Jr Artist Quotes

I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, 'The Beatles did'.

Most of the time when I have met artists who have meant a lot to me, the experience has been well above expectation. People like Iggy, Lou Reed, Jerry Lee Lewis, Black Sabbath, Nick Cave, Hubert Selby Jr, Billy Gibbons, Al Pacino, John Lee Hooker, James Brown, Johnny Cash etc. have been really great to me. What strikes me is most of the time, the bigger the celeb/legend, the more polite and cool they are. It's the insecure ones who treat you like they're doing you a favor by shaking your hand.

Being an artist doesn't take much. Just everything you got. Which means of course that as the process is giving you life, it is also bringing you closer to death. But it's no big deal. They are one in the same and cannot be avoided or denied. So when I totally embrace this process, this life/death, and abandon myself to it completely, I transcend all this gibberish and hang out with the gods. It seems to me that that is worth the price of admission.

All of us,' he said, 'have hopes of being poet, artist, discoverer, philospoher, scientist; of possessing the attributes of all these simultaneously. Few are permitted to achieve any of them in daily life. But in travel we attain them all. Then we have our day of glory, when all our dreams come true, when we can be anything we like, as long as we like, and, when we are tired of it, pull up stakes and move on. Travel -- the solitude of the mountains, the emptiness of the desert, the delicacy of the minaret; eternal change, limitless contrast, unending variety.' (Eric Lang)

To write with taste, in the highest sense, is to write [...] so that no one commits suicide, no one despairs; to write [...] so that people understand, sympathize, see the universality of pain, and feel strengthened, if not directly encouraged to live on. If there is good to be said, the writer should say it. If there is bad to be said, he should say it in a way that reflects the truth that, though we see the evil, we choose to continue among the living. The true artist [...] gets his sense of worth and honor from his conviction that art is powerful--

All that summer and fall she painted, mornings, afternoons, evenings, then walked around the streets that were still echoing the music of the masters, and every stone, every pebble seemed to have a life and reason of its own and she somehow felt, though vaguely, a part of that reason. Some nights she would sit in the café with other young artists and poets and musicians and who knows what else, drinking wine and talking and laughing and discussing and arguing and life was exciting and tangible and crisp like the clear Mediterranean sunlight. Then as the grayness of winter slowly seeped down from the north the energy and inspiration seemed to ooze from her as paint from a tube and now when she looked at a bare canvas it was only a bare canvas, a piece of material stretched over a few pieces of wood, it was no longer a painting waiting to be painted. It was just, canvas. She went further south. Sicily. North Africa. Trying to follow the sun to the past, the very recent past, but all she found was herself.

A plausible mission of artists is to make people appreciate being alive, at least a little bit…

God is the best makeup Artist I have ever seen however, you may get an honorable mention for sprucing.

An artist spends their whole life trying to get back to the place where their heart was first opened up. —SOME GENIUS

Many modern artists, philosophers, and theologians reject the knowledge of the past. Thus they must continually start over again from ground zero, their vision restricted to their own narrow perspectives, making themselves artificially primitive.

Suicide is the punctuation mark at the end of many artistic careers.

Georgette was a hip queer. She (he) didn't try to disguise or conceal it with marriage and mans talk, satisfying her homosexuality with the keeping of a secret scrapbook of pictures of favorite male actors or athletes or by supervising activities of young boys or visiting turkish baths or mens locker rooms, leering sidely while seeking protection behind a carefully guarded guise of virility (fearing that moment at a cocktail party or in a bar when this front may start crumbling from alcohol and be completely disintegrated with an attempted kiss or groping of an attractive young man and being repelled with a punch and - rotten fairy - followed with hysteria and incoherent apologies and excuses and running from the room) but, took a pride in being a homosexual by feeling intellectually and esthetically superior to those (especially women) who weren't gay (look at all the great artists who were fairies!); and with the wearing of womens panties, lipstick, eye makeup (this including occasionally gold and silver - stardust - on the lids),long marcelled hair, manicured and polished fingernails, the wearing of womens clothes complete with a padded bra, high heels and wig (one of her biggest thrills was going to BOP CITY dressed as a tall stately blond ( she was 6'4 in heels) in the company of a negro (he was a big beautiful black bastard and when he floated in all the cats in the place jumped and the squares bugged. We were at crazy pad before going and were blasting like crazy, and were up so high that I just didnt give ashit for anyone honey, let me tell you!); and the occasional wearing of menstrual napkin.

In the new transportation system, car interiors will be like living rooms or meeting rooms. Since cars will be autonomous, passengers will be able to utilize the trip time to work, converse, socialize, write, be artistic or whatever else. Mayflower-Plymouth is making it happen.

The doctrine of vocation deals with how God works through human beings to bestow His gifts. God gives us this day our daily bread by means of the farmer the banker, the cooks, And the lady at the check-out counter. He creates new life – the most amazing miracle of all – by means of mothers and fathers. He protects us by means of the police officers, firemen, and our military. He creates. Through artists. He heals by working through doctors, nurses, and others whom He has gifted, equipped, and called to the medical professions.

Success or Failure, there should always be a Drive to Keep on Creating.

When the excellent German novelist and graphic artist Günter Grass heard that I was born in 1922, he said to me, "There are no males in Europe your age for you to talk to.

A lot of artists try to be eccentric, but for Tom Waits, it comes naturally. He's an expert of sorts on the most peculiar of subjects, like the daily lives of ants.

We are defined as artists by the pull of our hearts, not the creation of our hands.

The world is a museum and we are the artist and critics.

The aim of an artist is to show us something we cannot see on our own.

Oh, don't get me started! I love fantasy, I read it for pleasure, even after all these years. Pat McKillip, Ursula Le Guin and John Crowley are probably my favorite writers in the field, in addition to all the writers in the Endicott Studio group - but there are many others I also admire. In children's fantasy, I'm particularly keen on Philip Pullman, Donna Jo Napoli, David Almond and Jane Yolen - though my favorite novels recently were Midori Snyder's Hannah's Garden, Holly Black's Tithe, and Neil Gaiman's Coraline. I read a lot of mainstream fiction as well - I particularly love Alice Hoffman, A.S. Byatt, Sara Maitland, Sarah Waters, Sebastian Faulks, and Elizabeth Knox. There's also a great deal of magical fiction by Native American authors being published these days - Louise Erdrich's Antelope Wife, Alfredo Vea Jr.'s Maravilla, Linda Hogan's Power, and Susan Power's Grass Dancer are a few recent favorites. I'm a big fan of Jane Austen, Charlotte Bronte, Charles Dickens, and Anthony Trollope - I re-read Jane Austen's novels in particular every year.Other fantasists say they read Tolkien every year, but for me it's Austen. I adore biographies, particularly biographies of artists and writers (and particularly those written by Michael Holroyd). And I love books that explore the philosophical side of art, such as Lewis Hyde's The Gift, Carolyn Heilbrun's Writing a Woman's Life, or David Abram's Spell of the Sensuous. (from a 2002 interview)

Artist use brushes that can paint you a scene while writers can take you to places unseen but poets can speak right into your heart as desire wakes your sleeping soul as it quivers to impart.

We wanted to make a website that would function as a hub, so that if you went online to buy a Jill Phillips CD, her site sent you to The Rabbit Room store with all the other artists she was friends with. Cross-pollination. But it was also books. There are too many good writers out there who are mostly unknown. The Rabbit Room store also carried books by Lewis, Tolkien, Marilynne Robinson, Dorothy Sayers, Flannery O’Connor, Walter Wangerin Jr., Jeffrey Overstreet, George MacDonald, and G. K. Chesterton—authors half of which you probably won’t find in a typical Christian bookstore.

When an artist submerges a crucifix in a jar of his own urine, or smears elephant dung on an image of the Virgin Mary, do these works belong in art museums?21 Can the artist simply tell religious Christians, “If you don’t want to see it, don’t go to the museum”? Or does the mere existence of such works make the world dirtier, more profane, and more degraded? If you can’t see anything wrong here, try reversing the politics. Imagine that a conservative artist had created these works using images of Martin Luther King Jr. and Nelson Mandela instead of Jesus and Mary. Imagine that his intent was to mock the quasi-deification by the left of so many black leaders. Could such works be displayed in museums in New York or Paris without triggering angry demonstrations? Might some on the left feel that the museum itself had been polluted by racism, even after the paintings were removed?

The difference between fiction and reality? Fiction has to make sense.” —Tom Clancy “To achieve great things, two things are needed: a plan, and not quite enough time.” —Leonard Bernstein "Sharing what you have is more important than what you have." --Albert M. Wells, Jr. Sign Up to receive a quote like this each Wednesday, visit my website

I said, “Saul, I am a novelist, and many of my friends are novelists and good ones, but when we talk I keep feeling we are in two very different businesses. What makes me feel that way?” Six seconds passed, and then he said, “It’s very simple. There are two sorts of artists, one not being in the least superior to the other. But one responds to the history of his or her art so far, and the other responds to life itself.” I said, “Saul, are you gifted?” Six seconds passed, and then he growled, “No, but what you respond to in any work of art is the artist’s struggle against his or her limitations.

On the Craft of Writing:  The Story Grid: What Good Editors Know by Shawn Coyne The Elements of Style by William Strunk Jr. and E. B. White 2K to 10K: Writing Faster, Writing Better, and Writing More of What You Love by Rachel Aaron  On Writing: A Memoir of the Craft by Stephen King Take Off Your Pants! Outline Your Books for Faster, Better Writing by Libbie Hawker  You Are a Writer (So Start Acting Like One) by Jeff Goins Prosperity for Writers: A Writer's Guide to Creating Abundance by Honorée Corder  The Artist's Way by Julia Cameron The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield Business for Authors: How To Be An Author Entrepreneur by Joanna Penn  On Writing Well: The Classic Guide to Writing Nonfiction by William Zinsser Writing Tools: 50 Essential Strategies for Every Writer by Roy Peter Clark On Mindset:  The One Thing: The Surprisingly Simple Truth Behind Extraordinary Results by Gary Keller and Jay Papasan The Art of Exceptional Living by Jim Rohn Vision to Reality: How Short Term Massive Action Equals Long Term Maximum Results by Honorée Corder The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change by Stephen R. Covey Essentialism: The Disciplined Pursuit of Less by Greg Mckeown Mastery by Robert Greene The Success Principles: How to Get from Where You Are to Where You Want to Be by Jack Canfield and Janet Switzer The Game of Life and How to Play It by Florence Scovel Shinn The Compound Effect by Darren Hardy Taking Life Head On: How to Love the Life You Have While You Create the Life of Your Dreams by Hal Elrod Think and Grow Rich by Napoleon Hill In

Art is a positive "FORCE" that bring beings together for the common good. Only the people who had lost a piece of themselves can create the unimaginary.

Some things are meant to live and die with an artist

If an artist really wants to jack up the prices of his creations, may I suggest this: suicide.

he had charged that the democratic countries of the world had “retreated at every step” before the onslaught of fascism, and that “the Colored people of the United States must ever keep in mind that the reactionary forces seeking to smash democracy in Spain are the same forces which would destroy our constitutional rights at home.

Any creation which has any wholeness and harmoniousness, I suspect, was made by an artist

The best football player in America could not serve as captain of his team. But Paul expressed neither surprise nor anger: by now he knew this was the way the white world operated, and he was able to shrug it off.

Thousands of left-wing volunteers from all over Europe, along with many Americans and Canadians, answered the Spanish Republic’s call for help and were supported by arms shipments, military advisers, and air force pilots from the Soviet Union. The governments of England, France, and the United States maintained a hypocritical neutrality, embargoing arms shipments and volunteers to both sides.

In 1938, U.S. public opinion preferred fascism to communism by 31 percent to 22 percent; 47 percent had “no opinion.

On March 7, 1936, Hitler’s army marched unopposed into the Rhineland, a demilitarized buffer zone between France and Germany. U.S. Secretary of State Cordell Hull did not protest, and FDR went fishing.

Only some Lib artists will say, “You can’t mix art with politics.” Why? Because some of them are in these corrupt politicians' pockets. Yes, you can! Art is Politics!

What did Odysseus do in order to sail by the sirens safely?” he asked me. “I forget,” I said. “He did what you must do now, whenever anybody tells you that you have an artistic gift of any kind,” he said. “I only wish my father had told me what I tell you now.” “Sir?” I said. “Plug your ears with wax, my boy—and lash yourself to the mast,” he said.

I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, “The Beatles did.

as a writer, or any kind of artist, was not designed to, you know, to make you special or to even isolate you….What your role was, it seemed to me, was to bear witness. To what life is—does—and to speak for people who cannot speak. That you are simply a kind of conduit.

The Key to Knowledge is Artistic Wisdom and The Key to Wisdom is Philosophic hand print of geniuses but The Key to Foolishness is despair arrogants

The Key to Knowledge is Artistic Wisdom and The Key to Wisdom is Philosophic hand print of geniuses and the key to Foolishness is despair arrogants

Poetry is a deep river which has the incomplete verbiage of the subconscious mind... things left unsaid, never admitted, and hushed right before birth. We remain in awe of those who not only peek into its window but share and translate the sound of the ocean with us.

Denver City Park, local officials unveiled a $110,000, twenty-foot statue designed and cast by Boulder artist Ed Rose. The idea for the sculpture came in 1973 by Herman Hamilton, a Denver bowling alley owner from Money, Mississippi, who was nine years old when Emmett Till was murdered. It depicted Martin Luther King Jr. and Emmett Till standing together. The project had been sponsored by the Martin Luther King Jr. Memorial Foundation, with a grant from the Colorado Centennial-Bicentennial Commission.14 Till’s August 28, 1955, murder and King’s 1963 “I Have a Dream” speech occurred exactly eight years apart. Mamie

The difference between fiction and reality? Fiction has to make sense.” —Tom Clancy “To achieve great things, two things are needed: a plan, and not quite enough time.” —Leonard Bernstein "Sharing what you have is more important than what you have." --Albert M. Wells, Jr. Sign Up to receive a quote like this each Wednesday, visit my website: michaelzbooks(DOT)com

The statue on which Chrono was working was of a family group—a Neanderthal man, his mate, and their baby. It was a deeply-moving piece. The squat, shaggy, hopeful creatures were so ugly they were beautiful. Their importance and universality was not spoiled by the satiric title Salo had given the piece. He gave frightful titles to all his statues, as though to proclaim desperately that he did not take himself seriously as an artist, not for an instant. The title he gave to the Neanderthal family derived from the fact that the baby was being shown a human foot roasting on a crude spit. The title was This Little Piggy.

Nature of an artist something unseemly parallel the handprints of a genius misery

The Cause of Nature disaster is measured through the parallel artistic handprints of a Genius

When artists choose to support rather than compete, they forge bonds of artistic kinship that transcend envy, laying the foundation for a legacy of collective brilliance.

a paying career out of her writing. She and Emerson talked about many things, including self-reliance, but most concentratedly about German literature. She, as well as Carlyle, was now absorbed in Goethe’s writings and was working on a translation of Eckermann’s great Conversations with Goethe. Emerson was working on his (German, increasingly convinced, as were other friends such as Hedge from Bangor, and Parker and Ripley from Boston, that the most interesting intellectual and artistic currents, the really vital ideas seemed recently to have been coming out of Germany. No one, they thought, would be able to understand the nineteenth century without taking Kant, Herder, Hegel, and Goethe into account. Until one had read them, one’s basic education was not complete.

A poet writing poetry, an artist creating calligraphy. An author scripting mastery with an encyclopedia intellect. From from a derelict's viewpoint, that can only be admired by reading the works. To understand the man, you must understand his work.

At the twentieth century’s dawn, Rockefeller’s sanguinary maneuvering—including bribery, price-fixing, corporate espionage, and creating shell companies to conduct illegal activities—had won his Standard Oil Company control of 90 percent of US oil production and made him the richest man in world history with a net worth of over half a trillion in today’s dollars. Senator Robert Lafayette excoriated Rockefeller as “the greatest criminal of the age.”39 The oil magnate’s father, William “Devil Bill” Rockefeller, was a marauding con artist who supported his family by posing as a doctor and hawking snake oil, opium elixirs, patent medicines, and other miracle cures.40 In the early 1900s, as scientists discovered pharmaceutical uses for refinery by-products, John D. saw an opportunity to capitalize on the family’s medical pedigree. At that time, nearly half the physicians and medical colleges in the United States practiced holistic or herbal medicine. Rockefeller and his friend Andrew Carnegie, the Big Steel robber baron, dispatched educator Abraham Flexner on a cross-country tour to catalog the status of America’s 155 medical colleges and hospitals.

Sociobiologist Edward O. Wilson later said that there should be a “consilience” between art and science. 79 Former NASA astronaut Mae Jemison took selected images with her on her first trip to space, including a poster of dancer and former artistic director of the Alvin Ailey American Dance Theater Judith Jamison performing the dance Cry, and a Bundu statue from Sierra Leone, because, as she said, “the creativity that allowed us . . . to conceive and build and launch the space shuttle, springs from the same source as the imagination and analysis it took to carve a Bundu statue, or the ingenuity it took to design, choreograph, and stage ‘Cry.’ . . . That’s what we have to reconcile in our minds, how these things fit together.” 80 As a jazz musician once told me, musicians are mathematicians as well as artists. Morse’s story suggests that the argument started not because of the need to bring art and science together, but because they were once not so far apart. 81 When Frank Jewett Mather Jr. of The Nation stated that Morse “was an inventor superimposed upon an artist,” it was factually true. 82 Equally true is that Morse could become an inventor because he was an artist all the while. In one of the final paintings that laid him flat, the painting that failed to secure his last attempt at a commission, one he had worked fifteen years to achieve, Morse may have left a clue about his shift from art to invention, and the fact that the skills required for both are the same. He painted The House of Representatives (1822–23) as evidence of his suitability for a commission from Congress to complete a suite of paintings that still adorn the U.S. Capitol building. The painting has an odd compositional focus. In the center is a man screwing in an oil chandelier, preoccupied with currents. Morse was “rejected beyond hope of appeal” by the congressional commission led by John Quincy Adams. When he toured the picture for seven weeks—displayed in a coffee house in Salem, Massachusetts, and at exhibitions in New York, Boston, Middleton, and Hartford, Connecticut—it lost twenty dollars in the first two weeks. Compounded by a litany of embarrassing, near-soul-stealing artistic failures, he took to his bed for weeks, “more seriously depressed than ever.” This final rejection forced him to shift his energies to his telegraph invention. 83 By 1844 Morse went to the Capitol focused on a current that would occupy the work of Congress—obtaining a patent for the telegraph.

The computer has brought a similar fluidity to many other media: artistic drawings, building plans, mechanical drawings, musical compositions, photographs, video sequences, slide presentations, multimedia works, and even to spreadsheets. In each case, the manual method of production required recopying the bulky unchanged parts in order to see changes in context. Now we enjoy for each medium the same benefits that time-sharing brought to software creation—the ability to revise and to assess instantly the effect without losing one's train of thought.

May 19: At 2:00 p.m., Marilyn arrives at Madison Square Garden for a brief rehearsal. She departs to have her hair styled by Kenneth Battelle at a cost of $150. Then she returns to her New York apartment for a $125 makeup session with Marie Irvine. Finally, her maid, Hazel Washington, helps hook Marilyn into her Jean Louis gown, and she arrives at Madison Square Garden approximately three hours before she is to perform. Introduced to an audience of fifteen thousand as the “late Marilyn Monroe” after she delays her entrance (all part of the carefully rehearsed show), Marilyn performs flawlessly as the last of twenty-three entertainers and is clearly the highlight of the evening. Columnist Dorothy Kilgallen describes Marilyn as “making love to the president of the United States.” Marilyn also attends a party at the home of Arthur Krim, president of United Artists. She is photographed in a group of Kennedy supporters watching Diahann Carroll sing. To her right is Maria Callas and Arthur Miller’s father, Isidore. She is also photographed with both Robert and John Kennedy, as well as presidential advisor Arthur Schlesinger Jr. Schlesinger and Robert Kennedy playfully compete to dance with Marilyn. Contrary to sensationalistic reports, Marilyn spends the rest of the evening in her New York apartment with her friend Ralph Roberts and James Haspiel, one of her devoted fans.

But fans, including critics, of particular movements of artists, tend to want what they love to stay the same, the regression is not to the mean but to an Edenic past that never actually existed. This

One German-American friend of mine, an architectural historian my own age, can be counted on to excoriate Woodrow Wilson after he has had several strong drinks. He goes on to say that it was Wilson who persuaded this country that it was patriotic to be stupid, to be proud of knowing only one language, of believing that all other cultures were inferior and ridiculous, offensive to God and common sense alike, that artists and teachers and studious persons in general were ninnies when it came to dealing with problems in life that really mattered, and on and on. This friend says that it was a particular misfortune for this country that the German-Americans had achieved such eminence in the arts and education when it was their turn to be scorned from on high. To hate all they did and stood for at that time, which included gymnastics, by the way, was to lobotomize not only the German-Americans but our culture. "That left American football," says my German-American friend, and someone is elected to drive him home.

The word “baroque” originating as a Portuguese term for the peculiar beauty of a deformed, uneven pearl, suggests a range of artistic styles in which the balance and harmony of the Renaissance styles are abandoned for imbalance, free elaboration of form, playful gesture, and surprising allusion, through which the most intense of emotions and the darkest of realities may be glimpsed, their power enhanced by the glittering surface that partially conceals them.

Holy hell, the Grim Reaper was no makeup artist; that was for sure. Even Goths had better complexions. “Hey, don’t be harshing on my peeps,” Adrian cut in. “I’d do one of us way before some SoCal bimbo with plastic melons and a spray tan.” “Stop reading my mind, motherfucker. And you’d do the bimbo anyway.” Adrian grinned and flexed his heavy arms. “Yeah. I would. And her sister.

What did Jonathan Edwards mean in sending word to his wife that their union was “uncommon”? Was it that? And how was a union that had issued in eleven offspring “spiritual”? Of one thing we may be sure: Jonathan Edwards was not using his last words carelessly. This “major artist and chief American philosopher” (Miller, 1949:225) had not yet discarded his palette. His message to her had—all his words had—an exact, uncoded meaning, Lockean in its empirical force, that is there for us to recover if we will attend. Our path is to discover if we can the substance of this “uncommon” and “spiritual” union that was at the same time unquestionably an erotic bond. Something greater than curiosity is at stake for us here. Jonathan Edwards is preeminently a theologian of the heart and of the affections; to discover the kind of love that was central between these two may provide an exact clue to his own theological ethics—a bonus not to be disdained.

The arts, the arts, the arts -' he said to me one night. 'I don't know why it took me so long to realize how important they are. As a young man, I actually held them in supreme contempt. Now, whenever I think about them, I want to fall on my knees and weep.' [ ... ] 'Howard -' he said to me, 'future civilizations - better civilizations than this one - are going to judge all men by the extent to which they've been artists. You and I, if some future archaeologist finds our works miraculously preserved in some city dump, will be judged by the quality of our creations. Nothing else about us will matter.' 'Um,' I said.

future civilizations—better civilizations than this one—are going to judge all men by the extent to which they’ve been artists.

What is it artists do?" And I mumbled something. "They do two things," he said. "First, they admit they can't straighten out the whole universe. And then second, they make at least one little part of it exactly as it should be. A blob of clay, a square of canvas, a piece of paper, or whatever.

In October, an afternoon visit with Albert Einstein in Princeton at Einstein’s invitation provided Paul with a welcome change of pace. The two recalled their previous meetings—especially backstage in Princeton when Einstein had seen Paul in Othello. They talked at length about the right to travel, Paul’s fight for his artistic life, and scientists’ responsibility to speak out against the trampling of constitutional rights.

I think—I think—it is somehow very useful, and maybe even essential, for a fine artist to have to somehow make his peace on the canvas with all the things he cannot do. That is what attracts us to serious paintings, I think: that shortfall, which we might call “personality,” or maybe even “pain.

This great church is an incomparable work of art. There is neither aridity nor confusion in the tenets it sets forth. . . . It is the zenith of a style, the work of artists who had understood and assimilated all their predecessors' successes, in complete possession of the techniques of their times, but using them without indiscreet display nor gratuitous feats of skill. It was Jean d'Orbais who undoubtedly conceived the general plan of the building, a plan which was respected, at least in its essential elements, by his successors. This is one of the reasons for the extreme coherence and unity of the edifice. —REIMS CATHEDRAL GUIDEBOOK[1] Conceptual

The hand, for instance, is not simply a system of levers that makes it possible to grasp and manipulate objects, nor is it merely a sensory organ; it is in fact the instrument which makes possible many of our greatest technological and artistic achievements. It allows us to explore our world, to fashion instruments, to touch a loved one, and to create works of art. It is, to put it simply, an extension of the brain, without which the brain as we know it could not have evolved. The muscles that support upright posture, our shoulders, limbs, and voice—all are tangible aspects of our higher selves. To understand our physical design is to understand the underpinnings of our intellectual, social, and artistic lives.

Anne Kihagi highlight’s some of the museum’s ongoing, current, and upcoming exhibits at San Francisco Museum of Modern Art The San Francisco Museum of Modern Art (SFMOMA) features a wide range of art exhibits. One of the ongoing exhibits at SFMOMA is the pop, minimal, and figurative art one, which features pieces from the 1960s on. The museum also features the Approaching American Abstraction exhibit, which showcases the various methods of abstraction since the 1950s. The Sea Ranch is a current exhibit that runs through April 28, 2019. The exhibit is from the 1960s Northern California Modernist movement and combines architecture, the environment, and idealism. The work of photographer Louis Stettner will be featured until May 26, 2019. Stettner’s work combines American street photography with French humanism. SFMOMA will debut the Andy Warhol – From A to B and Back Again exhibit on May 19, 2019. It is slated to run until September 2, 2019. The exhibit will cover three floors and will offer a dozen pieces unique to SFMOMA. The Chronicles of San Francisco will run from May 23, 2019, through April 27, 2010, and features the work of artist JR. The exhibit is the culmination of two months of on-the-street interviews the artist conducted with almost 1,200 people. The snap + share exhibit will run from March 30 – August 4, 2019, and focuses on the impact of photographs in our daily lives. SFMOMA is open Friday through Tuesday from 10:00 AM - 5:00 PM and Thursdays from 10:00 AM – 9:00 PM. Adult admission is $25.00, with senior admission at $22.00. Visitors ages 19-24 are $19.00, and anyone under 18 is free.

Like when you go to an art museum and there’s an exhibit on some ancient art and the description makes it sound so amazing and majestic but it’s really just kind of disappointing, doesn’t stand up to what artists could do nowadays.

Traveling changes not just a man, but his art as well.

What is the point of art? To make a point. Art can show you something you never saw before.

Nature of an artist something Unseemly parallel The hampering of a genius Misery