her simplicity and light. I don’t want to be clever or great or “significant” or given all that clumsy masculine analysis. I want to paint sunlight on children’s faces, or flowers in a hedge or a street after April rain. The essences. Not the things themselves. Swimmings of light on the smallest things. Or am I being sentimental? Depressed. I’m so far from everything. From normality. From light. From what I want to be.

In his early twenties, a man started collecting paintings, many of which later became famous: Picasso, Van Gogh, and others. Over the decades he amassed a wonderful collection. Eventually, the man’s beloved son was drafted into the military and sent to Vietnam, where he died while trying to save his friend. About a month after the war ended, a young man knocked on the devastated father’s door. “Sir,” he said, “I know that you like great art, and I have brought you something not very great.” Inside the package, the father found a portrait of his son. With tears running down his cheeks, the father said, “I want to pay you for this.ℍ “No,” the young man replied, “he saved my life. You don’t owe me anything.ℍ The father cherished the painting and put it in the center of his collection. Whenever people came to visit, he made them look at it. When the man died, his art collection went up for sale. A large crowd of enthusiastic collectors gathered. First up for sale was the amateur portrait. A wave of displeasure rippled through the crowd. “Let’s forget about that painting!” one said. “We want to bid on the valuable ones,” said another. Despite many loud complaints, the auctioneer insisted on starting with the portrait. Finally, the deceased man’s gardener said, “I’ll bid ten dollars.ℍ Hearing no further bids, the auctioneer called out, “Sold for ten dollars!” Everyone breathed a sigh of relief. But then the auctioneer said, “And that concludes the auction.” Furious gasps shook the room. The auctioneer explained, “Let me read the stipulation in the will: “Sell the portrait of my son first, and whoever buys it gets the entire art collection. Whoever takes my son gets everything.ℍ It’s the same way with God Almighty. Whoever takes his Son gets everything.

I think that, with a lot of art, you just have to be bad at it a long time before the magic happens.

I remember later he said (Professor Higgins again), you don’t really stand a dog’s chance anyhow. You’re too pretty. The art of love’s your line: not the love of art.

If you are a real artist, you give your whole being to your art. Anything short of that, then you are not an artist.

I know what I am to him. A butterfly he has always wanted to catch. I remember (the very first time I met him) G.P. saying that collectors were the worst animals of all. He meant art collectors, of course. I didn't really understand, I thought he was just trying to shock Caroline - and me. But of course, he is right. They're anti-life, anti-art, anti-everything.

I know what I am to him. A butterfly he has always wanted to catch. I remember (the very fisrt time i met him) G.P. saying that collectors were the worst animals of all. He meant art collectors, of course. I didn't really understand, I thought he was just trying to shock Caroline - and me. But of course, he is right. They're anti-life, anti-art, anti-everything.

A peach, slightly unbalanced, so that it listed to one side, its hue the color of an early sunrise. Had George remembered their conversation at the party and left the peach for her to eat? Strange. For a moment she thought it might be a trompe l'oeil work of art, some fantastic piece of glass. She leaned over and sniffed. The blooming perfume was unmistakable. She touched it with the tip of her finger. The peach was not quite ripe, but it was real. The next day, she checked the kitchen as soon as she arrived. The peach lay there still, blushing deeper in the window light. She bent to smell, and the perfume was headier then before, a scent of meadows and summers home from school. Still unripe. Was George waiting to eat this beauty?

And then he hears, so close to his ear that it is as if the voice is originating inside his own head, Willem’s whispered incantation. “You’re Jude St. Francis. You are my oldest, dearest friend. You’re the son of Harold Stein and Julia Altman. You’re the friend of Malcolm Irvine, of Jean-Baptiste Marion, of Richard Goldfarb, of Andy Contractor, of Lucien Voigt, of Citizen van Straaten, of Rhodes Arrowsmith, of Elijah Kozma, of Phaedra de los Santos, of the Henry Youngs. “You’re a New Yorker. You live in SoHo. You volunteer for an arts organization; you volunteer for a food kitchen. “You’re a swimmer. You’re a baker. You’re a cook. You’re a reader. You have a beautiful voice, though you never sing anymore. You’re an excellent pianist. You’re an art collector. You write me lovely messages when I’m away. You’re patient. You’re generous. You’re the best listener I know. You’re the smartest person I know, in every way. You’re the bravest person I know, in every way. “You’re a lawyer. You’re the chair of the litigation department at Rosen Pritchard and Klein. You love your job; you work hard at it. “You’re a mathematician. You’re a logician. You’ve tried to teach me, again and again. “You were treated horribly. You came out on

Sometimes he wakes so far from himself that he can't even remember who he is. 'Where am I?' he asks, desperate, and then, 'Who am I? Who am I?' And then he hears, so close to his ear that it is as if the voice is originating inside his own head, Willem's whispered incantation. 'You're Jude St. Francis. You are my oldest, dearest friend. You're the son of Harold Stein and Julia Altman. You're the friend of Malcolm Irvine, Jean-Baptiste Marion, of Richard Goldfarb, of Andy Contractor, of Lucien Voigt, of Citizen van Straaten, of Rhodes Arrowsmith, of Elijah Kozma, of Phaedra de los Santos, of the Henry Youngs. You're a New Yorker. You live in SoHo. You volunteer for an arts organization; you volunteer for a food kitchen. You're a swimmer. You're a baker. You're a cook. You're a reader. You have a beautiful voice, though you never sing anymore. You're an excellent pianist. You're an art collector. You write me lovely messages when I'm away. You're patient. You're generous. You're the best listener I know. You're the smartest person I know, in every way. You're the bravest person I know, in every way. You're a lawyer. You're the chair of the litigation department at Rosen Pritchard and Klein. You love your job, you work hard at it. You're a mathematician. You're a logician. You've tried to teach me, again and again. You were treated horribly. You came out on the other end. You were always you. On and on Willem talks, chanting him back to himself, and in the daytime - sometimes days later - he remembers pieces of what Willem has said and holds them close to him, as much as for what he said as for what he didn't, for how he hadn't defined him. But in the nighttime he is too terrified, he is too lost to recognize this. His panic is too real, too consuming. 'And who are you?' he asks, looking at the man who is holding him, who is describing someone he doesn't recognize, someone who seems to have so much, someone who seems like such an enviable, beloved person. 'Who are you?' The man has an answer to this question as well. 'I'm Willem Ragnarsson,' he says. 'And I will never let you go.

And then he hears, so close to his ear that it is as if the voice is originating inside his own head, Willem’s whispered incantation. “You’re Jude St. Francis. You are my oldest, dearest friend. You’re the son of Harold Stein and Julia Altman. You’re the friend of Malcolm Irvine, of Jean-Baptiste Marion, of Richard Goldfarb, of Andy Contractor, of Lucien Voigt, of Citizen van Straaten, of Rhodes Arrowsmith, of Elijah Kozma, of Phaedra de los Santos, of the Henry Youngs. “You’re a New Yorker. You live in SoHo. You volunteer for an arts organization; you volunteer for a food kitchen. “You’re a swimmer. You’re a baker. You’re a cook. You’re a reader. You have a beautiful voice, though you never sing anymore. You’re an excellent pianist. You’re an art collector. You write me lovely messages when I’m away. You’re patient. You’re generous. You’re the best listener I know. You’re the smartest person I know, in every way. You’re the bravest person I know, in every way. “You’re a lawyer. You’re the chair of the litigation department at Rosen Pritchard and Klein. You love your job; you work hard at it. “You’re a mathematician. You’re a logician. You’ve tried to teach me, again and again. “You were treated horribly. You came out on the other end. You were always you.

Do you know that every great thing in the history of art and every beautiful thing in life is actually what you call nasty or has been caused by feelings that you would call nasty? By passion, by love, by hatred, by truth.

Pay to go inside Neruda's home A body lies there with no dome. But right there in the front hall Lean a fairy against the icy wall. Oh Endless enigmas had the bard! Nice and large and calm backyard Ends In the middle of a rare room Rare portrait of revelishing gloom. Up climbing at the weird snail stair Does make you grasp for some air. And there's a room with bric-a-brac: Old and precious books all in a pack. Dare saying what I liked most of all? Enjoyed seeing visitors having a ball!

it’s rather like your voice. You put up with your voice and speak with it because you haven’t any choice. But it’s what you say that counts. It’s what distinguishes all great art from the other kind. The technically accomplished buggers are two a penny in any period. Especially in this great age of universal education. He

How do you make a profound and heartfelt anti-capitalist work of art, for example, if you've spent the previous evening at a swanky museum dinner sitting next to the head of some investment bank, who also happens to be one of your major collectors/clients? Or how do you make a work about the environment when your own carbon footprint is far larger than most? Can it be possible to produce a painting or sculpture that seeks to illuminate an unfairness in a society from which you are so obviously benefiting? And how do you go about criticizing the establishment, when you are a fully signed-up member of its inner circle? The answer is, you don't.

A painting walks into the room supported by the collector. It is the painting of a nude by a contemporary artist. She is scarred by shadows from venetian blinds. “The ritual scarification of light and shadow,” I say. But am thinking, silently, the female nude is the self-ironization of the male. She, in his shadow, by design.

Museum Work and Museum Problems” course, the first academic program specifically designed to cultivate and train men and women to become museum directors and curators. In addition to the connoisseurship of art, the “Museum Course” taught the financial and administrative aspects of running a museum, with a focus on eliciting donations. The students met regularly with major art collectors, bankers, and America’s social elite, often at elegant dinners where they were required to wear formal dress and observe the social protocol of high culture. By 1941, Sachs’s students had begun to fill the leadership positions of American museums, a field they would come to dominate in the postwar years.

Why do you choose to write about such gruesome subjects? I usually answer this with another question: Why do you assume that I have a choice? Writing is a catch-as-catch-can sort of occupation. All of us seem to come equipped with filters on the floors of our minds, and all the filters have differing sizes and meshes. What catches in my filter may run right through yours. What catches in yours may pass through mine, no sweat. All of us seem to have a built-in obligation to sift through the sludge that gets caught in our respective mind-filters, and what we find there usually develops into some sort of sideline. The accountant may also be a photographer. The astronomer may collect coins. The school-teacher may do gravestone rubbings in charcoal. The sludge caught in the mind's filter, the stuff that refuses to go through, frequently becomes each person's private obsession. In civilized society we have an unspoken agreement to call our obsessions “hobbies.” Sometimes the hobby can become a full-time job. The accountant may discover that he can make enough money to support his family taking pictures; the schoolteacher may become enough of an expert on grave rubbings to go on the lecture circuit. And there are some professions which begin as hobbies and remain hobbies even after the practitioner is able to earn his living by pursuing his hobby; but because “hobby” is such a bumpy, common-sounding little word, we also have an unspoken agreement that we will call our professional hobbies “the arts.” Painting. Sculpture. Composing. Singing. Acting. The playing of a musical instrument. Writing. Enough books have been written on these seven subjects alone to sink a fleet of luxury liners. And the only thing we seem to be able to agree upon about them is this: that those who practice these arts honestly would continue to practice them even if they were not paid for their efforts; even if their efforts were criticized or even reviled; even on pain of imprisonment or death. To me, that seems to be a pretty fair definition of obsessional behavior. It applies to the plain hobbies as well as the fancy ones we call “the arts”; gun collectors sport bumper stickers reading YOU WILL TAKE MY GUN ONLY WHEN YOU PRY MY COLD DEAD FINGERS FROM IT, and in the suburbs of Boston, housewives who discovered political activism during the busing furor often sported similar stickers reading YOU'LL TAKE ME TO PRISON BEFORE YOU TAKE MY CHILDREN OUT OF THE NEIGHBORHOOD on the back bumpers of their station wagons. Similarly, if coin collecting were outlawed tomorrow, the astronomer very likely wouldn't turn in his steel pennies and buffalo nickels; he'd wrap them carefully in plastic, sink them to the bottom of his toilet tank, and gloat over them after midnight.

Sometimes he wakes so far from himself that he can't even remember who he is. 'Where am I?' he asks, desperate, and then, 'Who am I? Who am I?' "And then he hears, so close to his ear that it is as if the voice is originating inside his own head, Willem's whispered incantation. 'You're Jude St. Francis. You are my oldest, dearest friend. You're the son of Harold Stein and Julia Altman. You're the friend of Malcolm Irvine, Jean-Baptiste Marion, of Richard Goldfarb, of Andy Contractor, of Lucien Voigt, of Citizen van Straaten, of Rhodes Arrowsmith, of Elijah Kozma, of Phaedra de los Santos, of the Henry Youngs. "You're a New Yorker. You live in SoHo. You volunteer for an arts organization; you volunteer for a food kitchen. "You're a swimmer. You're a baker. You're a cook. You're a reader. You have a beautiful voice, though you never sing anymore. You're an excellent pianist. You're an art collector. You write me lovely messages when I'm away. You're patient. You're generous. You're the best listener I know. You're the smartest person I know, in every way. You're the bravest person I know, in every way. "You're a lawyer. You're the chair of the litigation department at Rosen Pritchard and Klein. You love your job, you work hard at it. "You're a mathematician. You're a logician. You've tried to teach me, again and again. "You were treated horribly. You came out on the other end. You were always you. "On and on Willem talks, chanting him back to himself, and in the daytime - sometimes days later - he remembers pieces of what Willem has said and holds them close to him, as much as for what he said as for what he didn't, for how he hadn't defined him. "But in the nighttime he is too terrified, he is too lost to recognize this. His panic is too real, too consuming. 'And who are you?' he asks, looking at the man who is holding him, who is describing someone he doesn't recognize, someone who seems to have so much, someone who seems like such an enviable, beloved person. 'Who are you?' "The man has an answer to this question as well. 'I'm Willem Ragnarsson,' he says. 'And I will never let you go.

Sometimes he wakes so far from himself that he can’t even remember who he is. “Where am I?” he asks, desperate, and then, “Who am I? Who am I?” And then he hears, so close to his ear that it is as if the voice is originating inside his own head, Willem’s whispered incantation. “You’re Jude St. Francis. You are my oldest, dearest friend. You’re the son of Harold Stein and Julia Altman. You’re the friend of Malcolm Irvine, of Jean-Baptiste Marion, of Richard Goldfarb, of Andy Contractor, of Lucien Voigt, of Citizen van Straaten, of Rhodes Arrowsmith, of Elijah Kozma, of Phaedra de los Santos, of the Henry Youngs. “You’re a New Yorker. You live in SoHo. You volunteer for an arts organization; you volunteer for a food kitchen. “You’re a swimmer. You’re a baker. You’re a cook. You’re a reader. You have a beautiful voice, though you never sing anymore. You’re an excellent pianist. You’re an art collector. You write me lovely messages when I’m away. You’re patient. You’re generous. You’re the best listener I know. You’re the smartest person I know, in every way. You’re the bravest person I know, in every way. “You’re a lawyer. You’re the chair of the litigation department at Rosen Pritchard and Klein. You love your job; you work hard at it. “You’re a mathematician. You’re a logician. You’ve tried to teach me, again and again. “You were treated horribly. You came out on the other end. You were always you.

He was shaking his head as he read some of the words that were written in the pie sections of the wheel; Meat Snatch, Gash and Stitch, Jaws of Life, Tongue Twister, Enema of Horror, Nailed, Dissection, Musical Hair Patches, Eye Deflation, Intestinal Jump Rope, Cooked Until Dripping, Spoon of Pain, Needle Works, Ball Squats, Cut and Rip, Two Headed Cock, Bone Collector, Joint Screws, Fused, Human Tesla Coil, Barbed Wired, Shit Faced, Root and Rod, Colon Blow, Skin Deep, Boiling Nuts, Sewn, Muscle Stimulator, Urethra Tug-o-war, Crack a Cap, Tendon Rubber Bands, Weenie Roast, Musical Extremities, Root Canal, Needle Mania, Tattooed Wall Art, Rod and Prod, Slice and Dice, Sex Change and Torched Beyond Recognition. I

An English visitor to Amsterdam in 1640 could not hide how impressed he was by what he saw. In the Low Countries, wrote Peter Mundy, even houses of “indifferent quality” were filled with furniture and ornaments “very Costly and Curious, Full of pleasure and home contentment, as Ritche Cupboards, Cabinetts…Imagery, porcelain, Costly Fine cages with birds” and more besides. Even butchers and bakers, blacksmiths and cobblers had paintings and luxury trinkets in their homes.60 “I was amazed,” wrote the English diarist John Evelyn about the annual fair in Rotterdam at around the same time; it was flooded with paintings, especially with “landscapes and drolleries, as they call those clownish representations.” Even common farmers had become avid art collectors.

One of the most interesting developments in my practice of Stoicism has been my transformation from someone who dreaded insults into an insult connoisseur. For one thing, I have become a collector of insults: On being insulted, I analyze and categorize the insult. For another thing, I look forward to being insulted inasmuch as it affords me the opportunity to perfect my “insult game.

He got up and said, I think you’ve got something in you. I don’t know. Women very rarely have. I mean most women just want to be good at something, they’ve got good-at minds, and they mean deftness and a flair and good taste and what-not. They can’t ever understand that if your desire is to go to the furthest limits of yourself then the actual form your art takes doesn’t seem important to you. Whether

No matter how awful it is to be sitting in this Terrible magazine office, and talking to this Circular-saw-voiced West side girl in a dirt- Stiff Marimekko and lavender glasses, and this Cake-bearded boy in short-rise Levi’s, and hearing The drip and rasp of their tones on the softening Stone of my brain, and losing The thread of their circular words, and looking Out through their faces and soot on the window to Winter in University Place, where a blue- Faced man, made of rags and old newspapers, faces A horrible grill, looking in at the food and the faces It disappears into, and feeling, Perhaps, for the first time in days, a hunger instead Of a thirst; where two young girls in peacoats and hair As long as your arm and snow-sanded sandals Proceed to their hideout, a festering cold-water flat Animated by roaches, where their lovers, loafing in wait To warm and be warmed by brainless caresses, Stake out a state Of suspension; and where a black Cadillac 75 Stands by the curb to collect a collector of rents, Its owner, the owner of numberless tenement flats; And swivelling back To the editorial pad Of Chaos, a quarter-old quarterly of the arts, And its brotherly, sisterly staff, told hardly apart In their listlessly colored sackcloth, their ash-colored skins, Their resisterly sullenness, I suddenly think That no matter how awful it is, it’s better than it Would be to be dead. But who can be sure about that?

To make a tarte of strawberyes," wrote Margaret Parker in 1551, "take and strayne theym with the yolkes of four eggs, and a little whyte breade grated, then season it up with suger and swete butter and so bake it." And Jess, who had spent the past year struggling with Kant's Critiques, now luxuriated in language so concrete. Tudor cookbooks did not theorize, nor did they provide separate ingredient lists, or scientific cooking times or temperatures. Recipes were called receipts, and tallied materials and techniques together. Art and alchemy were their themes, instinct and invention. The grandest performed occult transformations: flora into fauna, where, for example, cooks crushed blanched almonds and beat them with sugar, milk, and rose water into a paste to "cast Rabbets, Pigeons, or any other little bird or beast." Or flour into gold, gilding marchpane and festive tarts. Or mutton into venison, or fish to meat, or pig to fawn, one species prepared to stand in for another.

All I wanted," Saina thought, "was to make someone feel something." Money can't do that. Just looking at a dollar bill did nothing to your emotions — you have to make money or lose money for it to make you feel anything. You can earn it, win it, lose it, save it, spend it, find it, but you can't sell it because you never really own it. On the other hand, you didn't have to possess a song or a sculpture for it to make you feel something — you only had to experience it. So why did collectors want to collect? What feeling were they pursuing?

You’re Jude St. Francis. You are my oldest, dearest friend. You’re the son of Harold Stein and Julia Altman. You’re the friend of Malcolm Irvine, of Jean-Baptiste Marion, of Richard Goldfarb, of Andy Contractor, of Lucien Voigt, of Citizen van Straaten, of Rhodes Arrowsmith, of Elijah Kozma, of Phaedra de los Santos, of the Henry Youngs. “You’re a New Yorker. You live in SoHo. You volunteer for an arts organization; you volunteer for a food kitchen. “You’re a swimmer. You’re a baker. You’re a cook. You’re a reader. You have a beautiful voice, though you never sing anymore. You’re an excellent pianist. You’re an art collector. You write me lovely messages when I’m away. You’re patient. You’re generous. You’re the best listener I know. You’re the smartest person I know, in every way. You’re the bravest person I know, in every way. “You’re a lawyer. You’re the chair of the litigation department at Rosen Pritchard and Klein. You love your job; you work hard at it. “You’re a mathematician. You’re a logician. You’ve tried to teach me, again and again. “You were treated horribly. You came out on the other end. You were always you.

His first principle stated broadly that the most useful art was the one which could most easily be communicated. Painting was communicable to all since its appeal was made to the eye. While the painter proceeded at once to the imitation of nature, the poet's instruments were words which varied in every land. He took the Platonic view of poetry as a lying imitation, removed from truth. He called the poet a collector of other men's wares, who decked himself in their plumage. Where poetry presented only a shadow to the imagination, painting offered a real image to the eye; and the eye, as the window of the soul

Hobbies provide more examples. If you are a gardener, what you see when you visit Sissinghurst Castle is different from what a non-gardener sees. Your judgment of the quality of the garden has an element of the objective that goes beyond sentiments about how pretty the flowers are. If you are a stamp collector, the reasons you value a particular stamp involve aspects of it that someone who isn’t a stamp collector overlooks. If you are an oenophile, your judgment of the quality of a wine has an element of the objective that goes beyond sentiments of how good it tastes. Expertise changes the quality of the experience, and also introduces an element of the objective.

Art with a big “A” is for museums, galleries, critics, and collectors. art with a small “a” is for the rest of us. Art is a business, an industry, a racket. art is about passion, love, life, humanity— everything that is truly valuable. Art is sold, resold, put under the gavel, and insured up the wazoo. art with a small “a” is not a product. It’s a point of view. It’s a way of life. Art is made by trained professionals and experts. art is made by accountants, farmers, and stay-at-home moms at restaurant tables, in parking lots, and laundry rooms. Art takes Art School and Talent and years of Suffering and Sacrifice. art just takes desire and 15 minutes a day. You may not be an Artist. Big whoop. But I know you can make art— with a wonderful, expressive, teeny, tiny a.

The Times Exclusive Reveal of Windermere Six Thanks to an anonymous source, the Times is pleased to share an exclusive list of the six children who were transported yesterday evening to Hollingsworth Hall, the magnificent and secluded home of Camilla Lenore DeMoss, the Countess of Windermere. They are, in no particular order: Oliver Appleby: Heir to the Appleby Jewelry fortune. This young chap is known to be an excellent student who also excels at rowing and cricket. Viola Dale: The Dales are well known throughout London for their dedication to social reform and relief for those in distress. Young Viola has been a presence on the charitable event circuit since the age of two. Frances Wellington: Miss Wellington's parents are internationally known art collectors who have an impeccable eye for up-and-coming talent in sculpture and painting. They also delve into gems of historical value. Frances is privately tutored, and her deliciously expensive introduction to London society is already being buzzed about. Barnaby Trundle: Young Barnaby attends school in South London. His father works in the textile industry. One of his teachers says Barnaby is "occasionally quick-tempered with other boys in his form." Edward Herringbone: The Herringbones are close acquaintances with the aforementioned Dales, their own admirable interests lying mainly in reducing poverty by increasing educational opportunities. Edward has been called "an indubitable library of a boy" by one of his teaching masters at St. Stephen's. Tabitha Crum: Miss Crum's father is employed by the Wilting Bank of South London. A neighbor of the family says that the lucky child "talks to herself" and calls the Crums "socially famished.

I had better come clean now and say that I do not believe that art (all art) and beauty are ever separate, nor do I believe that either art or beauty are optional in a sane society." "That puts me on the side of what Harold Bloom calls 'the ecstasy of the privileged moment. Art, all art, as insight, as transformation, as joy. Unlike Harold Bloom, I really believe that human beings can be taught to love what they do not love already and that the privileged moment exists for all of us, if we let it. Letting art is the paradox of active surrender. I have to work for art if I want art to work on me." (...) We know that the universe is infinite, expanding and strangely complete, that it lacks nothing we need, but in spite of that knowledge, the tragic paradigm of human life is lack, loss, finality, a primitive doomsaying that has not been repealed by technology or medical science. The arts stand in the way of this doomsaying. Art objects. The nouns become an active force not a collector's item. Art objects. "The cave wall paintings at Lascaux, the Sistine Chapel ceiling, the huge truth of a Picasso, the quieter truth of Vanessa Bell, are part of the art that objects to the lie against life, against the spirit, that is pointless and mean. The message colored through time is not lack, but abundance. Not silence but many voices. Art, all art, is the communication cord that cannot be snapped by indifference or disaster. Against the daily death it does not die." "Naked I came into the world, but brush strokes cover me, language raises me, music rhythms me. Art is my rod and my staff, my resting place and shield, and not mine only, for art leaves nobody out. Even those from whom art has been stolen away by tyranny, by poverty, begin to make it again. If the arts did not exist, at every moment, someone would begin to create them, in song, out of dust and mud, and although the artifacts might be destroyed, the energy that creates them is not destroyed. If, in the comfortable West, we have chosen to treat such energies with scepticism and contempt, then so much the worse for us. "Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. Odd then, that when routine physical threats to ourselves and our kind are no longer a reality, we say we have no time for art. "If we say that art, all art is no longer relevant to our lives, then we might at least risk the question 'What has happened to our lives?

I track pieces of Nazi-stolen art,” she said, after a moment. “And what I’ve noticed is just how far each object travels. Take Van Gogh’s Portrait of Dr. Gachet. It was painted in 1880 in Auvers-sur-Oise about a month before Van Gogh committed suicide. The work changed hands four times—from Van Gogh’s brother to his brother’s widow to two independent collectors—before it was acquired by the Städel in Frankfurt. When Nazis plundered the museum in 1937, it was seized by Hermann Göring, who auctioned it off to a German collector. But here’s where things get interesting: that collector sold it to Siegfried Kramarsky, a Jewish banker who fled the Holocaust for New York in 1938. It’s remarkable, isn’t it? That the painting wound up, after all that, in Jewish hands, and directly from a Göring associate?” Mira fingered her headphones. She seemed suddenly shy. “I suppose I think we need God for the same reason we need art.” “Because it’s nice to look at?” “No.” Mira smiled. “Because it shows us what’s possible.

merci à tous les connards, les esprits stériles, les têtes vides et les créateurs d'étrons qui cherchent à faire bloquer les vidéos de ‪#‎NO_VASELINE_FATWA‬ sur Youtube en les signalant comme contenu abusif sachez que c'est des vidéos protégées dans mon disque dur, sur DCP et surtout dans le coeur des fans & que la révolution est inéluctablement en route :) et puis je vais sortir un DVD et un BLURAY collector de la série dans quelques semaines pour terminer le blitzkrieg No Vaseline Fatwa. je renonce à mes droits d'auteur sur No Vaseline Fatwa, ca appartient à ceux qui veulent la propager. donc fuck la pensée unique. vive Orwell. Vive Guy Fawkes. Fuck 1984 (ou l'inverse) à ces connards qui se sont concertés massivement pour bloquer ces vidéos, je dédie l'épisode #3 de K7al Rass pour trouver un sens à leur vie et une recette de cuisine originale... merci pour la liberté de création, merci pour la bêtise, merci pour l'art propre, merci de me faire de la pub gratuitement... et pour ceux qui veulent No Vaseline Fatwa 2. ils faut partager et téléchargera saison#1 et comme dit Gi Scott-heron : The Revolution Won't be...

As M. I. Finley11 points out with regard to ancient Greece, it was a culture that reached the pinnacle of artistic achievement, yet totally lacked museums: “Art was meshed in with daily living, not set apart for occasional leisure time or for the enjoyment of rich collectors and aesthetes.” In contrast, musical performance for the purpose of mere entertainment was seen by the ancients not simply as a lesser art but in fact as a low art. Tacitus, for example, describes as a “national disgrace” 11 the emperor Nero’s desire to perform music on a public stage. In fact, the “connectedness principle” is not very far from Aristotle’s 11 ancient view of the complicated, various roles of music, which included alleviating toils and pains, providing refreshment, strengthening the soul, firming the character, and—yes, but almost as an afterthought—also offering entertainment. If we have forgotten all but the last of these roles in our media-dominated commercial culture, we need do nothing more than listen with open ears to the pathos and intrinsic dignity of the work song to be called back to this richer view of the role of music.

lawyer married a woman who had previously divorced ten husbands. On their wedding night, she told her new husband, "Please be gentle, I'm still a virgin." "What?" said the puzzled groom. "How can that be if you've been married ten times?" "Well, Husband #1 was a sales representative. He kept telling me how great it was going to be. Husband #2 was in software services. He was never really sure how it was supposed to function, but he said he'd look into it and get back to me. Husband #3 was from field services. He said everything checked out diagnostically, but he just couldn't get the system up. Husband #4 was in telemarketing. Even though he knew he had the order, he didn't know when he would be able to deliver. Husband #5 was an engineer. He understood the basic process, but wanted three years to research, implement, and design a new state-of-the-art method. Husband #6 was from finance and administration. He thought he knew how, but he wasn't sure whether it was his job or not. Husband #7 was in marketing. Although he had a nice product, he was never sure how to position it. Husband #8 was a psychologist. All he ever did was talk about it. Husband #9 was a gynecologist. All he did was look at it. Husband #10 was a stamp collector. All he ever did was...God, I miss him! But now that I've married you, I'm really excited!" "Good," said the new husband, "but, why?" "You're a lawyer. This time I know I'm going to get really screwed! ♦◊♦◊♦◊♦

Are you jealous?” I told Swann that I had never felt jealousy, that I did not even know what it was. “Well, I congratulate you! When you’re a little bit jealous, it’s not altogether unpleasant, from two points of view. For one thing, because it enables people who are not inquisitive to interest themselves in the lives of other people, or at least of one other person. And then because it gives you quite a good sense of the sweetness of possession, of getting into a carriage with a woman, of not letting her go off alone. But that’s only in the very early stages of the disease, or when the cure is almost complete. In between, it’s the most frightful of tortures. Moreover, I have to say that I’ve seldom experienced even the two forms of sweetness I’m referring to; the first by the fault of my nature, which is incapable of any very prolonged reflection; the second because of circumstances, by the fault of the woman, I mean of the women, of whom I’ve been jealous. But that doesn’t matter. Even when you no longer care about things, it still means something that you did so once, because it was always for reasons that escaped other people. We feel that the memory of those feelings is only in us; it’s into ourselves we must return in order to look at it. Don’t make too much fun of the idealist jargon, but what I mean is that I’ve loved life and have loved the arts. Well, now that I’m a bit too tired to live with other people, these old feelings that I’ve had, so personal to myself, seem very precious to me, which is the obsession of every collector.

I insist on the following point: people should finally stop confusing philosophical labourers and scientific people in general with philosophers - that in this particular matter we strictly assign "to each his due" and do not give too much to the former and much too little to the latter. It may be that the education of a real philosopher requires that he himself has stood for a while on all of those steps where his servants, the scientific labourers in philosophy, remain - and must remain. Perhaps he must himself have been critic and sceptic and dogmatist and historian and, in addition, poet and collector and traveller and solver of riddles and moralist and prophet and "free spirit" and almost everything, in order to move through the range of human worth and feelings of value and to be able to look with a variety of different eyes and consciences from the heights into every distance, from the depths into every height, from the corners into every expanse. But all these things are only pre-conditions for his task: the task itself seeks something different - it demands that he create values. Those philosophical labourers on the noble model of Kant and Hegel have to establish some large collection of facts or other concerning estimates of value - that is, earlier statements of value, creations of value which have become dominant and for a while have been called "truths." They have to press these into formulas, whether in the realm of logic or politics (morality) or art. The task of these researchers is to make everything that has happened and which has been valued up to now clear, easy to imagine, intelligible, and manageable, to shorten everything lengthy, even "time" itself, and to overpower the entire past, a huge and marvellous task, in whose service every sophisticated pride and every tough will can certainly find satisfaction. But the real philosophers are commanders and lawgivers: they say "That is how it should be!" They determine first the "Where to?" and the "What for?" of human beings, and, as they do this, they have at their disposal the preliminary work of all philosophical labourers, all those who have overpowered the past - they reach with their creative hands to grasp the future. In that process, everything which is and has been becomes a means for them, an instrument, a hammer. Their "knowing" is creating; their creating is establishing laws; their will to truth is - will to power. - Are there such philosophers nowadays? Have there ever been such philosophers? Is it not necessary that there be such philosophers?....

I have a friend—she is the kind of friend that all of us have—who is a true believer in astrology and psychic phenomenon, a devotee of reiki, a collector of crystals, a woman who occasionally sends me emails with cryptic titles and a single line of text asking, for example, the time of day that I was born or whether I have any mental associations with moths. None that come immediately to mind, I write back. But then of course moths are suddenly everywhere: on watercolor prints in the windows of art shops, in Virginia Woolf’s diaries, on the pages of the illustrated children’s book I read to my nieces. This woman, whom I have known since I was very young, also experiences strange echoes and patterns, but for her they are not the result of confirmation bias or the brain’s inclination toward narrative. She believes that the patterns are part of the very fabric of reality, that they refer to universal archetypes that express themselves in our individual minds. Transcendent truths, she has told me many times, cannot be articulated intellectually because higher thought is limited by the confines of language. These larger messages from the universe speak through our intuitions, and we modern people have become so completely dominated by reason that we have lost this connection to instinct. She claims to receive many of these messages through images and dreams. In a few cases she has predicted major global events simply by heeding some inchoate sensation—an aching knee, the throbbing of an old wound, a general feeling of unease. This woman is a poet, and I tend to grant her theories some measure of poetic license. It seems to me that beneath all the New Agey jargon, she is speaking of the power of the unconscious mind, a realm that is no doubt elusive enough to be considered a mystical force in its own right. I have felt its power most often in my writing, where I’ve learned that intuition can solve problems more efficiently than logical inference. This was especially true when I wrote fiction. I would often put an image in a story purely by instinct, not knowing why it was there, and then the image would turn out to be the perfect metaphor for some conflict that emerged between the characters—again, something that was not planned deliberately—as though my subconscious were making the connections a step or two ahead of my rational mind. But these experiences always took place within the context of language, and I couldn’t understand what it would mean to perceive knowledge outside that context. I’ve said to my friend many times that I believe in the connection between language and reason, that I don’t believe thought is possible without it. But like many faith systems, her beliefs are completely self-contained and defensible by their own logic. Once, when I made this point, she smiled and said, “Of course, you’re an Aquarius.

It was tragic enough for the average citizen to know that bloodsucking monsters known as tax collectors already existed; to be informed that there were other inhuman bloodsuckers stalking the night as well, desiring to sink their fangs elsewhere than bank accounts, might simply have been too much for people to bear.

Henry Clay Frick (1849-1919), the industrialist and prodigious art collector. It is said that he liked to wander through his gallery at night in quiet contemplation.

The huntsman of the Libyan desert, the discerning art collector, the tolerant intellectual, disappeared, and in their place Hadrian emerged as a model of Roman power responding to perceived threat with absolute ruthlessness. Generosity became irresolution, tolerance turned into suppression, pragmatism into punitively enforced proscription.

I had a friend once who was an art collector,” Clive started. “He said you could tell the real thing from the fakes because of the imperfections. Imitations often looked too perfect. It’s like that in relationships, too, isn’t it?

one-sided dollar banknotes by hand, and exchanged (not sold) the works of art for goods at the same value his dollars depicted. His habit of “spending” his art, exchanging an image of a $100 note for $100 in goods, and even accepting change, got him arrested and prosecuted, but never convicted. It has been noted that the government and Mr Boggs could fund their court cases indefinitely simply by “making money”. But “Boggs bills”, especially the early work that was sought by collectors and museums, increased in value far more dramatically. PAUL KLENK New York

How much the making of a garden, no matter how small, adds to the joy of living, only those who practice the arts and the science can know.

This meant that an object like Brillo Boxes was baptized as ‘art’ if accepted by museum and gallery directors and purchased by art collectors.

Sang Ly, we are literature—our lives, our hopes, our desires, our despairs, our passions, our strengths, our weaknesses. Stories express our longing not only to make a difference today but to see what is possible for tomorrow. Literature has been called a handbook for the art of being human. So, yes. It will do that.

Collectors existed somewhere for just about everything, even useless and ugly items, which the android dog thought described much of the folk art, especially the figurines of overly large women with no noses. This apparently made them even more valuable to some.

We are always interested in the opinions of critics, collectors, and certain dealers that we respect. Most criticism is not very interesting to us. Some of it is too academic for us, especially in art magazines. We listen but don’t rely on the opinions of others for acquiring emerging art. Our own eyes, hearts, and minds are our guide.

On January 1, 1991, a new, 96-page state law goes into effect: H.B. 1750, passed last year [1989]." It requires all Oklahoma residents to declare everything they own to the tax collector, everything: guns, coins, art collections, furniture, business equipment, bank accounts, household furniture, etc. Forms will be distributed through banks. Any taxpayer who refuses to fill out the form and submit it to the tax assessor by March 15—the ides of March—will be visited by an assessor.

The Duke of Moreland was an avid collector of anything rare and valuable. He had a particular attraction to those priceless objects that were one of a kind - highly coveted treasures that, if possess, would earn him the envy and admiration of other men. Indeed, many said his single-minded pursuit of such rarities pushed the limits of obsession and bordered on the edge of mania.

Who hasn’t thought about killing themselves, as a kid? How can you grow up in this world and not think about it? It’s an option taken by a lot of successful people: Ernest Hemingway, Socrates, Jesus. Even before high school, I thought that it would be a cool thing to do if I ever got really famous. If I kept making my maps, for instance, and some art collector came across them and decided to make them worth hundreds of thousands of dollars, if I killed myself at the height of that, they’d be worth millions of dollars, and I wouldn’t be responsible for them anymore. I’d have left behind something that spoke for itself, like the Brooklyn Bridge.

Originality is a peculiarly modern obsession,” she said. “It’s a quantifiable aspect of art that can be asserted and disproved and debated by scholars and appraisers and collectors who treat art as a commodity or a currency. It would not have been a concern for Giotto. It is unrelated to beauty or truth, although it has become a substitute for those qualities. Thus, modern art.

Jahangir was, after all, an enormously sensitive, curious and intelligent man: observant of the world around him and a keen collector of its curiosities, from Venetian swords and globes to Safavid silks, jade pebbles and even narwhal teeth. A proud inheritor of the Indo-Mughal tradition of aesthetics and knowledge, as well as maintaining the Empire and commissioning great works of art, he took an

Ten shockingly arty events What arty types like to call a ‘creative tension’ exists in art and music, about working right at the limits of public taste. Plus, there’s money to be made there. Here’s ten examples reflecting both motivations. Painting: Manet’s Breakfast on the Lawn, featuring a group of sophisticated French aristocrats picnicking outside, shocked the art world back in 1862 because one of the young lady guests is stark naked! Painting: Balthus’s Guitar Lesson (1934), depicting a teacher fondling the private parts of a nude pupil, caused predictable uproar. The artist claimed this was part of his strategy to ‘make people more aware’. Music: Jump to 1969 when Jimi Hendrix performed his own interpretation of the American National Anthem at the hippy festival Woodstock, shocking the mainstream US. Film: In 1974 censors deemed Night Porter, a film about a love affair between an ex-Nazi SS commander and his beautiful young prisoner (featuring flashbacks to concentration camp romps and lots of sexy scenes in bed with Nazi apparel), out of bounds. Installation: In December 1993 the 50-metre-high obelisk in the Place Concorde in the centre of Paris was covered in a giant fluorescent red condom by a group called ActUp. Publishing: In 1989 Salman Rushdie’s novel Satanic Verses outraged Islamic authorities for its irreverent treatment of Islam. In 2005 cartoons making political points about Islam featuring the prophet Mohammed likewise resulted in riots in many Muslim cities around the world, with several people killed. Installation: In 1992 the soon-to-be extremely rich English artist Damien Hirst exhibited a 7-metre-long shark in a giant box of formaldehyde in a London art gallery – the first of a series of dead things in preservative. Sculpture: In 1999 Sotheby’s in London sold a urinoir or toilet-bowl-thing by Marcel Duchamp as art for more than a million pounds ($1,762,000) to a Greek collector. He must have lost his marbles! Painting: Also in 1999 The Holy Virgin Mary, a painting by Chris Ofili representing the Christian icon as a rather crude figure constructed out of elephant dung, caused a storm. Curiously, it was banned in Australia because (like Damien Hirst’s shark) the artist was being funded by people (the Saatchis) who stood to benefit financially from controversy. Sculpture: In 2008 Gunther von Hagens, also known as Dr Death, exhibited in several European cities a collection of skinned corpses mounted in grotesque postures that he insists should count as art.

A great painting should be more than a sum of technical beauty. At the Barnes, we were taught to look for delicacy, subtlety, power, surprise, grace, firmness, complexity, and drama—but to do so with a scientist’s eye. This was an important point. As an art crime investigator, or an undercover agent posing as a collector, I would have to evaluate and expound upon a wide variety of art, regardless of whether I liked a particular piece.

Really?” I ask, startled. “I thought they viewed the male part of your bisexuality as something to be hidden in the attic with all the pesky dust collectors like books and art.