Art Exhibition Quotes

Many well-meaning Dutch people have told me in all earnestness that nothing in Islamic culture incites abuse of women, that this is just a terrible misunderstanding. Men all over the world beat their women, I am constantly informed. In reality, these Westerners are the ones who misunderstand Islam. The Quaran mandates these punishments. It gives a legitimate basis for abuse, so that the perpetrators feel no shame and are not hounded by their conscience of their community. I wanted my art exhibit to make it difficult for people to look away from this problem. I wanted secular, non-Muslim people to stop kidding themselves that "Islam is peace and tolerance.

God, what a ghastly enterprise to be in, though--and what an odd way to achieve success. I'm an exhibitionist who wants to hide, but is unsuccessful at hiding; therefore, somehow I succeed.

At first, then, exhibit the coyness of a maiden,  until the enemy gives you an opening; afterwards emulate the rapidity of a running hare, and it will be too late for the enemy to oppose you.

Nietzsche was the one who did the job for me. At a certain moment in his life,the idea came to him of what he called 'the love of your fate.' Whatever your fate is, whatever the hell happens, you say, 'This is what I need.' It may look like a wreck, but go at it as though it were an opportunity, a challenge. If you bring love to that moment--not discouragement--you will find the strength is there. Any disaster you can survive is an improvement in your character, your stature, and your life. What a privilege! This is when the spontaneity of your own nature will have a chance to flow. Then, when looking back at your life, you will see that the moments which seemed to be great failures followed by wreckage were the incidents that shaped the life you have now. You’ll see that this is really true. Nothing can happen to you that is not positive. Even though it looks and feels at the moment like a negative crisis, it is not. The crisis throws you back, and when you are required to exhibit strength, it comes.

Jonathan had become increasingly disillusioned with living in New York. Something along the lines of: the city, New York fucking City, tedious and boring, its charms as illusory as its facade of authenticity. Its lines were too long. Everything was a status symbol and everything cost too much. There were so many on-trend consumers, standing in lines for blocks to experience a fad dessert, gimmicky art exhibits, a new retail concept store. We were all making such uninspired lifestyle choices. We, including me.

The woman’s essence has always been the most powerful force much like nature has always been Satan’s church. Quote from the Vampire exhibit at Hallands Kulturhistoriska museum 2012

If my trauma were made into an art museum, the most popular exhibit would showcase portraits of every man who has ever raped me, snarling.

Though I remember, sharply, last things. The last book she read. The last play (and film, and concert, and opera, and art exhibition) that we went to together. The last wine she drank, the last clothes she bought. The last weekend away. The last bed we slept in that wasn't ours. The last this, the last that. The last piece of my writing that made her laugh. The last words she wrote herself; the last time she signed her name. The last piece of music I played her when she came home. Her last complete sentence. Her last spoken word.

Let us tell them the painful truth, that most of these works of art are about God, whom we never mention in polite society.

I tried to think of a worse experience I had had in my life, and all I could come up with was a James Franco art exhibit.

When a computer creates art, who is the artist—the computer or the programmer? At MIT, a recent exhibit of highly accomplished algorithmic art had put an awkward spin on the Harvard humanities course: Is Art What Makes Us Human?

If you have walked into a museum recently - whether you did so to attend an art exhibition or to escape from the police - you may have noticed a type of painting known as a triptych. A triptych has three panels, with something different painted on each of the panels. For instance, my friend Professor Reed made a triptych for me, and he painted fire on one panel, a typewriter on another, and the face of a beautiful, intelligent woman on the third. The triptych is entitled What Happened to Beatrice and I cannot look upon it without weeping. I am a writer, and not a painter, but if I were to try and paint a triptych entitled The Baudelaire Orphans' Miserable Experiences at Prufrock Prep, I would paint Mr. Remora on one panel, Mrs. Brass on another, and a box of staples on the third, and the results would make me so sad that between the Beatrice triptych and the Baudelaire triptych I would scarcely stop weeping all da

I was reminded of a painter friend who had started her career by depicting scenes from life, mainly deserted rooms, abandoned houses and discarded photographs of women. Gradually, her work became more abstract, and in her last exhibition, her paintings were splashes of rebellious color, like the two in my living room, dark patches with little droplets of blue. I asked about her progress from modern realism to abstraction. Reality has become so intolerable, she said, so bleak, that all I can paint now are the colors of my dreams.

You don’t get over sorrow; you work your way right to the centre of it.

Free thought is a passion; it is much rather the thoughts than ourselves that are free.

Elsewhere there are no mobile phones. Elsewhere sleep is deep and the mornings are wonderful. Elsewhere art is endless, exhibitions are free and galleries are open twenty-four hours a day. Elsewhere alcohol is a joke that everybody finds funny. Elsewhere everybody is as welcoming as they’d be if you’d come home after a very long time away and they’d really missed you. Elsewhere nobody stops you in the street and says, are you a Catholic or a Protestant, and when you say neither, I’m a Muslim, then says yeah but are you a Catholic Muslim or a Protestant Muslim? Elsewhere there are no religions. Elsewhere there are no borders. Elsewhere nobody is a refugee or an asylum seeker whose worth can be decided about by a government. Elsewhere nobody is something to be decided about by anybody. Elsewhere there are no preconceptions. Elsewhere all wrongs are righted. Elsewhere the supermarkets don’t own us. Elsewhere we use our hands for cups and the rivers are clean and drinkable. Elsewhere the words of the politicians are nourishing to the heart. Elsewhere charlatans are known for their wisdom. Elsewhere history has been kind. Elsewhere nobody would ever say the words bring back the death penalty. Elsewhere the graves of the dead are empty and their spirits fly above the cities in instinctual, shapeshifting formations that astound the eye. Elsewhere poems cancel imprisonment. Elsewhere we do time differently. Every time I travel, I head for it. Every time I come home, I look for it.

When I was fourteen, I had a massive poster on my wall of a giant pop-art mouth advertising a Swiss exhibition of abstract art. My friends and family mocked my pretention, but I loved that poster and the hope it offered of an exciting world of thought beyond the boundaries of stifling Solihull. But one day the poster fell off the wall and the dog pissed all over it, ruining it for ever, while my mother laughed. That poster is what the Alternative Comedy dream meant to me - the possibility of a better world. And now it is covered in dog's piss.

Poshlust,” or in a better transliteration poshlost, has many nuances, and evidently I have not described them clearly enough in my little book on Gogol, if you think one can ask anybody if he is tempted by poshlost. Corny trash, vulgar clichés, Philistinism in all its phases, imitations of imitations, bogus profundities, crude, moronic, and dishonest pseudo-literature—these are obvious examples. Now, if we want to pin down poshlost in contemporary writing, we must look for it in Freudian symbolism, moth-eaten mythologies, social comment, humanistic messages, political allegories, overconcern with class or race, and the journalistic generalities we all know. Poshlost speaks in such concepts as “America is no better than Russia” or “We all share in Germany’s guilt.” The flowers of poshlost bloom in such phrases and terms as “the moment of truth,” “charisma,” “existential” (used seriously), “dialogue” (as applied to political talks between nations), and “vocabulary” (as applied to a dauber). Listing in one breath Auschwitz, Hiroshima, and Vietnam is seditious poshlost. Belonging to a very select club (which sports one Jewish name—that of the treasurer) is genteel poshlost. Hack reviews are frequently poshlost, but it also lurks in certain highbrow essays. Poshlost calls Mr. Blank a great poet and Mr. Bluff a great novelist. One of poshlost’s favorite breeding places has always been the Art Exhibition; there it is produced by so-called sculptors working with the tools of wreckers, building crankshaft cretins of stainless steel, Zen stereos, polystyrene stinkbirds, objects trouvés in latrines, cannonballs, canned balls. There we admire the gabinetti wall patterns of so-called abstract artists, Freudian surrealism, roric smudges, and Rorschach blots—all of it as corny in its own right as the academic “September Morns” and “Florentine Flowergirls” of half a century ago. The list is long, and, of course, everybody has his bête noire, his black pet, in the series. Mine is that airline ad: the snack served by an obsequious wench to a young couple—she eyeing ecstatically the cucumber canapé, he admiring wistfully the hostess. And, of course, Death in Venice. You see the range.

Art transcends selfish and obsessive limitations of personality and can enlarge the sensibility of its consumer. It is a kind of goodness by proxy. Most of all it exhibits to us the connection, in human beings, of clear realistic vision with compassion. The realism of a great artist is not a photographic realism, it is essentially both pity and justice.

It was the general opinion of ancient nations, that the divinity alone was adequate to the important office of giving laws to men... and modern nations, in the consecrations of kings, and in several superstitious chimeras of divine rights in princes and nobles, are nearly unanimous in preserving remnants of it... Is the jealousy of power, and the envy of superiority, so strong in all men, that no considerations of public or private utility are sufficient to engage their submission to rules for their own happiness? Or is the disposition to imposture so prevalent in men of experience, that their private views of ambition and avarice can be accomplished only by artifice? — … There is nothing in which mankind have been more unanimous; yet nothing can be inferred from it more than this, that the multitude have always been credulous, and the few artful. The United States of America have exhibited, perhaps, the first example of governments erected on the simple principles of nature: and if men are now sufficiently enlightened to disabuse themselves of artifice, imposture, hypocrisy, and superstition, they will consider this event as an era in their history. Although the detail of the formation of the American governments is at present little known or regarded either in Europe or America, it may hereafter become an object of curiosity. It will never be pretended that any persons employed in that service had any interviews with the gods, or were in any degree under the inspiration of heaven, any more than those at work upon ships or houses, or labouring in merchandize or agriculture: it will for ever be acknowledged that these governments were contrived merely by the use of reason and the senses. As Copley painted Chatham, West, Wolf, and Trumbull, Warren and Montgomery; as Dwight, Barlow, Trumbull, and Humphries composed their verse, and Belknap and Ramzay history; as Godfrey invented his quadrant, and Rittenhouse his planetarium; as Boylston practised inoculation, and Franklin electricity; as Paine exposed the mistakes of Raynal, and Jefferson those of Buffon, so unphilosophically borrowed from the Recherches Philosophiques sur les Américains those despicable dreams of de Pauw — neither the people, nor their conventions, committees, or sub-committees, considered legislation in any other light than ordinary arts and sciences, only as of more importance. Called without expectation, and compelled without previous inclination, though undoubtedly at the best period of time both for England and America, to erect suddenly new systems of laws for their future government, they adopted the method of a wise architect, in erecting a new palace for the residence of his sovereign. They determined to consult Vitruvius, Palladio, and all other writers of reputation in the art; to examine the most celebrated buildings, whether they remain entire or in ruins; compare these with the principles of writers; and enquire how far both the theories and models were founded in nature, or created by fancy: and, when this should be done, as far as their circumstances would allow, to adopt the advantages, and reject the inconveniences, of all. Unembarrassed by attachments to noble families, hereditary lines and successions, or any considerations of royal blood, even the pious mystery of holy oil had no more influence than that other of holy water: the people universally were too enlightened to be imposed on by artifice; and their leaders, or more properly followers, were men of too much honour to attempt it. Thirteen governments thus founded on the natural authority of the people alone, without a pretence of miracle or mystery, which are destined to spread over the northern part of that whole quarter of the globe, are a great point gained in favour of the rights of mankind. [Preface to 'A Defence of the Constitutions of the United States of America', 1787]

Behind every work of art lies the enormous pretension of exhibiting one's vision of the world. If such obvious arrogance is not counterbalanced by the tribulations of doubt, all that remains is a monster who is to art what a fanatic is to faith.

Art is nothing tangible. We cannot call a painting ‘art’ as the words ‘artifact’ and ‘artificial’ imply. The thing made is a work of art made by art, but not itself art. The art remains in the artist and is the knowledge by which things are made.

On the platform in the opposite corner of the bar, the jazz ensemble was playing a perky little tune. Admittedly, when the Count had first encountered jazz, he hadn’t much of an affinity for it. He had been raised to appreciate music of sentiment and nuance, music that rewarded patience and attention with crescendos and diminuendos, allegros and adagios artfully arranged over four whole movements – not a fistful of notes crammed higgledy-piggledy into thirty measures. And yet… And yet, the art form had grown on him. Like the American correspondents, jazz seemed a naturally gregarious force – one that was a little unruly and prone to say the first thing that popped into its head, but generally of good humor and friendly intent. In addition, it seemed decidedly unconcerned with where it had been or where it was going – exhibiting somehow simultaneously the confidence of the master and the inexperience of the apprentice. Was there any wonder that such an art had failed to originate in Europe?

Again, of all the things that come to us by nature we first acquire the potentiality and later exhibit the activity (this is plain in the case of the senses; for it was not by often seeing or often hearing that we got these senses, but on the contrary we had them before we used them, and did not come to have them by using them); but the virtues we get by first exercising them, as also happens in the case of the arts as well. For the things we have to learn before we can do them, we learn by doing them, e.g. men become builders by building and lyreplayers by playing the lyre; so too we become just by doing just acts, temperate by doing temperate acts, brave by doing brave acts.

Last Sunday I went to an art exhibition, among the visitors there was a guy with one leg missing. He had two crutches with which he moved nimbly among the visitors. I looked at him in admiration, wondering how easy it looked. Then it occurred to me that many of us are like that, we have got used to living without pieces of our heart and soul and we go on as if nothing had happened. And, looking at us from the outside, it seems easy.

Grief was a kind of illness, he maintained, and ran a course as predictable as measles or the common cold. Its fever always abated, given time and management, leaving the luckier among them with scars where love had been.

Of all the various kinds of sexual intercourse, this has the least to recommend it. As an amusement, it is too fleeting; as an occupation, it is too wearing; as a public exhibition, there is no money in it. It is unsuited to the drawing room, and in the most cultured society it has long been banished from the social board. It has at last, in our day of progress and improvement, been degraded to brotherhood with flatulence. Among the best bred, these two arts are now indulged in only private--though by consent of the whole company, when only males are present, it is still permissible, in good society, to remove the embargo on the fundamental sigh.

Nowadays, we don't... go to an exhibition and see a piece of art directly. What we see is... a concept of what a curator perceives as art. Simply put, a true artist is not the director, but the curator. Everything depends on the curator's choice.

To approach a city, or even a city neighborhood, as if it were a larger architectural problem, capable of being given order by converting it into a disciplined work of art, is to make the mistake of attempting to substitute art for life. The results of such profound confusion between art and life are neither life nor art. They are taxidermy. In its place, taxidermy can be a useful and decent craft. However, it goes too far when the specimens put on display are exhibitions of dead, stuffed cities.

I had already imagined how it would be next year. I'd be at Columbia, and Marcus would move to Manhattan, or maybe one of the outer boroughs. I would study hard, and he would make money playing gigs at dingy bars. We'd spend countless hours going to clubs to see bands on the verge, touring obscure art exhibits, and sipping pot after pot of black coffee at hole-in-the-wall cafes. Many more hours would be spent lounging under the covers. We would never run out of witty and fascinating things to say to each other. Eventually, he'd apply to Columbia, and we'd be the sort of well-educated, cosmopolitan couple that confuse the suburbumpkins who never leave Pineville.

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.

Art is not like other culture because its success is not made by its audience. The public fills concert halls and cinemas every day, we read novels by the millions and buy records by the billions. We the people, affect the making and the quality of most of our culture, but not our art. The Art we look at is made by only a select few. A small group create, promote, purchase, exhibit and decide the success of Art. Only a few hundred people in the world have a real say. When you go to an Art gallery you are simply a tourist looking at a trophy cabinet of a few millionaries.

Now, quite apart from the fact that, from the point of view of the Earther, socialism suffers the devastating liability of only exhibiting internal contradictions when you are trying to use it as an adjunct to your own stupidity (unlike capitalism, which again, from the point of view of the Earther, happily has them built in from the start), it is the case that because Free Enterprise got there first and set up the house rules, it will always stay at least one kick ahead of its rivals.

The desire to make art begins early. Among the very young this is encouraged (or at least indulged as harmless) but the push toward a 'serious' education soon exacts a heavy toll on dreams and fantasies....Yet for some the desire persists, and sooner or later must be addressed. And with good reason: your desire to make art -- beautiful or meaningful or emotive art -- is integral to your sense of who you are. Life and Art, once entwined, can quickly become inseparable; at age ninety Frank Lloyd Wright was still designing, Imogen Cunningham still photographing, Stravinsky still composing, Picasso still painting. But if making art gives substance to your sense of self, the corresponding fear is that you're not up to the task -- that you can't do it, or can't do it well, or can't do it again; or that you're not a real artist, or not a good artist, or have no talent, or have nothing to say. The line between the artist and his/her work is a fine one at best, and for the artist it feels (quite naturally) like there is no such line. Making art can feel dangerous and revealing. Making art is dangerous and revealing. Making art precipitates self-doubt, stirring deep waters that lay between what you know you should be, and what you fear you might be. For many people, that alone is enough to prevent their ever getting started at all -- and for those who do, trouble isn't long in coming. Doubts, in fact, soon rise in swarms: "I am not an artist -- I am a phony. I have nothing worth saying. I'm not sure what I'm doing. Other people are better than I am. I'm only a [student/physicist/mother/whatever]. I've never had a real exhibit. No one understands my work. No one likes my work. I'm no good. Yet viewed objectively, these fears obviously have less to do with art than they do with the artist. And even less to do with the individual artworks. After all, in making art you bring your highest skills to bear upon the materials and ideas you most care about. Art is a high calling -- fears are coincidental. Coincidental, sneaky and disruptive, we might add, disguising themselves variously as laziness, resistance to deadlines, irritation with materials or surroundings, distraction over the achievements of others -- indeed anything that keeps you from giving your work your best shot. What separates artists from ex-artists is that those who challenge their fears, continue; those who don't, quit. Each step in the artmaking process puts that issue to the test.

In another part of the city in a ramshackle gallery that had to be reached through a narrow stairway was an exhibition of “degenerate art” which Dr. Goebbels had organized to show the people what Hitler was rescuing them from. It contained a splendid selection of modern paintings—Kokoschka, Chagall and expressionist and impressionist works. The day I visited it, after panting through the sprawling House of German Art, it was crammed, with a long line forming down the creaking stairs and out into the street. In fact, the crowds besieging it became so great that Dr. Goebbels, incensed and embarrassed, soon closed it.

The portrait-photograph is a closed field of forces. Four image-repertoires intersect here, oppose and distort each other. In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art.

The contentment of innumerable people can be destroyed in a generation by the withering touch of our civilisation; the local market is flooded by a production in quantity with which the responsible maker of art cannot complete; the vocational structure of society, with all its guild organisation and standards of workmanship, is undermined; the artist is robbed of his art and forced to find himself a "job"; until finally the ancient society is industrialised and reduced to the level of such societies as ours in which business takes precedence of life. Can one wonder that Western nations are feared and hated by other people, not alone for obvious political or economic reasons, but even more profoundly and instinctively for spiritual reasons?

Many works would be senseless, real junk, but for the fact that, being art, they are exhibited because they have a message of almost religious importance, interpreting man and his world - yes, perhaps even as junk.

But fear of the overall damage that would be done—concern over the recently opened art exhibition in the Public Gardens and the tremendous losses with which the hotels, the shops, the entire, multifaceted tourist trade would be threatened in case of panic and loss of confidence—proved stronger in the city than the love of truth and respect for international covenants: it made the authorities stick stubbornly to their policy of secrecy and denial.

Thou sayest, Men cannot admire the sharpness of thy wits.- Be it so: but there are many other things of which thou canst not say, I am not formed for them by nature. Show those qualities then which are altogether in thy power, sincerity, gravity, endurance of labour, aversion to pleasure, contentment with thy portion and with few things, benevolence, frankness, no love of superfluity, freedom from trifling magnanimity. Dost thou not see how many qualities thou art immediately able to exhibit, in which there is no excuse of natural incapacity and unfitness, and yet thou still remainest voluntarily below the mark? Or art thou compelled through being defectively furnished by nature to murmur, and to be stingy, and to flatter, and to find fault with thy poor body, and to try to please men, and to make great display, and to be so restless in thy mind? No, by the gods: but thou mightest have been delivered from these things long ago. Only if in truth thou canst be charged with being rather slow and dull of comprehension, thou must exert thyself about this also, not neglecting it nor yet taking pleasure in thy dulness.

There is nothing in which mankind have been more unanimous [founding nations upon superstition]; yet nothing can be inferred from it more than this, that the multitude have always been credulous, and the few artful. The United States of America have exhibited, perhaps, the first example of governments erected on the simple principles of nature: and if men are now sufficiently enlightened to disabuse themselves of artifice, imposture, hypocrisy, and superstition, they will consider this event as an era in their history... [T]he detail of the formation of the American governments... may hereafter become an object of curiosity. It will never be pretended that any persons employed in that service had any interviews with the gods, or were in any degree under the inspiration of heaven... it will for ever be acknowledged that these governments were contrived merely by the use of reason and the senses... Thirteen governments thus founded on the natural authority of the people alone, without a pretence of miracle or mystery, which are destined to spread over the northern part of that whole quarter of the globe, are a great point gained in favour of the rights of mankind. [A Defence of the Constitutions of the United States of America, 1787]

To master any skill, you must first choose a task; then do it over and over again until the activity becomes second nature; and finally, push through the times when you fail, exhibiting even greater focus as you repeat the action until you’ve done it right.

To my lovely starling, Maybe there are magical words that will make you understand, but if so, I do not know them. Words are your domain. I've always been better with pictures. I fear you think I am a monster. It's true I've disrupted many graves. The way I see it, the dead are dead. If, after their death, we can learn things from the about the human form - things that will increase the sum of human knowledge and the possibilities of art - what harm is that? After death, new life, new beauty. How can that be wrong? My friends and I have made use of some of the bodies as models. some we sell to surgeons who study them with the hopes of learning something about the frail mechanisms of the human body. I don't know exactly what Dottor de Gradi does in his workshop on the Rialto, and I was as surprised as you were to stumble on it. He couldn't - he wouldn't tell me if your friend's body ended up there. But he did assure me all of his work is focused solely on extending human life. I won't lie. I did it for the money as well. Don Loredan is holding a private exhibition in his palazzo tomorrow. The entry fee was quite steep but two of my paintings were accepted. This could be the beginning for me. I could find my own patrons. I could be more than just a peasant. Tommaso's assistant. So yes; a little for money. But mostly I did for the art. I don't expect these words to change how you feel. I simply want you not to see me as a monster. I don't want to be a monster. Not anymore. Not after meeting you. I know that we disrupted you dear friend's body, and for that I am deeply regretful. But if we had not done so, if I had not lingered in the San Domenico churchyard after standing guard for my friends, you and I might never have met. Meeting you is one thing I will never regret. I hope you like the painting. Consider tit a wedding gift. How stupid of me to let my heart go. It was a lovely fantasy while it lasted, though, wasn't it? Yours, Falco

museums have never existed when art is in good health and creative vitality flourishes. Museums are no more than cemeteries of art, catacombs in which the remains of what were once living things are arranged in sepulchral promiscuity (...) - Théophile Thoré (1861)

In the past year, Jonathan had become increasingly disillusioned with living in New York. Something along the lines of: the city, New York fucking City, tedious and boring, its charms as illusory as its facade of authenticity. Its lines were too long. Everything was a status symbol and everything cost too much. There were so many on-trend consumers, standing in lines for blocks to experience a fad dessert, gimmicky art exhibits, a new retail concept store. We were all making such inspired lifestyle choices. We, including me.

Our hankering for a state of leisure or leisure state is the proof of the fact that most of us are working at a task to which we could never have been called by anyone but a salesman, certainly not by God or by our own natures. Traditional craftsmen whom I have known in the East cannot be dragged away from their work, and will work overtime to their own pecuniary loss. "Why Exhibit Works of Art?

I am convinced that fine art is the subtlest, the most seductive, the most effective instrument of moral propaganda in the world, excepting only the example of personal conduct; and I waive even this exception in favor of the art of the stage, because it works by exhibiting examples of personal conduct made intelligible and moving to crowds of unobservant, unreflecting people to whom real life means nothing.

We are accustomed to understand art to be only what we hear and see in theaters, concerts, and exhibitions, together with buildings, statues, poems, novels. . . . But all this is but the smallest part of the art by which we communicate with each other in life. All human life is filled with works of art of every kind — from cradlesong, jest, mimicry, the ornamentation of houses, dress, and utensils, up to church services, buildings, monuments, and triumphal processions. It is all artistic activity. So that by art, in the limited sense of the word, we do not mean all human activity transmitting feelings, but only that part which we for some reason select from it and to which we attach special importance.

Freeze types sometimes have or appear to have Attention Deficit Disorder [ADD]. They often master the art of changing the internal channel whenever inner experience becomes uncomfortable. When they are especially traumatized or triggered, they may exhibit a schizoid-like detachment from ordinary reality.

Mad! Quite mad!' said Stalky to the visitors, as one exhibiting strange beasts. 'Beetle reads an ass called Brownin', and M'Turk reads an ass called Ruskin; and-' 'Ruskin isn't an ass,' said M'Turk. 'He's almost as good as the Opium-Eater. He says we're "children of noble races, trained by surrounding art." That means me, and the way I decorated the study when you two badgers would have stuck up brackets and Christmas cards. Child of a noble race, trained by surrounding art, stop reading or I'll shove a pilchard down your neck!

Thank you very much too for all the steps you have taken toward the exhibition of the Independents. On the whole I’m very glad that they’ve been put with the other impressionists.

…art owes its continuous evolution to the Apollonian-Dionysian duality…. The two creative tendencies developed alongside one another, usually in fierce opposition, each by its taunts forcing the other to more energetic production, both perpetuating in a discordant concord the agony which the term art but feebly denominates: until at last, by the thaumaturgy (magic or miracle) of a Hellenic act of will, the pair accepted the yoke of marriage and, in this condition, begot Attic tragedy, which exhibits the salient feature of both parents.

Exhibit A: I’m guessing you’re no fan of socialism, which was a founding principle of the Nazi movement. The name “Nazi” is an acronym for the National Socialist German Workers’ Party, which most of today’s Democrat socialists conveniently forget. Actually, that’s an understatement. These people don’t just overlook this truth, they’ve totally rewritten history on the matter. These days, Nazism gets associated with conservatism at the drop of a hat, but historically it stems from the left. Adolf Hitler? An art-loving vegetarian who seized power by wooing voters away from Germany’s Social Democrat and communist parties. Italy’s Benito Mussolini? Raised on Karl Marx’s Das Kapital before starting his career as a left-wing journalist and, later, implementing a deadly fascist regime.

And if you have art, then, as I was saying, in falsifying your promise that you would exhibit Homer, you are not dealing fairly with me. But if, as I believe, you have no art, but speak all these beautiful words about Homer unconsciously under his inspiring influence, then I acquit you of dishonesty, and shall only say that you are inspired. Which do you prefer to be thought, dishonest or inspired? ION:

It’s fine being terribly cynical and ironic when I’m out in the evening and I’m with my mates, but when I want to look at art, I want to have a sincere on-to-one experience with it because I’m a serious artist. I’ve dedicated my life to it. So I go to exhibitions in the morning on my own when I can go, “Hmm,’ and maybe have a little bit of a moment. I have to protect my tender parts from that wicked irony.

It’s a common observation that all science fiction novels say as much about the time of their composition as they do about the future. As they wrote Hard to Be a God, the Strugatsky brothers were working under considerable political pressure. Following Khrushchev’s infamous visit to an exhibition of abstract art in 1962 (“dog shit” was one of his more printable responses) a wave of panicked ideological house-cleaning swept through the Soviet Union’s artistic establishment. For SF writers, as Boris Strugatsky remembers, this resulted in a reminder that the only truly orthodox subject was “the collision of two worlds.

The poem or the discovery exists in two moments of vision: the moment of appreciation as much as that of creation; for the appreciator must see the movement, wake to the echo which was started in the creation of the work. In the moment of appreciation we live again the moment when the creator saw and held the hidden likeness. When a simile takes us aback and persuades us together, when we find a juxtaposition in a picture both odd and intriguing, when a theory is at once fresh and convincing, we do not merely nod over someone else's work. We re-enact the creative act, and we ourselves make the discovery again... ...Reality is not an exhibit for man's inspection, labeled: "Do not touch." There are no appearances to be photographed, no experiences to be copied, in which we do not take part. We re-make nature by the act of discovery, in the poem or in the theorem. And the great poem and the deep theorem are new to every reader, and yet are his own experiences, because he himself re-creates them. They are the marks of unity in variety; and in the instant when the mind seizes this for itself, in art or in science, the heart misses a beat.

A man who had mastered the art of manliness embodied many, if not all, of these manly characteristics: Looks out for and is loyal to his friends and family. Does the right thing, even when it’s not convenient. Is proficient in the manly arts. Treats women with respect and honor. Serves and gives back to his community. Sacrifices for the good of others. Works hard and seldom complains. Exhibits both great courage and tender compassion. Has a confident swagger but isn’t a pompous jerk. Is witty without succumbing to sarcasm. Embraces instead of shirks responsibility. You probably have grandfathers who exemplify this kind of honorable manliness. But something happened in the last fifty years to cause these positive manly virtues and skills to disappear from the current generations of men. Fathers have ceased passing on the art of manliness to their sons, and our culture, nervous to assign any single set of virtues to one sex, has stripped the meaning of manliness of anything laudatory.

This is merely one of the sides of the conspiracy. The other side is that of the spectator who, for want of understanding anything whatever most of the time, consumes his own culture at one remove. He literally consumes the fact that he understands nothing and that there is no necessity in all this except the imperative of culture, of being a part of the integrated circuit of culture. But culture is itself merely an epiphenomenon of global circulation. The idea of art has become rarefied and minimal, leading ultimately to conceptual art, where it ends in the non-exhibition of non-works in non-galleries - the apotheosis of art as non-event. As a corollary, the consumer circulates in all this in order to experience his non- enjoyment of the works.

...If statistics are right, the Jews constitute but one percent of the human race. It suggests a nebulous dim puff of stardust lost in the blaze of the Milky way. properly, the Jew ought hardly to be heard of, but he is heard of, has always been heard of. He is as prominent on the planet as any other people, and his commercial importance is extravagantly out of proportion to the smallness of his bulk. His contributions to the world’s list of great names in literature, science, art, music, finance, medicine, and abstruse learning are also away out of proportion to the weakness of his numbers. He has made a marvelous fight in this world, in all the ages; and had done it with his hands tied behind him. He could be vain of himself, and be excused for it. “The Egyptian, the Babylonian, and the Persian rose, filled the planet with sound and splendor, then faded to dream-stuff and passed away; the Greek and the Roman followed; and made a vast noise, and they are gone; other people have sprung up and held their torch high for a time, but it burned out, and they sit in twilight now, or have vanished. The Jew saw them all, beat them all, and is now what he always was, exhibiting no decadence, no infirmities of age, no weakening of his parts, no slowing of his energies, no dulling of his alert and aggressive mind. All things are mortal but the Jew; all other forces pass, but he remains. What is the secret of his immortality?

I consider it an error in scientific communication that, most of the time, merely the polished and flawless results of natural research are displayed, as in an art show. And exhibit of the finished product alone has many drawbacks and dangers for both its creator and its users. The creator of the product will be only too ready to demonstrate perfection and flawlessness while concealing gaps, uncertainties and discordant contradictions of his insight into nature. He thus belittles the meaning of the real process of natural research. The user of the product will not appreciate the rigorous demands made on the natural scientist when the latter has to reveal and describe the secrets of nature in a practical way. He will never learn to think for himself and to cope by himself. Very few drivers have an accurate idea of the sum of human efforts, of the complicated thought processes and operations needed for manufacturing an automobile. Our world would be better off is the beneficiaries of work knew more about the process of work and the existence of the workers, if they did not pluck so thoughtlessly the fruits of labor performed by others.

The prospect of physical discomfort has not deterred anyone from buying, or sitting in, chairs that hurt. A painful chair, however, is more willingly bought and endured if it carries the imprimatur of a museum or some other respectable design authenticator. Randall Jarrell noted, with great wit but no exaggeration, that there are people who "...will sit on a porcupine if you first exhibit it at the Museum of Modern Art and say that it is a chair. In fact, there is nothing, nothing in the whole world that someone won't buy and sit in if you tell him that it is a chair...

We will simply say here that, as a means of contrast with the sublime, the grotesque is, in our view, the richest source that nature can offer art. Rubens so understood it, doubtless, when it pleased him to introduce the hideous features of a court dwarf amid his exhibitions of royal magnificence, coronations and splendid ceremonial. The universal beauty which the ancients solemnly laid upon everything, is not without monotony; the same impression repeated again and again may prove fatiguing at last. Sublime upon sublime scarcely presents a contrast, and we need a little rest from everything, even the beautiful. On the other hand, the grotesque seems to be a halting-place, a mean term, a starting-point whence one rises toward the beautiful with a fresher and keener perception. The salamander gives relief to the water-sprite; the gnome heightens the charm of the sylph.

In the seven years I worked at the Tate Gallery in London about six and a half were spent discussing possible exhibition titles. “I Kid You Not,” “No Word of a Lie,” “It’s a Material World,” were all discussed at some time or another as potential names for a show. A typical “titles meeting” would involve about fifteen people, thirteen of whom remained mute, other than to say “no” or “absolutely not,” while a couple of optimistic individuals made suggestions. It was ridiculous, of course, but it does highlight a central tension in the art world: public engagement versus scholarship.

But the more shrewdly and earnestly we study the histories of men, the less ready shall we be to make use of the word ‘artificial.’ Nothing in the world has ever been artificial. Many customs, many dresses, many works of art are branded with artificiality because the exhibit vanity and self-consciousness: as if vanity were not a deep and elemental thing, like love and hate and the fear of death. Vanity may be found in darkling deserts, in the hermit and in the wild beasts that crawl around him. It may be good or evil, but assuredly it is not artificial: vanity is a voice out of the abyss.

In the twenty-first century the techniques of the political technologists have become centralized and systematized, coordinated out of the office of the presidential administration, where Surkov would sit behind a desk on which were phones bearing the names of all the “independent” party leaders, calling and directing them at any moment, day or night. The brilliance of this new type of authoritarianism is that instead of simply oppressing opposition, as had been the case with twentieth-century strains, it climbs inside all ideologies and movements, exploiting and rendering them absurd. One moment Surkov would fund civic forums and human rights NGOs, the next he would quietly support nationalist movements that accuse the NGOs of being tools of the West. With a flourish he sponsored lavish arts festivals for the most provocative modern artists in Moscow, then supported Orthodox fundamentalists, dressed all in black and carrying crosses, who in turn attacked the modern art exhibitions. The Kremlin’s idea is to own all forms of political discourse, to not let any independent movements develop outside of its walls. Its Moscow can feel like an oligarchy in the morning and a democracy in the afternoon, a monarchy for dinner and a totalitarian state by bedtime.

The fine arts are one of the most sensitive mirrors of society and culture of which they are an important part. What society and culture are, such will their fine arts be. If the culture is predominantly sensate, sensate also will be its dominant fine arts. If the culture is unintegrated, chaotic and eclectic also will be its fine arts. Since contemporary Western culture is predominantly sensate, and since the crisis consists in the disintegration of its dominant supersystem, so the contemporary crisis in the fine arts must also exhibit a desintegration of the sensate form of our painting and sculpture, music, literature, drama and architecture.

By and large the literature of a democracy will never exhibit the order, regularity, skill, and art characteristic of aristocratic literature; formal qualities will be neglected or actually despised. The style will often be strange, incorrect, overburdened, and loose, and almost always strong and bold. Writers will be more anxious to work quickly than to perfect details. Short works will be commoner than long books, wit than erudition, imagination than depth. There will be a rude and untutored vigor of thought with great variety and singular fecundity. Authors will strive to astonish more than to please, and to stir passions rather than to charm taste.

The modern mind is like the eye of a man who is too tired to see the difference between blue and green. It fails in the quality that is truly called distinction; and,being incapable of distinction, it falls back on generalisation. The man, instead of having the sense to say he is tired, says he is emancipated and enlightened and liberal and universal.... ...we find it less trouble to let in a jungle of generalisations than to keep watch upon a logical frontier. But this shapeless assimilation is not only found in accepting things in the lump; it is also found in condemning them in the lump. When the same modern mind does begin to be intolerant, it is just as universally intolerant as it was universally tolerant. It sends things in batches to the gallows just as it admitted them in mobs to the sanctuary. It cannot limit its limitations any more than its license....There are...lunatics now having power to lay down the law, who have somehow got it into their heads that any artistic representation of anything wicked must be forbidden as encouraging wickedness. This would obviously be a veto on any tragedy and practically on any tale. But a moment's thought...would show them that this is simply an illogical generalisation from the particular problem of sex. All dignified civilisations conceal sexual things, for the perfectly sensible reason that their mere exhibition does affect the passions. But seeing another man forge a cheque does not make me want to forge a cheque. Seeing the tools for burgling a safe does not arouse an appetite for being a burglar. But the intelligence in question cannot stop itself from stopping anything. It is automatically autocratic; and its very prohibition proceeds in a sort of absence of mind. Indeed, that is the most exact word for it; it is emphatically absence of mind. For the mind exists to make those very distinctions and definitions which these people refuse. They refuse to draw the line anywhere; and drawing a line is the beginning of all philosophy, as it is the beginning of all art. They are the people who are content to say that what is sauce for the goose is sauce for the gander, and are condemned to pass their lives in looking for eggs from the cock as well as the hen.

Much will have been gained for aesthetics once we have succeeded in apprehending directly — rather than merely ascertaining — that art owes its continuous evolution to the Apollinian-Dionysian duality, even as the propagation of the species depends on the duality of the sexes, their constant conflicts and periodic acts of reconciliation. I have borrowed my adjectives from the Greeks, who developed their mystical doctrines of art through plausible embodiments, not through purely conceptual means. It is by those two art sponsoring deities, Apollo and Dionysus, that we are made to recognize the tremendous split, as regards both origins and objectives, between the plastic, Apollinian arts and the nonvisual art of music inspired by Dionysus. The two creative tendencies developed alongside one another, usually in fierce opposition, each by its taunts forcing the other to more energetic production, both perpetuating in a discordant concord that agon which the term art but feebly denominates: until at last, by the thaumaturgy of an Hellenic act of will, the pair accepted the yoke of marriage and, in this condition, begot Attic tragedy, which exhibits the salient features of both parents.

It's a difficult path that we tread, us Indie self-publishers, but we're not alone. How many bands practicing in their dad’s garage have heard of a group from the neighbourhood who got signed by a recording company? Or how many artists who love to paint, but are not really getting anywhere with it hear of someone they went to art school with being offered an exhibition in a gallery? How many chefs who love to get creative around food hear of someone else who’s just landed a job with Marco Pierre White? There’s no difference between us and them. There is, however, a huge difference in how everyone else perceives the writer. And there’s a huge difference between all of us – the writers, the musicians, the composers, the chefs, the dance choreographers and to a certain extent the tradesmen - and the rest of society in that no one understands us. It’s a wretched dream to hope that our creativity gets recognised while our family thinks we’re wasting our time when the lawn needs mowing, the deck needs painting and the bedroom needs decorating. It’s acceptable to go into the garage to tinker about with a motorbike, but it’s a waste of a good Sunday afternoon if you go into the garage and practice your guitar, or sit in your study attempting to capture words that have been floating around your brain forever.

I longed for nothing more than to behold a stormy sea, less as a mighty spectacle than as a momentary revelation of the true life of nature; or rather there were for me no mighty spectacles save those which I knew to be not artificially composed for my entertainment, but necessary and unalterable— the beauty of landscapes or of great works of art. I was curious and eager to know only what I believed to be more real than myself, what had for me the supreme merit of showing me a fragment of the mind of a great genius, or of the force or the grace of nature as it appeared when left entirely to itself, without human interference. Just as the beautiful sound of her voice, reproduced by itself on the gramophone, would never console one for the loss of one's mother, so a mechanical imitation of a storm would have left me as cold as did the illuminated fountains at the Exhibition.

Fashioned from nearly one million square feet of glass, the Crystal Palace was 1,851 feet long—a number deliberately chosen to reflect the year of the exhibition—and it boasted six times more floor space than St. Paul’s Cathedral. During its construction, contractors tested the building’s structural integrity by ordering three hundred compliant laborers to jump up and down on the flooring, and by having troops of soldiers march around its bays.

Reading his autobiography many years later, I was astonished to find that Edward since boyhood had—not unlike Isaiah Berlin—often felt himself ungainly and ill-favored and awkward in bearing. He had always seemed to me quite the reverse: a touch dandyish perhaps but—as the saying goes—perfectly secure in his masculinity. On one occasion, after lunch in Georgetown, he took me with him to a renowned local tobacconist and asked to do something I had never witnessed before: 'try on' a pipe. In case you ever wish to do this, here is the form: a solemn assistant produces a plastic envelope and fits it over the amber or ivory mouthpiece. You then clamp your teeth down to feel if the 'fit' and weight are easy to your jaw. If not, then repeat with various stems until your browsing is complete. In those days I could have inhaled ten cigarettes and drunk three Tanqueray martinis in the time spent on such flaneur flippancy, but I admired the commitment to smoking nonetheless. Taking coffee with him once in a shopping mall in Stanford, I saw him suddenly register something over my shoulder. It was a ladies' dress shop. He excused himself and dashed in, to emerge soon after with some fashionable and costly looking bags. 'Mariam,' he said as if by way of explanation, 'has never worn anything that I have not bought for her.' On another occasion in Manhattan, after acting as a magnificent, encyclopedic guide around the gorgeous Andalusia (Al-Andalus) exhibition at the Museum of Modern Art, he was giving lunch to Carol and to me when she noticed that her purse had been lost or stolen. At once, he was at her service, not only suggesting shops in the vicinity where a replacement might be found, but also offering to be her guide and advisor until she had selected a suitable new sac à main. I could no more have proposed myself for such an expedition than suggested myself as a cosmonaut, so what this says about my own heterosexual confidence I leave to others.

You're trying to be charming again," Shelby muttered. "Am I succeeding?" Some questions were best ignored. "I really don't know how to be more succinct, Alan." Was that part of the appeal? he wondered. The fact that the free-spirited Gypsy could turn into the regal duchess in the blink of an eye. He doubted she had any notion she was as much one as the other. "You have a wonderful speaking voice.What time will you be ready?" Shelby huffed and frowned and considered. "If I agree to spend some time with you today, will you stop sending me things?" Alan was silent for a long moment. "Are you going to take a politician's word?" Now she had to laugh. "All right, you've boxed me in on that one." "It's a beautiful day, Shelby.I haven't had a free Saturday in over a month. Come out with me." She twined the phone cord around her finger. A refusal seemed so petty, so bad-natured.He was really asking her for very little, and-dammit-she wanted to see him. "All right, Alan, every rule needs to be bent a bit now and again to prove it's really a rule after all." "If you say so.Where would you like to go? There's an exhibition of Flemish art at the National Gallery." Shelby's lips curved. "The zoo," she said and waited for his reaction. "Fine," Alan agreed without missing a beat. "I'll be there in ten minutes." With a sigh,Shelby decided he just wasn't an easy man to shake. "Alan, I'm not dressed." "I'll be there in five." On a burst of laughter, she slammed down the phone.

Words are philosophies. We have to assume that each is purposeful about its contradictions, that each word means what it says. The English word “demonstration” has at least two meanings: one refers to the public act of protest—to march, rally, declare or express an opinion—and the other is to do with showing, with making something manifest or apparent in order to instruct or display. The Arabic muthahara, the Persian tathaharat, the French manifestation, the Italian manifestazione and the Spanish manifestación—all, regardless of their variant linguistic roots, agree that in a demonstration there are at least these two sides: one concerned with making something apparent and the other with objection. Several other languages have come to the same conclusion. This seems to make perfect sense: one could argue that in order to protest one needs to make something clear. By the same token the need to exhibit is an act against oblivion, a resistance to emptiness; that art and death exist at opposite ends of the spectrum.

Sixty years ago, an exhibition of so-called Dadaistic 'experiences' would have been an absolutely preposterous idea. The organizers of such an exhibition would then have been tossed into a madhouse, whereas today they are appointed presidents of art societies. At that time, such a plague would never have been allowed to spread. Public opinion wouldn't have tolerated it, and the government wouldn't have remained silent; for it is the duty of a government to save its people from being stampeded into such intellectual madness.

In his book Real Presences, George Steiner asks us to "imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a "republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer "invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art "embody an expository reflection which they pertain". In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. "The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, "The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz.

5. Thou sayest, Men cannot admire the sharpness of thy wits.—Be it so: but there are many other things of which thou canst not say, I am not formed from them by nature. Show those qualities then which are altogether in thy power, sincerity, gravity, endurance of labor, aversion to pleasure, contentment with thy portion and with few things, benevolence, frankness, no love of superfluity, freedom from trifling, magnanimity. Dost thou not see how many qualities thou art immediately able to exhibit, in which there is no excuse of natural incapacity and unfitness, and yet thou still remainest voluntarily below the mark? or art thou compelled through being defectively furnished by nature to murmur, and to be stingy, and to flatter, and to find fault with thy poor body, and to try to please men, and to make great display, and to be so restless in thy mind? No, by the gods; but thou mightest have been delivered from these things long ago. Only if in truth thou canst be charged with being rather slow and dull of comprehension, thou must exert thyself about this also, not neglecting it nor yet taking pleasure in thy dullness.

Five years from today. Where, exactly, do you want to be?" Her eyes lit up. Sadie loves that kind of question. "Ooh. Wow. Let me think. December, getting close to Christmas. I'll be twenty-one..." "Passed out under the tree with a fifth of Jack, half a 7-Eleven rotisserie chicken, and a cat who poops in your shoes." Frankie returned our startled glances with his lizard look. "Oh, wait. That's me. Sorry." I opted to ignore him. "Five years to the day,Sadie." She glanced quickly between Frankie and me. "Do we need a time-out here?" "Nope," I said. "Carry on." "Okay. Five years. I will be in New York visiting the pair of you because, while NYU is fab, I will be halfwau through my final year of classics at Cambridge, trying to decide whether I want to be a psychologist or a pastry chef. You," she said sternly to Frankie, "will be drinking appropriate amounds of champagne with your boyfriend, a six-three blond from Helsinki who happens to design for Tory Burch. Ah! Don't say anything. It's my future. You can choose a different designer when it's you go. I want the Tory freebies." She turned to me. "We will be sipping said champagne in the middle of the Gagosian Galley, because it is the opening night of your first solo exhibit. At which everything will sell." She punctuated the sentence by poking the air with a speared black olive. "I love you," I told her. Then, "But that wasn't really about you." "Oh,but it was," she disagreed, going back to her salad. "It's exactly where I want to be. Although" -she grinned over a tomato wedge- "I might have the next David Beckham in tow." "The next David Beckham is a five-foot-tall Welshman named Madog Cadwalader. He has extra teeth and bow legs." "Really?" Sadie asked. Frankie snorted. "No.Not really.

Jefferson’s love of control was evident when he was at home. He was precise and demanding about his horses. When he was younger and his mount was brought to him, he would use a white cambric handkerchief to brush the horse’s shoulders.63 If there were dust, the horse was returned to the stables. Only the perfect would suffice. His horses were sources of immense pleasure, but he also disliked animals with wills of their own, and his mask of equanimity could slip occasionally when it came to his horses. “The only impatience of temper he ever exhibited was with his horse, which he subdued to his will by a fearless application of the whip on the slightest manifestation of restiveness,” said a grandson.64

This doesn’t mean that we should be sad, or go deaf, even if once a century these conditions produce sublime music. Nor must we be great artists in order to view our own struggles as objects of creative transformation. What if we simply took whatever pain we couldn’t get rid of, and turned it into something else? We could write, act, study, cook, dance, compose, do improv, dream up a new business, decorate our kitchens; there are hundreds of things we could do, and whether we do them “well,” or with distinction, is beside the point. This is why “arts therapy”—in which people express and process their troubles by making art—can be so effective, even if its practitioners don’t exhibit their work on gallery walls.

And yet some Germans at least, especially in the art center of Germany which Munich was, preferred to be artistically polluted. In another part of the city in a ramshackle gallery that had to be reached through a narrow stairway was an exhibition of “degenerate art” which Dr. Goebbels had organized to show the people what Hitler was rescuing them from. It contained a splendid selection of modern paintings—Kokoschka, Chagall and expressionist and impressionist works. The day I visited it, after panting through the sprawling House of German Art, it was crammed, with a long line forming down the creaking stairs and out into the street. In fact, the crowds besieging it became so great that Dr. Goebbels, incensed and embarrassed, soon closed it.

FV: Hasn't all art, in a way, submitted to words - reduced itself to the literary...admitted its failure through all the catalogues and criticism, monographs and manifestos — ML: Explanations? FV: Exactly. All the artistry, now, seems expended in the rhetoric and sophistry used to differentiate, to justify its own existence now that so little is left to do. And who's to say how much of it ever needed doing in the first place? [...] Nothing's been done here but the re-writing of rules, in denial that the game was already won, long ago, by the likes of Duchamp, Arp, or Malevich. I mean, what's more, or, what's less to be said than a single black square? ML: Well, a triangle has fewer sides, I suppose. FV: Then a circle, a line, a dot. The rest is academic; obvious variations on an unnecessary theme, until you're left with just an empty canvas - which I'm sure has been done, too. ML: Franz Kline, wasn't it? Or, Yves Klein - didn't he once exhibit a completely empty gallery? No canvases at all. FV: I guess, from there, to not exhibit anything - to do absolutely nothing at all - would be the next "conceptual" act; the ultimate multimedia performance, where all artforms converge in negation and silence. And someone's probably already put their signature to that, as well. But even this should be too much, to involve an artist, a name. Surely nothing, done by no-one, is the greatest possible artistic achievement. Yet, that too has been done. Long, long ago. Before the very first artists ever walked the earth.

We both had wanted to see a Mark Rothko exhibit at the Yale Art Gallery but, because of a labor dispute, some of the university's buildings, including the museum, were closed. As Bill and I walked by, he decided he could get us in if we offered to pick up the litter that had accumulated in the gallery's courtyard. Watching him talk our way in was the first time I saw his persuasiveness in action. We had the entire museum to ourselves. We wandered through the galleries talking about Rothko and twentieth-century art. I admit to being surprised at his interest in and knowledge of subjects that seemed, at first, unusual for a Viking from Arkansas. We ended up in the museum's courtyard, where I sat in the large lap of Henry Moore's sculpture Drape Seated Woman while we talked until dark.

In every age a general misdirection of what may be called sexual "taste"... [is] produce[d by the devil and his angels]. This they do bu working through the small circle of artists, dressmakers, actresses, and advertisers who determine the fashionable type. The aim is to guide each sex away from those members of the other with whom spiritually helpful, happy, and fertile marriages are most likely. Thus [they] have now for many centuries triumphed over nature to the extent of making certain secondary characteristics of the male (such as the beard) disagreeable to nearly all the females-and there is more in that than you might suppose. As regards the male taste [they] have varied a good deal. At one time [they] have directed it to the statuesque and aristocratic type of beauty, mixing men's vanity with their desires and encouraging the race to breed chiefly from the most arrogant and prodigal women. At another, [they] have selected an exaggeratedly feminine type, faint and languishing, so that folly and cowardice, and all the general falseness and littleness of mind which go with them, shall be at a premium. At present [they] are on the opposite tack. The age of jazz has succeeded the age of the waltz, and [they] now teach men to like women whose bodies are scarcely distinguishable from those of boys. Since this is a kind of beauty even more transitory than most, [they] thus aggravate the female's chronic horror of growing old (with many [successful] results) and render her less willing and less able to bear children. And that is not all. [They] have engineered a great increase in the license which society allows to the representation of the apparent nude (not the real nude) in art, and its exhibition on the stage or the bathing beach. It is all a fake, or course; the figures in the popular art are falsely drawn; the real women in bathing suits or tights are actually pinched in and propped up to make them to appear firmer and more slender and more boyish than nature allows a full-grown woman to be. Yet at the same time, the modern world is taught to believe that it is being "frank" and "healthy" and getting back to nature. As a result [they] are more and more directing the desires of men to something which does not exist-making the role of the eye in sexuality more and more important and at the same time making its demands more and more impossible.

However, the Bleeding Hearts were kind hearts; and when they saw the little fellow cheerily limping about with a good-humoured face, doing no harm, drawing no knives, committing no outrageous immoralities, living chiefly on farinaceous and milk diet, and playing with Mrs Plornish's children of an evening, they began to think that although he could never hope to be an Englishman, still it would be hard to visit that affliction on his head. They began to accommodate themselves to his level, calling him 'Mr Baptist,' but treating him like a baby, and laughing immoderately at his lively gestures and his childish English—more, because he didn't mind it, and laughed too. They spoke to him in very loud voices as if he were stone deaf. They constructed sentences, by way of teaching him the language in its purity, such as were addressed by the savages to Captain Cook, or by Friday to Robinson Crusoe. Mrs Plornish was particularly ingenious in this art; and attained so much celebrity for saying 'Me ope you leg well soon,' that it was considered in the Yard but a very short remove indeed from speaking Italian. Even Mrs Plornish herself began to think that she had a natural call towards that language. As he became more popular, household objects were brought into requisition for his instruction in a copious vocabulary; and whenever he appeared in the Yard ladies would fly out at their doors crying 'Mr Baptist—tea-pot!' 'Mr Baptist—dust-pan!' 'Mr Baptist—flour-dredger!' 'Mr Baptist—coffee-biggin!' At the same time exhibiting those articles, and penetrating him with a sense of the appalling difficulties of the Anglo-Saxon tongue.

Richard Lovelace makes a compelling case that the best defense is a good offense. “The ultimate solution to cultural decay is not so much the repression of bad culture as the production of sound and healthy culture,” he writes. “We should direct most of our energy not to the censorship of decadent culture, but to the production and support of healthy expressions of Christian and non-Christian art.”10 Public protests and boycotts have their place. But even negative critiques are effective only when motivated by a genuine love for the arts. The long-term solution is to support Christian artists, musicians, authors, and screenwriters who can create humane and healthy alternatives that speak deeply to the human condition. Exploiting “Talent” The church must also stand against forces that suppress genuine creativity, both inside and outside its walls. In today’s consumer culture, one of the greatest dangers facing the arts is commodification. Art is treated as merchandise to market for the sake of making money. Paintings are bought not to exhibit, nor to grace someone’s home, but merely to resell. They are financial investments. As Seerveld points out, “Elite art of the New York school or by approved gurus such as Andy Warhol are as much a Big Business today as the music business or the sports industry.”11 Artists and writers have been reduced to “talent” to be plugged into the manufacturing process. That approach may increase sales, but it will suppress the best and highest forms of art. In the eighteenth century, the world nearly lost the best of Mozart’s music because the adults in the young man’s life treated him primarily as “talent” to exploit.

Now, quite apart from the fact that, from the point of view of the Earther, socialism suffers the devastating liability of only exhibiting internal contradictions when you are trying to use it as an adjunct to your own stupidity (unlike capitalism, which again, from the point of view of the Earther, happily has them built in from the start), it is the case that because Free Enterprise got there first and set up the house rules, it will always stay at least one kick ahead of its rivals. Thus, while it takes Soviet Russia a vast amount of time and hard work to produce one inspired lunatic like Lysenko, the West can so arrange things that even the dullest farmer can see it makes more sense to burn his grain, melt his butter and wash away the remains of his pulped vegetables with his tanks of unused wine than it does to actually sell the stuff to be consumed.

The truth is that there’s no such thing as a personal problem. If you’ve got a problem, chances are millions of other people have had it in the past, have it now, and are going to have it in the future. Likely people you know too. That doesn’t minimize the problem or mean that it shouldn’t hurt. It doesn’t mean you aren’t legitimately a victim in some circumstances. It just means that you’re not special. Often, it’s the realization - that you and your problems are actually not privileged in their severity or pain - that is the first and most important step toward solving them. But for some reason, it appears that more and more people, particularly young people, are forgetting this. Numerous professors and educators have noted a lack of emotional resilience and an excess of selfish demands in today’s young people. It’s not uncommon now for books to be removed from the class is curriculum for no other reason then they made someone feel bad. Speakers and professors are shouted down and banned from campuses for in fractions as simple as suggesting that maybe some Halloween costumes really aren’t that offensive. School counsellors note that more students than ever are exhibiting severe signs of emotional distress over what are otherwise run-of-the-mill daily college experiences, such as an argument with her roommate, or getting a low grade in the class. It’s strange that in an age when we are more connected than ever, entitlement seems to be at an all time high. Something about recent technology seems to allow our insecurities to run amok like never before. The more freedom were given to express ourselves, the more we want to be free of having to deal with anyone who may disagree with us or upset us. The more exposed we are to opposing viewpoints, the more we seem to get upset that those other viewpoints exist. The easier and more problem free our lives become, the more we seem to feel entitled for them to get even better.

You see in his Le pont de l’Europe a young man, well dressed in his grey overcoat and black top hat, maybe the artist, walking over the bridge along the generous pavement. He is two steps ahead of a young woman in a dress of sedate frills carrying a parasol. The sun is out. There is the glare of newly dressed stone. A dog passes by. A workman leans over the bridge. It is like the start of the world: a litany of perfect movements and shadows. Everyone, including the dog, knows what they are doing. Gustave Caillebotte, Le pont de l’Europe, 1876 The streets of Paris have a calmness to them: clean stone façades, rhythmic detailing of balconies, newly planted lime trees appear in his painting Jeune homme à sa fenêtre, shown in the second Impressionist exhibition in 1876. Here Caillebotte’s brother stands at the open window of their family apartment looking out onto the intersection of the rue de Monceau’s neighbouring streets. He stands with his hands in his pockets, well dressed and self-assured, with his life before him and a plush armchair behind him. Everything is possible.

My honors thesis project was my first interactive exhibit, in which two facing chairs were activated by a motion sensor when the viewer walked by. One was a cofortable armchair of plush red velvet, with a dildo sticking out of a hole in the seat. When activated, the dildo moved up and down and a strobe light pulsed. The facing chair was hard and uncomfortable, with spikes protruding from the seat, and when the viewer walked by it a dog would bark. The juxtaposition of the two chairs was meant to represent how forces of repression censor the desire for liberation. In that same exhibition, I showed a handmade box in the shape of a cross, decorated with a beautiful painting of the Holy Trinity. The viewer was encouraged to open the box, where they would find a dildo wrapped in the American flag and nailed to a cross-- this was meant to symbolize the hypocrisy and repression that is hidden under the attractive facade of organized religion. The dildo was surrounded by pages from the Bible, which were themselves surrounded by images of the sickness and starvation caused by the embargo in Iraq, a comment on the effects of imposing one culture and religion on another.

a harbinger of a third wave of computing, one that blurred the line between augmented human intelligence and artificial intelligence. “The first generation of computers were machines that counted and tabulated,” Rometty says, harking back to IBM’s roots in Herman Hollerith’s punch-card tabulators used for the 1890 census. “The second generation involved programmable machines that used the von Neumann architecture. You had to tell them what to do.” Beginning with Ada Lovelace, people wrote algorithms that instructed these computers, step by step, how to perform tasks. “Because of the proliferation of data,” Rometty adds, “there is no choice but to have a third generation, which are systems that are not programmed, they learn.”27 But even as this occurs, the process could remain one of partnership and symbiosis with humans rather than one designed to relegate humans to the dustbin of history. Larry Norton, a breast cancer specialist at New York’s Memorial Sloan-Kettering Cancer Center, was part of the team that worked with Watson. “Computer science is going to evolve rapidly, and medicine will evolve with it,” he said. “This is coevolution. We’ll help each other.”28 This belief that machines and humans will get smarter together is a process that Doug Engelbart called “bootstrapping” and “coevolution.”29 It raises an interesting prospect: perhaps no matter how fast computers progress, artificial intelligence may never outstrip the intelligence of the human-machine partnership. Let us assume, for example, that a machine someday exhibits all of the mental capabilities of a human: giving the outward appearance of recognizing patterns, perceiving emotions, appreciating beauty, creating art, having desires, forming moral values, and pursuing goals. Such a machine might be able to pass a Turing Test. It might even pass what we could call the Ada Test, which is that it could appear to “originate” its own thoughts that go beyond what we humans program it to do. There would, however, be still another hurdle before we could say that artificial intelligence has triumphed over augmented intelligence. We can call it the Licklider Test. It would go beyond asking whether a machine could replicate all the components of human intelligence to ask whether the machine accomplishes these tasks better when whirring away completely on its own or when working in conjunction with humans. In other words, is it possible that humans and machines working in partnership will be indefinitely more powerful than an artificial intelligence machine working alone?

The art department proper I thought much inferior to that of the Tokyo Exhibition of 1890. Fine things there were, but few. Evidence, perhaps, of the eagerness with which the nation is turning all its energies and talents in directions where money is to be made; for in those larger departments where art is combined with industry,—such as ceramics, enamels, inlaid work, embroideries,—no finer and costlier work could ever have been shown. Indeed, the high value of certain articles on display suggested a reply to a Japanese friend who observed, thoughtfully, "If China adopts Western industrial methods, she will be able to underbid us in all the markets of the world." "Perhaps in cheap production," I made answer. "But there is no reason why Japan should depend wholly upon cheapness of production. I think she may rely more securely upon her superiority in art and good taste. The art-genius of a people may have a special value against which all competition by cheap labor is vain. Among Western nations, France offers an example. Her wealth is not due to her ability to underbid her neighbors. Her goods are the dearest in the world: she deals in things of luxury and beauty. But they sell in all civilized countries because they are the best of their kind. Why should not Japan become the France of the Further East?

The credit for Erté's rediscovery must be given to French writer Jacques Damase, who met the artist when preparing a book on the Parisian music-hall. It was not merely his active presence which astounded Damase, but the fact that neatly stored away were thousands of perfectly preserved drawings representing a life's work. The immediate result was an exhibition at Galerie Motte in 1965, organised with Jacques Perrin, who the following year held another exhibition at his own gallery in Paris. Through the Motte exhibition, Erté was brought to the attention of galleria Milano, which in 1965 included some of his work in a pioneering exhibition of Art Déco. The most prominent event in this sequence was was Erté inclusion in the important exhibition Les Années 25 held at Musée des Arts Décoratifs, Paris, in 1966, which put an historical and artistic seal on Art Déco and the diverse artistic activities of the 'twenties. It is fair to say, however, that complete international reappraisal only came about after Grosvenor gallery in London became his world agents. Jacques Damase had suggested an exhibition of Erté's work to this London gallery, to which, at that time, I was acting as an art consultant. As a result we were able to prepare his first ever London exhibition in 1967. The remarkable success it achieved was presaged by a smaller exhibition in New York a few months earlier. It had planned to follow the London show with a similar collection in new York, based on work by Erté done for America. The new York premises were available earlier than planned and it was decided to go ahead none the less.

Favorite painting...?" "Painting? Odalisque," I said. "Really.His non-nude nude. Interesting." It was,to me. Edward's most famous painting of Diana is Troie, where he painted her as Helen of Troy: naked except for the diamond bracelet and the occasional tendril of auburn hair. It had caused quite a stir at its exhibition. Apparently, Millicent Carnegie Biddle fainted on seeing it. It wasn't quite what she was used to viewing when she sat across from Mrs. Edward Willing every few weeks, sipping tea from Wedgewood china cups. Odalisque was more daring in its way, and infinitely more interesting to me. Most of the Post-Impressionist painters did an odalisque, or harem girl, reclining on a sofa or carpet, promising with their eyes that whatever it was that they did to men, they did it well. An odalisque was almost compulsory material.But unlike any of them,Edward had painted his subject-Diana-covered from neck to ankle in shimmery gauze.Covered,but still the ultimate object of desire. "Why that one?" Dr. Rothaus asked. "I don't know-" "Oh,please.Don't go all stupid teenager on me now.You know exactly why you like the painting.Humor me and articulate it." I felt myself beginning the ubiquitos shoulder dip. "Okay. Everyone is covering up something. I guess I think there's an interesting question there." "'What are they hiding?'" I shook my head. "'Does it make a difference?'" "Ah." One sharp corner of her mouth lifted. I would hesitate to call it a smile. "That is interesting.But your favorite Willing piece isn't a painting." "How-" "You hesitated when I asked. Let me guess...Ravaged Man?" "How-" "You're a young woman. And-" Dr. Rothaus levered herself off the desk-"you went through the 1899 file. I know the archive.

In Ahab and in his beatnik, quasi-criminal prototype, Jackson (in 'Redburn'), Melville gave expression both to the megatechnic 'Khans' of the global Pentagon and to the counter-forces they had brought into being. And the fact that Ahab's torment and hatred had gone so far that he had lost control of himself and, through his own mad reliance upon power, had become dominated completely by the creature that had disabled him, only makes Melville's story a central parable in the interpretation of modern man's destiny. In Ahab's throwing away compass and sextant at the height of the chase, Melville even anticipated the casting out of the orderly instruments of intelligence, so characteristic of the counter-culture and anti-life happenings of today. Similarly, by his maniacal concentration, Ahab rejects the inner change that might have saved the ship and the crew, when he turns a deaf ear to the pleas of love uttered by sober Starbuck in words and by Pip, a fright-shocked child and an African primitive, in dumb gesture. Outwardly mankind is still committed tot he grim chase Melville described, lured by the adventure, the prospect of oil and whalebone, the promptings of pride, an above all by a love-rejecting pursuit of power. But it has also begun consciously to face the prospect of total annihilation, which may be brought about by the captains who now have command of the ship. Against that senseless fate every act of rebellion, every exhibition of group defiance, every assertion of the will-to-live, every display of autonomy and self-direction, at however primitive a level, diminishes the headway of the doom-threatened ship and delays the fatal moment when the White Whale will shatter its planks and drown the crew. All the infantile, criminal, and imbecile manifestations in the arts today, everything that now expresses only murderous hatred and alienation, might still find justification if they performed their only conceivable rational function-that of awakening modern man sufficiently to his actual plight, so that he seizes the wheel and, guided by the stars, heads the ship to a friendlier shore.

They came in to look. I watched them. Most people go through museums like they do Macy's: eyes sweeping the display, stopping only if something really grabs their attention. These two looked at everything. They both clearly liked the bicycle picture. Yup, Dutch, I decided. He was a few steps ahead when he got to my favorite painting there. Diana and the Moon. It was-surprise surprise-of Diana, framed by a big open window, the moon dominating the sky outside. She was perched on the windowsill, dressed in a gauzy wrap that could have been nightclothes or a nod to her goddess namesake. She looked beautiful, of course, and happy, but if you looked for more than a second, you could see that her smile had a teasing curve to it and one of her hands was actually wrapped around the outside frame. I thought she looked like she might swing her legs over the sill and jump, turning into a moth or owl or breath of wind even before she was completely out of the room. I thought she looked, too, like she was daring the viewer to come along. Or at least to try. The Dutch guy didn't say anything. He just reached out a hand. His girlfriend stepped in, folding herself into the circle of his outsretched arm. They stood like that, in front of the painting, for a full minute. Then he sneezed. She reached into her pocket and pulled out a tissue.He took in and, without letting go of her, did a surprisingly graceful one-handed blow. Then he crumpled the tissue and looked around for a trash can. There wasn't one in sight. She held out her free hand; he passed over the tissue, and she stuck it right back into her pocket. I wanted to be grossed out. Instead, I had the surprising thought that I really really wanted someone who would do that: put my used Kleenex in his pocket. It seemed like a declaration of something pretty big. Finally,they finished their examination of Diana and moved on.There wasn't much else, just the arrogant Willings and the overblown sunrise. They came over to examine the bronzes. She saw my book. "Excuse me. You know this artist?" Intimately just didn't seem as true anymore. "Pretty well," I answered. "He is famous here?" "Not very." "I like him." she said thoughtfully. "He has...oh, the word...personism?" "Personality?" I offered. "Yes!" she said, delighted. "Personality." She reached behind her without looking. Her boyfriend immediately twined his fingers with hers. They left, unfolding the map again as they went, she chattering cheerfully. I think she was telling him he had personality. They might as well have had exhibit information plaques on their backs: "COUPLE." CONTEMPORARY DUTCH. COURTESY OF THE ESTATE OF LOVE, FOR THE VIEWING PLEASURE (OR NOT) OF ANYONE AND EVERYONE.

During [Erté]’s childhood St. Petersburg was an elegant centre of theatrical and artistic life. At the same time, under its cultivated sophistication, ominous rumbles could be distinguished. The reign of the tough Alexander III ended in 1894 and his more gentle successor Nicholas was to be the last of the Tsars … St. Petersburg was a very French city. The Franco-Russian Pact of 1892 consolidated military and cultural ties, and later brought Russia into the First World war. Two activities that deeply influenced [Erté], fashion and art, were particularly dominated by France. The brilliant couturier Paul Poiret, for whom Erté was later to work in Paris, visited the city to display his creations. Modern art from abroad, principally French, was beginning to be show in Russia in the early years of the century … In St. Petersburg there were three Imperial theatres―the Maryinsky, devoted to opera and ballet, the Alexandrinsky, with its lovely classical façade, performing Russian and foreign classical drama, and the Michaelovsky with a French repertoire and company … It is not surprising that an artistic youth in St. Petersburg in the first decade of this century should have seen his future in the theatre. The theatre, especially opera and ballet, attracted the leading young painters of the day, including Mikhail Vrubel, possibly the greatest Russian painter of the pre-modernistic period. The father of modern theatrical design in Russia was Alexandre Benois, an offspring of the brilliant foreign colony in the imperial capital. Before 1890 he formed a club of fellow-pupils who were called ‘The Nevsky Pickwickians’. They were joined by the young Jew, Leon Rosenberg, who later took the name of one of his grandparents, Bakst. Another member introduced his cousin to the group―Serge Diaghilev. From these origins emerged the Mir Iskustva (World of Art) society, the forerunner of the whole modern movement in Russia. Soon after its foundation in 1899 both Benois and Bakst produced their first work in the theatre, The infiltration of the members of Mir Iskustva into the Imperial theatre was due to the patronage of its director Prince Volkonsky who appointed Diaghilev as an assistant. But under Volkonsky’s successor Diagilev lost his job and was barred from further state employment. He then devoted his energies and genius to editing the Mir Iskustva magazine and to a series of exhibitions which introduced Russia to work of foreign artists … These culminated in the remarkable exhibition of Russian portraiture held at the Taurida Palace in 1905, and the Russian section at the salon d'Autumne in Paris the following year. This was the most comprehensive Russian exhibition ever held, from early icons to the young Larionov and Gontcharova. Diagilev’s ban from Russian theatrical life also led to a series of concerts in Paris in 1907, at which he introduced contemporary Russian composers, the production Boris Godunov the following year with Chaliapin and costumes and décor by Benois and Golovin, and then in 1909, on May 19, the first season of the ballet Russes at the Châtelet Theatre.

Yoel Goldenberg makes exhibitions, photographs, models and media craftsmanship. His works are an examination of ideas, for example, validness and objectivity by utilizing an exhaustive methodology and semi exploratory exactness and by referencing documentaries, 'actuality fiction' and prominent experimental reciprocals. Yoel Goldenberg as of now lives and works in Brooklyn. By challenging the division between the domain of memory and the domain of experience, Goldenberg formalizes the circumstantial and underlines the procedure of synthesis that is behind the apparently arbitrary works. The manners of thinking, which are probably private, profoundly subjective and unfiltered in their references to dream universes, are much of the time uncovered as collections. His practice gives a valuable arrangement of metaphorical instruments for moving with a pseudo-moderate approach in the realm of execution: these fastidiously arranged works reverberate and resound with pictures winnowed from the fantastical domain of creative energy. By trying different things with aleatoric procedures, Yoel Goldenberg makes work in which an interest with the clarity of substance and an uncompromising demeanor towards calculated and insignificant workmanship can be found. The work is detached and deliberate and a cool and unbiased symbolism is utilized. His works are highlighting unplanned, unintentional and sudden associations which make it conceivable to overhaul craftsmanship history and, far and away superior, to supplement it. Consolidating random viewpoints lead to astounding analogies. With a theoretical methodology, he ponders the firmly related subjects of file and memory. This regularly brings about an examination of both the human requirement for "definitive" stories and the inquiry whether tales "fictionalize" history. His gathered, changed and own exhibitions are being faced as stylishly versatile, specifically interrelated material for memory and projection. The conceivable appears to be genuine and reality exists, yet it has numerous countenances, as Hanna Arendt refers to from Franz Kafka. By exploring dialect on a meta-level, he tries to approach a wide size of subjects in a multi-layered route, likes to include the viewer in a way that is here and there physical and has faith in the thought of capacity taking after structure in a work. Goldenberg’s works are straightforwardly a reaction to the encompassing environment and uses regular encounters from the craftsman as a beginning stage. Regularly these are confined occasions that would go unnoticed in their unique connection. By utilizing a regularly developing file of discovered archives to make self-ruling works of art, he retains the convention of recognition workmanship into every day hone. This individual subsequent and recovery of a past custom is vital as a demonstration of reflection. Yoel’s works concentrate on the powerlessness of correspondence which is utilized to picture reality, the endeavor of dialog, the disharmony in the middle of structure and content and the dysfunctions of dialect. To put it plainly, the absence of clear references is key components in the work. With an unobtrusive moderate methodology, he tries to handle dialect. Changed into craftsmanship, dialect turns into an adornment. Right then and there, loads of ambiguities and indistinctnesses, which are intrinsic to the sensation, rise up to the top