Arte Museum Quotes

i am a museum full of art but you had your eyes shut

Life is your art. An open, aware heart is your camera. A oneness with your world is your film. Your bright eyes and easy smile is your museum.

Give me a museum and I'll fill it.

A painting in a museum hears more ridiculous opinions than anything else in the world.

After dinner or lunch or whatever it was -- with my crazy 12-hour night I was no longer sure what was what -- I said, "Look, baby, I'm sorry, but don't you realize that this job is driving me crazy? Look, let's give it up. Let's just lay around and make love and take walks and talk a little. Let's go to the zoo. Let's look at animals. Let's drive down and look at the ocean. It's only 45 minutes. Let's play games in the arcades. Let's go to the races, the Art Museum, the boxing matches. Let's have friends. Let's laugh. This kind of life like everybody else's kind of life: it's killing us.

You want to know how I think art should be taught to children? Take them to a museum and say, 'This is art, and you can't do it.

As far as I can tell the only thing worth looking at in most museums of art is all the schoolgirls on daytrips with the art departments.

In the coming days and weeks, Laila would scramble frantically to commit it all to memory, what happened next. Like an art lover running out of a burning museum, she would grab whatever she could--a look, a whisper, a moan--to salvage from perishing to preserve. But time is the most unforgiving of fires, and she couldn't, in the end, save it all.

I realized that the longing for art, like the longing for love, is a malady that blinds us, and makes us forget the things we already know, obscuring reality.

Provided we can escape from the museums we carry around inside us, provided we can stop selling ourselves tickets to the galleries in our own skulls, we can begin to contemplate an art which re-creates the goal of the sorcerer: changing the structure of reality by the manipulation of living symbols ... Art tells gorgeous lies that come true.

Love is an art. Mine could fill a museum the size of your heart.

So that’s our approach. Very simple, and we’re really shooting for Museum of Modern Art quality. The way we’re running the company, the product design, the advertising, it all comes down to this: Let’s make it simple. Really simple.” Apple’s design mantra would remain the one featured on its first brochure: “Simplicity is the ultimate sophistication.

Linus: What's wrong, Charlie Brown? Charlie Brown: I just got terrible news. The teacher says we're going on a field trip to an art museum; and I have to get an A on my report or I'll fail the whole course. Why do we have to have all this pressure about grades, Linus? Linus: Well, I think that the purpose of going to school is to get good grades so then you can go on to high school; and the purpose is to study hard so you can get good grades so you can go to college; and the purpose of going to college is so you can get good grades so you can go on to graduate school; and the purpose of that is to work hard and get good grades so we can get a job and be successful so that we can get married and have kids so we can send them to grammar school to get good grades so they can go to high school to get good grades so they can go to college and work hard... Charlie Brown: Good grief!

I believe in walking out of a museum before the paintings you've seen begin to run together. How else can you carry anything away with you in your mind's eye?

I've become like one of those people I hate, the sort who go to the museum and, instead of looking at the magnificent Brueghel, take a picture of it, reducing it from art to proof. It's not "Look what Brueghel did, painted this masterpiece" but "Look what I did, went to Rotterdam and stood in front of a Brueghel painting!

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

No more cars in national parks. Let the people walk. Or ride horses, bicycles, mules, wild pigs--anything--but keep the automobiles and the motorcycles and all their motorized relatives out. We have agreed not to drive our automobiles into cathedrals, concert halls, art museums, legislative assemblies, private bedrooms and the other sanctums of our culture; we should treat our national parks with the same deference, for they, too, are holy places. An increasingly pagan and hedonistic people (thank God!), we are learning finally that the forests and mountains and desert canyons are holier than our churches. Therefore let us behave accordingly.

To reiterate: not all things need to be finished, and free reading is a prime example of this. Writing – or the composition of words which are intended to be read – just like painting, sculpting, or composing music, is a form of art. Typically, not all art is able to resonate with each and every viewer – or, in this case, reader. If we walk through a museum and see a boring painting, or listen to an album we don’t enjoy, we won’t keep staring at said painting, nor will we listen to the album. So, if we don’t like a book, if we aren’t learning from it, dreaming about it, enjoying its descriptions, pondering its messages, or whatever else may be redeeming about a specific book, why would we waste our time to “just finish it?” Sure, we may add another book to the list of books read, but is more always better?

Stop looking at the walls, look out the window.

Some make their worlds without knowing it. Their universes are just sesame seeds and three-day weekends and dial tones and skinned knees and physics and driftwood and emerald earrings and books dropped in bathtubs and holes in guitars and plastic and empathy and hardwood and heavy water and high black stockings and the history of the Vikings and brass and obsolescence and burnt hair and collapsed souffles and the impossibility of not falling in love in an art museum with the person standing next to you looking at the same painting and all the other things that just happen and are.

Her face is a work of art. I wish there was a picture of it hanging on a wall in a museum somewhere so I could stand in front of it and stare at it for as long as I wanted.

What can I say that I have not said before? So I’ll say it again. The leaf has a song in it. Stone is the face of patience. Inside the river there is an unfinishable story and you are somewhere in it and it will never end until all ends. Take your busy heart to the art museum and the chamber of commerce but take it also to the forest. The song you heard singing in the leaf when you were a child is singing still. I am of years lived, so far, seventy-four, and the leaf is singing still. (from, “What Can I Say”)

An art book is a museum without walls.

Much of the greatest art, I find, seeks to remind us of the obvious. This is real. That's all it says. Take the time to stop and imagine or feel fully the things you already know.

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

In the history of art there are periods when bread seems so beautiful that it nearly gets into museums.

In time, all great masterpieces turn into shameless creatures who laugh at their creators.

I've never been somewhere I belonged, but there are places where I think I could be happy. Like San Francisco. Well, do art museums count? Because I feel like I belong in them.

I'm extremely profane, unconsciously so, when I see something great for the first time; I don't know why, but beauty and profanity are related to me in the same way. It may be that I want to think of art in the vernacular, but I have no control over what comes out of my mouth when my eyes take in great beauty...it might just be the reason I avoid going to museums with elderly ladies.

Yes, yes, I see it all! — an enormous social activity, a mighty civilization, a profuseness of science, of art, of industry, of morality, and afterwords, when we have filled the world with industrial marvels, with great factories, with roads, museums and libraries, we shall fall exhausted at the foot of it all, and it will subsist — for whom? Was man made for science or was science made for man?

If a painting really works down in your heart and changes the way you see, and think, and feel, you don't think, 'oh, I love this picture because it's universal.' 'I love this painting because it speaks to all mankind.' That's not the reason anyone loves a piece of art. It's a secret whisper from an alleyway. Psst, you. Hey kid. Yes, you. ... You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entirely, an that's not even to mention the people separated from us by time -four hundred years before us, four hundred years after we're gone- it'll never strike anybody the same way and the great majority of people it'll never strike in any deep way at all but- a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you.

Who Am I? I’m a creator, a visionary, a poet. I approach the world with the eyes of an artist, the ears of a musician, and the soul of a writer. I see rainbows where others see only rain, and possibilities when others see only problems. I love spring flowers, summer’s heat on my body, and the beauty of the dying leaves in the fall. Classical music, art museums, and ballet are sources of inspiration, as well as blues music and dim cafes. I love to write; words flow easily from my fingertips, and my heart beats rapidly with excitement as an idea becomes a reality on the paper in front of me. I smile often, laugh easily, and I weep at pain and cruelty. I'm a learner and a seeker of knowledge, and I try to take my readers along on my journey. I am passionate about what I do. I learned to dream through reading, learned to create dreams through writing, and learned to develop dreamers through teaching. I shall always be a dreamer. Come dream with me.

Here is everything I know about France: Madeline and Amelie and Moulin Rouge. The Eiffel Tower and the Arc de Triomphe, although I have no idea what the function of either actually is. Napoleon, Marie Antoinette, and a lot of kings named Louis. I'm not sure what they did either, but I think it has something to do with the French Revolution, which has something to do with Bastille Day. The art museum is called the Louvre and it's shaped like a pyramid and the Mona Lisa lives there along with that statue of the women missing her arms. And there are cafes and bistros or whatever they call them on every street corner. And mimes. The food is supposed to be good, and the people drink a lot of wine and smoke a lot of cigarettes. I've heard they don't like Americans, and they don't like white sneakers.

I was reading about animals a while back and there was this motherfucking scientist in France back in the thirties or forties or whenever the motherfuck it was and he was trying to get apes to draw these pictures, to make art pictures like the kinds of pictures in serious motherfucking paintings that you see in museums and shit. So the scientist keeps showing the apes these paintings and giving them charcoal pencils to draw with and then one day one of the apes finally draws something but it’s not the art pictures that it draws. What it draws is the bars of its own motherfucking cage. Its own motherfucking cage! Man, that's the truth, ain't it?

If, in time of peace, our museums and art galleries are important to the community, in time of war they are doubly valuable. For then, when the petty and the trivial fall way and we are face to face with final and lasting values, we… must summon to our defense all our intellectual and spiritual resources. We must guard jealously all we have inherited from a long past, all we are capable of creating in a trying present, and all we are determined to preserve in a foreseeable future. Art is the imperishable and dynamic expression of these aims. It is, and always has been, the visible evidence of the activity of free minds.…

Whatever art offered the men and women of previous eras, what it offers our own, it seems to me, is space - a certain breathing room for the spirit. The town I grew up in had many vacant lots; when I go back now, the vacant lots are gone. They were a luxury, just as tigers and rhinoceri, in the crowded world that is making, are luxuries. Museums and bookstores should feel, I think, like vacant lots - places where the demands on us are our own demands, where the spirit can find exercise in unsupervised play.

I thought of the cool, fresh air of the city I'd always dreamed of living in. The art museums and trolleys and the mysterious fog that blanketed it. I could almost smell the cappuccinos I'd planned to drink in bohemian cafes or hear the indie music in the bookstores I would spend my free time in. I pictured the friends I'd make, my kindred art people, and the dorm room I was supposed to move into.

Years later, as a professor, Martin would try to find the words to articulate the power of togetherness in a world where togetherness had been corrupted -- and to explore the effect of the music, the surprising lengths the people had gone to to hear it and to play it, as evidence that music, and art in general, are basic requirements of the human soul. Not a luxury but a compulsion. He will think of it every time he goes to a museum or a concert or a play with a long line of people waiting to get inside.

What was I thinking?" Chiron cried. " I can't let you get away without this." He pulled a pen from his coat pocket. It was an ordinary disposable ballpoint, black ink, removable cap. Probably thirty cents. Gee," I said. "Thanks." Percy, that's a gift from your father. I've kept it for years, not knowing you were who I was waiting for. But the profecy is clear to me now. You are the one. I remembered the feild trip to the Metropolitan Museum of Art, when I'd vaporized Mrs. Dodds. Chiron had thrown me a pen that turned into a sword. Could this be...? I took off the cap, and the pen grew longer and heavier in my hand. In half a second, I held a shimmering bronze sword with a double-edged blade, a leather=wrapped grip, and a flat hilt riveted with gold studs. It was the first weapon that actually felt balanced in my hands. The sword has a long and tragic history that we need not go into," Chiron told me. "It's name is Anaklusmos." Riptide," I translated, surprised the Ancient Greek came so easily. Use it only for emergencies" Chiron said, "and only against monsters No hero should harm mortals unless absolutely, of course, but this sword wouldn't harm them in any case.

He laughed. “What’s to say? Great paintings—people flock to see them, they draw crowds, they’re reproduced endlessly on coffee mugs and mouse pads and anything-you-like. And, I count myself in the following, you can have a lifetime of perfectly sincere museum-going where you traipse around enjoying everything and then go out and have some lunch. But—” crossing back to the table to sit again “—if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you.” Fingertip gliding over the faded-out photo—the conservator’s touch, a touch-without-touching, a communion wafer’s space between the surface and his forefinger.

both you and paintings are layered… first, ephemera and notations on the back of the canvas. Labels indicate gallery shows, museum shows, footprints in the snow, so to speak. Then pencil scribbles on the stretcher, usually by the artist, usually a title or date. Next the stretcher itself. Pine or something. Wooden triangles in the corners so the picture can be tapped tighter when the canvas becomes loose. Nails in the wood securing the picture to the stretcher. Next, a canvas: linen, muslin, sometimes a panel; then the gesso - a primary coat, always white. A layer of underpaint, usually a pastel color, then, the miracle, where the secrets are: the paint itself, swished around, roughly, gently, layer on layer, thick or thin, not more than a quarter of an inch ever -- God can happen in that quarter of an inch -- the occasional brush hair left embedded, colors mixed over each other, tones showing through, sometimes the weave of the linen revealing itself. The signature on top of the entire goulash. Then varnish is swabbed over the whole. Finally, the frame, translucent gilt or carved wood. The whole thing is done.

In the following days the twins went all over the city; they visited more museums, particularly the avant-garde ones. Whenever Magda spotted a Van Gogh her eyes would fill with tears, remembering the aberrational agony this great artist had gone through. The work that stirred her most was one of those many self-portraits of the artist in a sober and tormented mood; a painting built by many heavy brushstrokes of dense undiluted paint applied spirally giving the impression that the image was materializing from a turquoise background. Magda spent a full ten minutes before one such portrait. When she returned back to earth she noticed a young man beside her, as absorbed with the painting as she was and whose face looked familiar.

Arguments for preservation based on the beauty of wilderness are sometimes treated as if they were of little weight because they are "merely aesthetic". That is a mistake. We go to great lengths to preserve the artistic treasures of earlier human civilisations. It is difficult to imagine any economic gain that we would be prepared to accept as adequate compensation for, for instance, the destruction of the paintings in the Louvre. How should we compare the aesthetic value of wilderness with that of the paintings in the Louvre? Here, perhaps, judgment does become inescapably subjective; so I shall report my own experiences. I have looked at the paintings in the Louvre, and in many of the other great galleries of Europe and the United States. I think I have a reasonable sense of appreciation of the fine arts; yet I have not had, in any museum, experiences that have filled my aesthetic senses in the way that they are filled when I walk in a natural setting and pause to survey the view from a rocky peak overlooking a forested valley, or by a stream tumbling over moss-covered boulders set amongst tall tree-ferns, growing in the shade of the forest canopy, I do not think I am alone in this; for many people, wilderness is the source of the greatest feelings of aesthetic appreciation, rising to an almost mystical intensity.

In a society that is essentially designed to organize, direct, and gratify mass impulses, what is there to minister to the silent zones of man as an individual? Religion? Art? Nature? No, the church has turned religion into standardized public spectacle, and the museum has done the same for art. The Grand Canyon and Niagara Falls have been looked at so much that they've become effete, sucked empty by too many stupid eyes. What is there to minister to the silent zones of man as an individual? How about a cold chicken bone on a paper plate at midnight, how about a lurid lipstick lengthening or shortening at your command, how about a Styrofoam nest abandoned by a 'bird' you've never known, how about a pair of windshield wipers pursuing one another futilely while you drive home alone through a downpour, how about something beneath a seat touched by your shoe at the movies, how about worn pencils, cute forks, fat little radios, boxes of bow ties, and bubbles on the side of a bathtub? Yes, these are the things, these kite strings and olive oil cans and Valentine hearts stuffed with nougat, that form the bond between the autistic vision and the experiential world, it is to show these things in their true mysterious light that is the purpose of the moon.

If I walked down by different streets to the Jardin du Luxembourg in the afternoon I could walk through the gardens and then go to the Musée du Luxembourg where the great paintings were that have now mostly been transferred to the Louvre and the Jeu de Paume. I went there nearly every day for the Cézannes and to see the Manets and the Monets and the other Impressionists that I had first come to know about in the Art Institute at Chicago. I was learning something from the painting of Cézanne that made writing simple true sentences far from enough to make the stories have the dimensions that I was trying to put in them. I was learning very much from him but I was not articulate enough to explain it to anyone. Besides it was a secret. But if the light was gone in the Luxembourg I would walk up through the gardens and stop in at the studio apartment where Gertrude Stein lived at 27 rue de Fleurus.

If Los Angeles is a woman reclining billboard model and the San Fernando Valley is her teenybopper sister, then New York is their cousin. Her hair is dyed autumn red or aubergine or Egyptian henna, depending on her mood. Her skin is pale as frost and she wears beautiful Jil Sander suits and Prada pumps on which she walks faster than a speeding taxi (when it is caught in rush hour, that is). Her lips are some unlikely shade of copper or violet, courtesy of her local MAC drag queen makeup consultant. She is always carrying bags of clothes, bouquets of roses, take-out Chinese containers, or bagels. Museum tags fill her pockets and purses, along with perfume samples and invitations to art gallery openings. When she is walking to work, to ward off bums or psychos, her face resembles the Statue of Liberty, but at home in her candlelit, dove-colored apartment, the stony look fades away and she smiles like the sterling roses she has brought for herself to make up for the fact that she is single and her feet are sore.

The biggest spur to my interest in art came when I played van Gogh in the biographical film Lust For Life. The role affected me deeply. I was haunted by this talented genius who took his own life, thinking he was a failure. How terrible to paint pictures and feel that no one wants them. How awful it would be to write music that no one wants to hear. Books that no one wants to read. And how would you like to be an actor with no part to play, and no audience to watch you. Poor Vincent—he wrestled with his soul in the wheat field of Auvers-sur-Oise, stacks of his unsold paintings collecting dust in his brother's house. It was all too much for him, and he pulled the trigger and ended it all. My heart ached for van Gogh the afternoon that I played that scene. As I write this, I look up at a poster of his "Irises"—a poster from the Getty Museum. It's a beautiful piece of art with one white iris sticking up among a field of blue ones. They paid a fortune for it, reportedly $53 million. And poor Vincent, in his lifetime, sold only one painting for 400 francs or $80 dollars today. This is what stimulated my interest in buying works of art from living artists. I want them to know while they are alive that I enjoy their paintings hanging on my walls, or their sculptures decorating my garden

Ingenious philosophers tell you, perhaps, that the great work of the steam-engine is to create leisure for mankind. Do not believe them: it only creates a vacuum for eager thought to rush in. Even idleness is eager now—eager for amusement; prone to excursion-trains, art museums, periodical literature, and exciting novels; prone even to scientific theorizing and cursory peeps through microscopes. Old Leisure was quite a different personage. He only read one newspaper, innocent of leaders, and was free from that periodicity of sensations which we call post-time. He was a contemplative, rather stout gentleman, of excellent digestion; of quiet perceptions, undiseased by hypothesis; happy in his inability to know the causes of things, preferring the things themselves. He lived chiefly in the country, among pleasant seats and homesteads, and was fond of sauntering by the fruit-tree wall and scenting the apricots when they were warmed by the morning sunshine, or of sheltering himself under the orchard boughs at noon, when the summer pears were falling. He knew nothing of weekday services, and thought none the worse of the Sunday sermon if it allowed him to sleep from the text to the blessing; liking the afternoon service best, because the prayers were the shortest, and not ashamed to say so; for he had an easy, jolly conscience, broad-backed like himself, and able to carry a great deal of beer or port-wine, not being made squeamish by doubts and qualms and lofty aspirations.

Now, to look is one of the most difficult things in life – or to listen – to look and listen are the same. If your eyes are blinded with your worries, you cannot see the beauty of the sunset. Most of us have lost touch with nature. Civilisation is tending more and more towards large cities; we are becoming more and more an urban people, living in crowded apartments and having very little space even to look at the sky of an evening and morning, and therefore we are losing touch with a great deal of beauty. I don’t know if you have noticed how few of us look at a sunrise or a sunset or the moonlight or the reflection of light on water. Having lost touch with nature we naturally tend to develop intellectual capacities. We read a great many books, go to a great many museums and concerts, watch television and have many other entertainments. We quote endlessly from other people’s ideas and think and talk a great deal about art. Why is it that we depend so much upon art? Is it a form of escape, of stimulation? If you are directly in contact with nature; if you watch the movement of a bird on the wing, see the beauty of every movement of the sky, watch the shadows on the hills or the beauty on the face of another, do you think you will want to go to any museum to look at any picture? Perhaps it is because you do not know how to look at all the things about you that you resort to some form of drug to stimulate you to see better. There

Great paintings—people flock to see them, they draw crowds, they’re reproduced endlessly on coffee mugs and mouse pads and anything-you-like. And, I count myself in the following, you can have a lifetime of perfectly sincere museum-going where you traipse around enjoying everything and then go out and have some lunch. But if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you. An individual heart-shock. Your dream, Welty’s dream, Vermeer’s dream. You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entire, and that’s not even to mention the people separated from us by time—four hundred years before us, four hundred years after we’re gone—it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all but—a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you. And—oh, I don’t know, stop me if I’m rambling… but Welty himself used to talk about fateful objects. Every dealer and antiquaire recognizes them. The pieces that occur and recur. Maybe for someone else, not a dealer, it wouldn’t be an object. It’d be a city, a color, a time of day. The nail where your fate is liable to catch and snag.