Kiki Smith Quotes

We've searched our database for all the quotes and captions related to Kiki Smith. Here they are! All 14 of them:

Right. I look fine. Except I don't,' said Zora, tugging sadly at her man's nightshirt. This was why Kiki had dreaded having girls: she knew she wouldn't be able to protect them from self-disgust. To that end she had tried banning television in the early years, and never had a lipstick or a woman's magazine crossed the threshold of the Belsey home to Kiki's knowledge, but these and other precautionary measures had made no difference. It was in the air, or so it seemed to Kiki, this hatred of women and their bodies-- it seeped in with every draught in the house; people brought it home on their shoes, they breathed it in off their newspapers. There was no way to control it.
Zadie Smith (On Beauty)
- You look fine. - Right. I look fine. Except I don't, said Zora, tugging sadly at her man's nightshirt. This was why Kiki had dreaded having girls: she knew she wouldn't be able to protect them from self-disgust.
Zadie Smith (On Beauty)
This was why Kiki had dreaded having girls: she knew she wouldn't be able to protect them from self-disgust.
Zadie Smith (On Beauty)
When, on their twenty-fifth wedding anniversary, Jerome had played his parents an ethereal, far more beautiful version of 'Hallelujah' by a kid called Buckley, Kiki had thought yes, that's right, our memories are getting more beautiful and less real every day. And then the kid drowned in the Mississippi, recalled Kiki now, looking up from her knees to the colourful painting that hung behind Carlene's empty chair. Jerome had wept: the tears you cry for someone whom you never met who made something beautiful that you loved. Seventeen years earlier, when Lennon died, Kiki had dragged Howard to Central Park and wept while the crowd sang 'All You Need is Love' and Howard ranted bitterly about Milgram and mass psychosis.
Zadie Smith (On Beauty)
It was in the air, or so it seemed to Kiki, this hatred of women and their bodies – it seeped in with every draught in the house; people brought it home on their shoes, they breathed it in off their newspapers. There was no way to control it.
Zadie Smith (On Beauty)
She could not do distress. Anger was so much easier. And quicker and harder and better. If I start crying, I’ll never stop –you hear people say that; Kiki heard people say it all the time in the hospital. A backlog of sadness for which there would never be sufficient time
Zadie Smith (On Beauty)
One hopes that each piece contains enough space for several narratives.
Kiki Smith
Kiki turned to her husband with a thesis for a face, of which only Howard could know every line and reference.
Zadie Smith (On Beauty)
I didn't originally intend to be an artist; I was much more interested in decorative arts--daily life, beautiful objects.
Helaine Posner (Kiki Smith (LITTLE, BROWN A))
Kiki began to giggle. Now Howard let go of Zora and held his wife instead, gripping he from behind. His arms could not go entirely around her, but still they walked in this manner down the small hill towards the gates of the park. This was one of the little ways in which eh said sorry. They were meant to add up each day.
Zadie Smith (On Beauty)
She let Howard reinvent, retouch. When, on their twenty-fifth wedding anniversary, Jerome had played his parents an ethereal, far more beautiful version of 'Hallelujah' by a kid called Buckley, Kiki had thought yes, that's right, our memories are getting more beautiful and less real every day.
Zadie Smith (On Beauty)
She had only this brief glimpse of him, but Kiki suspected already that this would be one of those familiar exchanges in which her enormous spellbinding bosom would play a subtle (or not so subtle, depending on the person) silent third role in the conversation. Women bent away from it out of politeness; men more comfortably for Kiki sometimes remarked on it in order to get on and over it, as it were. The size was sexual and at the same time more than sexual: sex was only one small element of its symbolic range. If she were white, maybe it would refer only to sex, but she was not. And so her chest gave off a mass of signals beyond her direct control: sassy, sisterly, predatory, motherly, threatening, comforting — it was a mirror-world she had stepped into in her mid forties, a strange fabulation of the person she believed she was. She could no longer be meek or shy. Her body had directed her to a new personality; people expected new things of her, some of them good, some not.
Zadie Smith (On Beauty)
This was why Kiki had dreaded having girls: she knew she wouldn't be able to protect them from self-disgust. To that end she had tried banning television in the early years, and never had a lipstick or a woman's magazine crossed the threshold of the Belsey home to Kiki's knowledge, but these and other precautionary measures had made no difference. It was in the air, or so it seemed to Kiki, this hatred of women and their bodies - it seeped in with every draught in the house; people brought it home on their shoes, they breathed it in off their newspapers. There was no way to control it.
Zadie Smith (On Beauty)
Working on the Rembrandt still, though?’ persisted Warren. He was the son of a fireman, and Kiki liked this best about him, although she knew all the other ideas she connected with this one were romantic notions on her part, not relevant to the real lived existence of a busy biochemist. He asked questions, he was interested and interesting, he rarely spoke of himself. He had a calm voice for the worst accidents and emergencies
Zadie Smith (On Beauty)