Ninth Street Women Quotes

There are hardly any exceptions to the rule that a person must pay dearly for the divine gift of the creative fire.

Somehow the men and women of this city knew: Their streets were home to other gods.

Every so often a painter has to destroy painting. Cezanne did it. Picasso did it with cubism, then Pollock did it. He busted our idea of a picture all to hell. —Willem de Kooning

When one is young and on the threshold of life’s long deception, rashness is all. —Françoise Sagan1

When I lost my possessions, I found my creativity,” said E. Y. “Yip” Harburg, the lyricist behind The Wizard of Oz. “I felt I was being born for the first time.”11

Said Simone de Beauvoir in her groundbreaking book The Second Sex, "Just as in America there is no Negro problem but rather a white problem; just as 'anti-Semitism is not a Jewish problem; it is our problem'; so the women problem has always been a man's problem. . . . Men have always held the lot of women in their hands; and they have determined what it should be, not according to her interest, but rather with regard to their own projects, their fears, and their needs.

Elaine (de Kooning) wrote, "For the bureaucrat, reality is found in . . .the radio with the advertisements that make claims that he accepts a s false. Reality is the baseball game, Hollywood, Washington, D.C. Reality is conspicuous consumption. All of this in short, is the reality that someone else has made for him. This to the artist is unreality . . .

Simply to live does not justify existence, for life is a mere gesture on the surface of the earth, and death a return to that from which we had never been wholly separated; but oh to leave a trace, no matter how faint, of that brief gesture! For someone, some day, may find it beautiful! —Frank O’Hara1

The talented woman… must have, besides their talent, an unusual energy which drives them… to exercise their own powers. Like talented men, they are single-minded creatures, and they cannot sink into idleness, nor fritter away life and time, nor endure discontent. They possess that rarest gift, integrity of purpose.… Such women sacrifice, without knowing they do, what many other women hold dear—amusement, society, play of one kind or another—to choose solitude and profound thinking and feeling, and at last final expression. “To what end?” another woman might ask. To the end, perhaps… of art—art which has lifted us out of mental and spiritual savagery.51

John Myers wrote, "It is Imagination, man's power to imagine, that makes living in society, any society, possible. It think what Paul Goodman says about doing away with 'intolerable biological deprivation and spiritual impoverishment' through what he calls 'creative cooperative production' is the right and humane solution to our social woes.

An artist is a conduit for a vision that is as uniquely her own as a fingerprint, and unrecognizable until it appears.

the artist through his or her work revealed pure spirit so that men mired in the bitter reality of daily life might find the strength to continue.30

The abstract artist, he said, would be repeatedly challenged by such skeptics asking, “‘What does it mean?’… ‘Is it a sky, a house, a horse?’” To which they should respond with confidence and honesty, “‘No, it is a painting.’”29

You can’t have women working in an office building after two a.m. unless it’s a public service, but I have to give my clients all-night service, so there on Sixty-ninth Street I’ve got four operators for the three switchboards, and they all live right there in the apartment. That way I can have one at the boards from eight till two at night, and another one from two o’clock on. After nine in the morning three are on, one for each board, for the daytime load.

After Kristallnacht, tight U.S. immigration laws were relaxed somewhat, allowing a trickle of people who wanted to leave Europe to enter the United States. Many of those given priority in a first wave of immigration were artists, writers, composers, and scientists, but even that very circumscribed immigration caused alarm. As late as 1939, 95 percent of Americans did not want any part of a European war.15 And, with the country’s economy still fragile, many people resented those fleeing it as needy hordes who would compete for scarce jobs and dwindling government support. Anti-immigration forces in Congress used fear as an excuse to deny foreigners entry. The House Committee on Un-American Activities was established in 1938 to investigate newcomers suspected of being communists or spies.16 Alarm and insecurity in some soon hardened into paranoia and hatred. In February 1939, twenty-two thousand people marched through Manhattan, giving fascist salutes and carrying U.S. flags as well as banners with swastikas, toward a pro-Nazi rally at Madison Square Garden.

A long story had been carved down the street, filled with figures engaged in combat. Eight people, four men and four women, gathered around a glowing crystal that threw off rays of light. Another eight figures, the same figures, followed, but each one was holding a symbol: a skull, a coin, a sword, cloth, an orb, a wheel, a stream, a leaf, and a star. I stepped farther down the street and traced out more patterns: the eight figures fighting monsters with the heads of bulls or hands like talons, creatures with serpent tails instead of legs and tentacles instead of arms. Then another scene, where just one of the eight, the one with the star symbol, left the battle escorted by a ninth person. Another ring of eight people followed, each one carrying a crystal, this time with the star-symbol man at their center. The ninth man was there too, only he held a sword. The next image showed the ninth man plunging that sword through the man with the star symbol.

our own troubled world is sorely lacking in the nutrients that art provides.

When you meet someone you think you can’t live without, then you get married.

Elaine once replied, “I was going to quote from the Old Testament, and say that ‘a man sharpens his face on the face of his friends.’ This is why important movements in art have always taken place where groups of artists could get together. And then something happens. It’s some kind of electricity. A movement is never started by one; it’s always give and take.”27 Elaine’s and Bill’s relationship involved a continual exchange of ideas that wasn’t restricted to conversations with friends.

We Will Never Die”—occurred at that same location. One hundred thousand people attended, among them Supreme Court judges, cabinet ministers, three hundred congressmen, senators, diplomats, and first lady Eleanor Roosevelt.55 The groundswell witnessed in New York had taken years to build: ten years since Hitler had come to power and begun persecuting his people, five years since the world had stood shocked at the sight and sound of Kristallnacht. The crowds in Manhattan vowed not to forget. But many, many others would continue to ignore what was too horrible to contemplate, at least until the killing had stopped. Then they would comfort themselves by repeating like a mantra, “We didn’t know.” The truth was, they did.

Thanks to the near total absence of women among early Norse invaders, genetic and probably cultural mixing was taking place from the ninth century onwards, albeit the result initially of slavery and coercion; the gradual shift in focus in religious practice from Thor to the Christian deity was probably achieved through the influence of female partners. But we now have scientific evidence that Norse Dublin had been a hybrid mix, and that despite the huge changes in store it would remain so, a place where Norse and French, Irish, Welsh and the Saxon dialects of England would all be regularly heard on the street.19

The result was abstraction free of anything but the material with which the art was made and the naked energy of the artist who produced it.