Women artists

"Once I got the open tunings for some reason, I began to get the harmonic sophistication that I heard that my musical fountain inside was excited by. [...] Once I got some interesting chords to play with, my writing began to come.”"

"You're twiddling and you find the tuning. Now the left hand has to learn where the chords are, because it's a whole new ballpark, right? So you're groping around, looking for where the chords are, using very simple shapes. Put it in a tuning and you've got four chords immediately— open, barre five, barre seven, and your higher octave, like half fingering on the 12th. Then you've got to find where your minors are and where the interesting colors are — that's the exciting part."

"“That's one thing that's always, like, uh, the major difference between the performing arts to me, and being a painter, you know. Like, a painter does a painting, and he does a painting — and that's it, you know. He’s had the joy of creating it, and he hangs on a wall, and somebody buys it, somebody buys it again, or maybe nobody buys it, and it sits up in a loft somewhere until he dies. But he’s never, you know, nobody ever says to him, you know, nobody ever said to Van Gogh, 'Paint a Starry Night again, man!' You know? He painted it, and that was it.”"

"I need to explore and discover and so that has given me, really, to some what seems like courage, but really it's just in my stars, there's nothing I can do about it . . . . I guess I'll just take my award and run now."

"I don't like being too looked up at or too looked down on. I prefer meeting in the middle to being worshipped or spat out."

"…This is a period of relaxation for me, but there are still some weeds that need pulling. I kind of go with Thumper, you know, from Bambi. “If you can’t say anything nice, don’t say anything at all.” That was my philosophy for a long time as a young person. However, I lost Thumper’s guidance as I grew older…He returns from time to time."

"…It’s, you know, the words to the song are your script. You have to bring the correct emotion to every word. You know, if you sing it pretty – a lot of people that cover my songs will sing it pretty – it’s going to fall flat. You have to bring more to it than that."

"…I liked playing the coffeehouses, where I could step off the stage and go sit in the audience and be comfortable, or where there wasn’t a barrier between me and my audience in the clubs. The big stage had no appeal for me; it was too great a distance between me and the audience, and I never really liked it. I didn’t have a lot of fame in the beginning, and that’s probably good because it made it more enjoyable."

"…The later work is much richer and deeper and smarter, and the arrangements are interesting too. Musically I grow, and I grow as a lyricist, so there’s a lot of growth taking place. The early stuff – I shouldn’t be such a snob against it. A lot of these songs, I just lost them. They fell away. They only exist in these recordings. For so long I rebelled against the term: “I was never a folk singer.” I would get pissed off if they put that label on me. I didn’t think it was a good description of what I was. And then I listened, and – it was beautiful. It made me forgive my beginnings…"

"(Do you ever make yourself cry when you write?) No, never. I’m not a weeper. I’m a snarler. I just put all the weeping in the words. The words are the weeping."

"Truth and beauty. That’s what I hope to deliver."

"(Would you like to shatter any preconceptions?) I do have this reputation for being a serious person. I’m a very analytical person, a somewhat introspective person; that’s the nature of the work I do. But this is only one side of the coin, you know. I love to dance. I’m a rowdy. I’m a good-timer...But as far as shattering preconceptions, forget it. I feel that the art is there for people to bring to it whatever they choose."

"All I knew was, whatever it was that I felt was the weak link in the previous project gave me my inspiration for the next one. I wrote poetry and I painted all my life. I always wanted to play music and dabbled with it, but I never thought of putting them all together. It never occurred to me. It wasn’t until Dylan began to write poetic songs that it occurred to me you could actually sing those poems."

"The way I saw the educational system from an early age was that it taught you what to think, not how to think. There was no liberty, really, for free thinking. You were being trained to fit into a society where free thinking was a nuisance."

"Art. They think it’s a pretentious word from the giddyap. To me, words are only symbols, and the word art has never lost its vitality. It still has meaning to me. Love lost its meaning to me. God lost its meaning to me. But art never lost its meaning. I always knew what I meant by art."

"I thought, “You don’t even know who I am. You want to worship me?” That’s why I became a confessional poet. I thought, “You better know who you’re applauding up here.” It was a compulsion to be honest with my audience."

"I remember being at the Philadelphia Folk Festival and having this sensation. It was like falling to earth. It was about the time of my second album. It felt almost as if I’d had my head in the clouds long enough. And then there was a plummeting into the earth, tinged with a little bit of apprehension and fear. Shortly after that, everything began to change. There were fewer adjectives to my poetry. Fewer curlicues to my drawing. Everything began to get more bold. And solid in a way."

"Many, many times as a writer, I’ve come to a day where I say, “None of this has any meaning.” If you maintain that point of view, if you hold onto it and possess it, that’s it for you. There’s a possibility that you can come firmly to that conclusion, as Rimbaud did, and give it up."

"If I experience any frustration, it’s the frustration of being misunderstood. But that’s what stardom is – a glamorous misunderstanding. All the way along, I know that some of these projects are eccentric. I know that there are parts that are experimental, and some of them are half-baked. I certainly have been pushing the limits and – even for myself – not all of my experiments are completely successful. But they lay the groundwork for further developments. Sooner or later, some of those experiments will come to fruition. So I have to lay out a certain amount of my growing pains in public."

"I feel frustrated sometimes. I feel bitterness, but I’m not embittered. Feelings pass. A lot of the humor in the music is missed. They insist on painting me as this tragic . . . well not even a tragic, because in this town people don’t understand tragedy. All they understand is drama. You have to be moral to understand tragedy [laughs]."

"Hejira was an obscure word, but it said exactly what I wanted. Running away, honorably. It dealt with the leaving of a relationship, but without the sense of failure that accompanied the breakup of my previous relationships. I felt that it was not necessarily anybody’s fault. It was a new attitude."

"as an artist I say to myself, “If you’re that good, how come you can’t be yourself?”"

"I can put my dukes up now if I have to in life, but out of appreciation for honesty. I won’t settle for anything less in the studio. So much of music is politics. It’s going for the big vote. It amounts to a lot of baby kissing."

"I’m still obsessed with pushing the perimeters of what entails a pop song. I can’t really let go of that impulse yet. I don’t know where I’m going. I never really do. My songs could come out any shape at this point."

"Misery knows no rent bracket"

"it’s a funny time for women. We demand a certain sensitivity. We’ve made our outward attacks at machoism, right, in favor of the new sensitive male. But we’re just at the fledgling state of our liberty where we can’t handle it. I think we ask men to be sensitive and equal, but deep down think it’s unnatural. And we really want them to be stronger than us. So you get into this paradoxical thing."

"I think if you’re healthy, aging can be quite a beautiful process, and I think we’ve created an artificial problem for ourselves."

"I like to work myself up to a state of enthusiasm about anything I do, otherwise, what’s the point?"

"any acts of frustration or concern or anxiety in my life are all peripheral to a very solid core. A very strong, continuing course I’ve been following. All this other stuff is just the flak that you get for engaging in the analytical process in the first place. Even Freud knew that; to me it was the hippest thing he ever said: “Dissection of personality is no way to self-knowledge.” All you get out of that is literature, not necessarily peace of mind. It’s a satisfying, but dangerous, way to learn about yourself."

"It’s a funny thing about happiness. You can strive and strive and strive to be happy, but happiness will sneak up on you in the most peculiar ways. I feel happy suddenly. I don’t know why. Some days, the way the light strikes things. Or for some beautifully immature reason like finding myself running to the kitchen to make myself some toast. Happiness comes to me even on a bad day. In very, very strange ways. I’m very happy in my life right now."

"(about the label "female songwriter") It implies limitations...They tend to lump me always with groups of women. I always thought, “They don’t put Dylan with the Men of Rock; why do they do that to me with women?”"

"I was kind of a media dropout. I was lucky if I could name the president. I was much more inner-world oriented."

"I don’t think of myself as confessional. That’s a name that was put on me. The confessional poets like [Sylvia] Plath, whom I read later when they started calling me confessional, most of their stuff seemed contrived to me and not as greatly honest as it was touted to be. I never wanted to act the part of the poet, with pearls of language and wisdom falling from my lips...I’ve always used the songwriting process as a self-analysis of sorts. Like the Blue album – people were kind of shocked at the intimacy. It was peculiar in the pop arena at that time, because you were supposed to portray yourself as bigger than life. I remember thinking, “Well, if they’re going to worship me, they should know who they’re worshiping.”"

"I don’t think of myself as an intellectual...It’s a nice place to visit; I wouldn’t want to live there. I spend as little time there as possible."

"I feel more ambidextrous: I suffer, I enjoy; I suffer, I enjoy."

"I've always been a painter. I didn't come to it late. I was always the school artist. I came to music late, you know, relatively. I mean, I picked up — I tried it at 8. I took a year of piano lessons and wrote my first song when I was 8, wrote it out in notes."

"I've got nervous energy like a kid, still."

"at that point, that's when I forged my identity as an artist. At 8, I, you know, rebelled against the church and I rebelled against the educational system. I stepped outside the box and forged my identity as an artist."

"(about her experience as a student in school) All they did was, she said something and you said something back. From here on in, I'm not even going to try unless they ask us a question that nobody knows the answer to."

"(about "River.") We needed a sad Christmas song, didn't we?"

"(about "Both Sides Now") I wrote it when I was 21. I took a lot of ridicule, too. "What do you know about life? You're only 21." You know, but I really think it took me to — that was done in my 50s — to, you know, it took a mature woman to bring it to life...I grew into that song."

"I sing my sorrow and paint my joy."

"Like Van Gogh's paintings were a diary of his life, my paintings are kind of a diary of my life. And they're all good moments that I've preserved, and I've got them around me."

"Any time I make a record it's followed by a painting period. It's good crop rotation."

"I was demanding of myself a deeper and greater honesty, more and more revelation in my work in order to give it back to the people where it goes into their lives and nourishes them and changes their direction and makes light bulbs go off in their head and makes them feel. And it isn't vague, it strikes against the very nerves of their life and in order to do that you have to strike against the very nerves of your own."

"There's been a tremendous amount of growth. An actress is not expected to continue to play her ingenue roles, you know, I've written myself roles to grow into gracefully, but there is no growing into gracefully in the pop world. Basically the reason I'm so unruly in this business is because I never wanted to be a human jukebox."

"In our possessive coupling So much could not be expressed So now I'm returning to myself These things that you and I suppressed."

"You go down to the pick up station Craving warmth and beauty You settle for less than fascination A few drinks later you're not so choosy When the closing lights strip off the shadows On this strange new flesh you've found Clutching the night to you like a fig leaf You hurry To the blackness And the blankets To lay down an impression And your loneliness."

"Oh, you're in my blood like holy wine, You taste so bitter and so sweet Oh I could drink a case of you, darling And I would still be on my feet I would still be on my feet."

"Rows and flows of angel hair, And ice cream castles in the air, And feather canyons ev’rywhere, I’ve looked at clouds that way. But now they only block the sun, They rain and snow on ev’ryone, So many things I would have done But clouds got in my way."

"I’ve looked at clouds from both sides now, From up and down, and still somehow It’s cloud illusions I recall, I really don’t know clouds at all."

"Tears and fears and feeling proud, To say "I love you" right out loud, Dreams and schemes and circus crowds, I’ve looked at life that way. But now old friends are acting strange They shake their heads, they say I’ve changed Well something’s lost, but something’s gained In living ev’ry day."

"I’ve looked at love from both sides now From give and take, and still somehow, It’s love’s illusions I recall I really don’t know love at all."

"And the seasons they go round and round, And the painted ponies go up and down, We’re all captive on the carousel of time We can’t return we can only look behind From where we came And go 'round and 'round and 'round In the circle game."

"I came upon a child of god, He was walking along the road And I asked him, where are you going And this he told me: "I’m going on down to Yasgur’s farm I’m going to join in a rock ’n’ roll band I’m going to camp out on the land, I’m going to try an’ get my soul free."

"I don't know who I am / but you know, life is for learning."

"We are stardust, We are golden, And we’ve got to get ourselves Back to the garden."

"By the time we got to Woodstock We were half a million strong And everywhere there was song and celebration. And I dreamed I saw the bombers Riding shotgun in the sky And they were turning into butterflies Above our nation."

"They paved paradise And put up a parking lot With a pink hotel, a boutique and a swinging hot spot."

"Don't it always seem to go That you don't know what you've got Till it's gone. They paved paradise, And put up a parking lot."

"They took all the trees And put them in a tree museum And they charged all the people A dollar and a half just to see 'em."

"Hey farmer, farmer, Put away that DDT now Give me spots on my apples But leave me the birds and the bees Please!"

"I remember the time you told me, you said "Love is touching souls," Surely you've touched mine, cause Part of you pours out of me In these lines from time to time."

"I wanna be strong, I wanna laugh along, I wanna belong to the living. Alive, alive, I wanna get up and jive, Wanna wreck my stockings in some jukebox dive."

"Secrets and sharing soda, That's how our time began. Love is a story told to a friend It's second hand."

"Some are friendly Some are cutting Some are watching it from the wings Some are standing in the centre giving to get something."

"Laughing and crying, you know it's the same release."

"Friends have told her "Not so proud" Neighbors trying to sleep are yelling "Not so loud" Lovers in anger, "Block of ice" Harder and harder just to be nice."

"It's coming on Christmas, They're cutting down trees. They're putting up reindeer And singing songs of joy and peace. I wish I had a river I could skate away on"

"Joni, you have more class than Richard Nixon, Mick Jagger, and Gomer Pyle combined!"

"She is of course well past the stage of having to prove herself artistically. She is in possession of one of the most extraordinary song catalogs of the past half-century. Her chords break harmonic rules, have no technical names and defy Western musical theory. Her voice is an instrument that has grown sublimely heavier and huskier over the decades. . . .Once you get past the security gates, Ms. Mitchell's house feels like a pocket of middle-class comfort in the midst of zillionaire Beverly Hills. In some ways life is still as it was in 1974, when she bought the house: She has no computer, no voice mail, no cellphone and no e-mail. At one point, when we tried to remember one of her lyrics, we scrolled through my iPod. She said it was the first time she had listened to one."

"Joni Mitchell said in an interview, Everything I am,/I'm not."

"That's the music that I play at home all the time, Joni Mitchell. Court and Spark I love because I'd always hoped that she'd work with a band. But the main thing with Joni is that she's able to look at something that's happened to her, draw back and crystallize the whole situation, then write about it. She brings tears to my eyes, what more can I say? It's bloody eerie. I can relate so much to what she says. "Now old friends are acting strange/They shake their heads/They say I've changed"."

"If you're looking to wade into Joni [Mitchell's] musical waters, open D is an essential first step. Often, you see the same Joni songs transcribed in open E, as it's the same tuning one step down, and just requires different capo placement."

"Joni, what fucking chords were you playing on Court and Spark? I could never figure them out."

"When I hear the word Culture I take out my checkbook"

"If you can’t feel it, it must be real."

"Memory is your image of perfection."

"Architecture is my first love, if you want to talk about what moves me — the ordering of space, the visual pleasure, architecture's power to construct our days and nights."

"I have no complaints, except for the world."

"What a ridiculous clusterfuck of totally uncool jokers."

"I really think that my work has been concerned with a scrutiny of how we are to one another. How we love one another, adore one another, detest one another, damage one another, how we caress one another on both an intimate and global scale. The history of the past thousand years is fraught with power and its abuses."

"I’m just trying, like most art or music or movies, to create a commentary—not literal—of how it feels to live another day, to watch the world turn itself inside out or try to turn us inside out."

"I don’t believe that any work, whether it’s a piece of visual art or a novel or a building, is as brilliant and major and extraordinary or as damaged and pathetic and minor as it’s thought to be."

"I have problems with a lot of photography, particularly street photography and photojournalism—objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too."

"I remember going into galleries and seeing this thing called conceptual art, and I understand people’s marginalization from what the art subculture is because if you haven’t crashed the codes, and if you don’t know what it is, you feel it’s a conspiracy against your unintelligence. You feel it’s fraud. I understand that. Now that I have crashed the code, I understand and support all this work. But I know how, in many ways, it’s a closed language. My work, not so much so, and it’s not by coincidence, because I just feel I relate to that reader who doesn’t know the secret code word."

"the whole decade-izing thing doesn’t work for me. To me, the ’80s began in 1975 and ended in 1984—’84 or ’85 is when the market changed, when things really heated up. For me, decades are weird. Artists always are a reflection of the times they have come up in. And I think that, for us, there was a real historical change, and it was the first time that women had entered the marketplace, that their works had not been marginalized."

"I never say I do political art. Nor do I do feminist art. I’m a woman who’s a feminist, who makes art. But I think what work becomes visible and what work remains absent is always a result of historical circumstance, you know—hard work, to some degree, and social relations."

"Most artists will never make money off their work, but that spark, that need to create commentary, to visualize, textualize, and musicalize your experience of the world will continue whether it’s a hot commodity or not. You see that places where that need is shut down, we see oppressiveness and subjugation. That need to create commentary is huge. Most of that commentary will not make a big flip profit for some guy buying a condo on the next block. You have to go in knowing that."

"(Where is “Your Body Is a Battleground” not an issue?) BK: I’ve not been to that place yet."

"sports is a way that men can be allowed to have physical contact that is disallowed in a homophobic culture—not only in the playing of the game but also in the viewing of the game. Sports promote a kind of romance or a group understanding and intimacy about the notion of teams, about men being together and men’s bodies being together. It’s also true of the military, and it’s true of cultures in certain countries that disallow difference and are homophobic and at the same time are engaged in a war for a world without women."

"of course I’m a feminist, but I speak about feminism as a plural. There are feminisms, and those feminisms are acted out in terms of site specificity: context, race, class, gender, location. They also connect with a larger term, intersectionality, which is commonly used now but which I’ve always understood organically. There is always a connection between issues of race and gender and class. They don’t ever exist separately, and people who feel that they live them separately are really not understanding the multiple forces that have impacts on their identity and their lives. You just can’t talk about sexuality and gender without engaging the complicated issues of race, and you can’t talk about race without engaging complicated, under-recognized issues of class. And it’s wrong to trivialize any one of those things at the price of the other."

"The failure of so-called progressive culture or the left is that people were closed within a bubble. And now it is promoted even more in what are called silos—in the right, the left, the middle, by our online identities, by our bookmarks, by where we go..."

"art is the creation of commentary. I think that art is the ability to textualize or visualize or musicalize one’s experience of the world—not on a diaristic, literal level but in a way that creates a commentary about what it feels to live another day. The goal for every human being, including myself, is to live an examined life—to really think about what makes us who we are in the world and how culture constructs and contains us. That’s what I’m interested in."

"I was never a fan of street photography. I always thought that it was a brutal search on the streets for the most divine grotesquery or the most Other. I was always suspicious of that. A lot of photographers don’t understand the brutality of that practice. There are some photographers who picture people quite brilliantly; Catherine Opie...is an example. But I think photojournalists are incredibly naïve, and many of them think they have halos over their heads, that they are witnessing this brutality but somehow are apart from it."

"A little while ago, not much more than a few days ago, I was a child who went about in a world of colors, of hard and tangible forms. Everything was mysterious and something was hidden, guessing what it was was a game for me. If you knew how terrible it is to know suddenly, as if a bolt of lightning elucidated the earth. Now I live in a painful planet, transparent as ice; but it is as if I had learned everything at once in seconds."

"I’m more and more convinced it’s only through communism that we can become human."

"I'll be in Detroit two more weeks. I would like to tell you every thing that happened to me since the last time we saw each other, but most of them are sad and you mustn't know sad things now. After all I shouldn't complain because I have been happy in many ways though. Diego is good to me, and you can't imagine how happy he has been working on the frescoes here. I have been painting a little too and that helped. I thought of you a lot and never forget your wonderful hands and the color of your eyes. I will see you soon. I am sure that in New York I will be much happier. If you still in the hospital when I come back I will bring you flowers."

"I drank because I wanted to drown my sorrows, but now the damned things have learned to swim."

"Until always and forever. Now in 1944. After all the hours lived through. The vectors continue in their original direction. Nothing stops them. With no more knowledge than live emotion. With no other wish than to go on until they meet. Slowly. With great unease, but with the certainty that all is guided by the "golden section". There is cellular arrangement. There is movement. There is light. All centers are the same. Folly doesn’t exist. We are the same as we were and as we will be. Not counting on idiotic destiny."

"I paint self-portraits because I am so often alone, because I am the person I know best."

"I am a poor little deer."

"His [Diego Rivera's] supposed mythomania is in direct relation to his tremendous imagination. That is to say, he is as much of a liar as the poets or as the children who have not yet been turned into idiots by school or mothers. I have heard him tell all kinds of lies: from the most innocent, to the most complicated stories about people whom his imagination combined in a fantastic situation or actions, always with a great sense of humor and a marvelous critical sense; but I have never heard him say a single stupid or banal lie. Lying, or playing at lying, he unmasks many people, he learns the interior mechanism of others, who are much more ingenuously liars than he, and the most curious thing about the supposed lies of Diego, is that in the long and short of it, those who are involved in the imaginary combination become angry, not because of the lie, but because of the truth contained in the lie, that always comes to the surface."

"I have suffered two grave accidents in my life, one in which a streetcar knocked me down... The other accident is Diego."

"Since Trotsky came to Mexico I have understood his error. I was never a Trotskyist."

"They thought I was a Surrealist, but I wasn't. I never painted dreams. I painted my own reality."

"I am not sick. I am broken. But I am happy to be alive as long as I can paint."

"Pies, para qué los quiero Si tengo alas para volar."

"I hope the exit is joyful and I hope never to return."

"I was fascinated by Papa's studio [he was photographer]. I would help him wash, crop and press photos and afterwards sell them, when we were poor. When I was in Prepa, [following college] they would send me to help my father when he had epileptic attacks. After school I would go to his office, which was downtown, and accompany him everywhere. I would also do my homework there, and he would help me. I remember the fear that Papa's epileptic attacks make me feel. Christina and I would hide under the bed. (9 September 1950)"

"I was really ugly [circa 8 a 10 years old] and had an admiration complex for Christi [her beautiful sister]. They sent us tot the ous of senora Maria a Campos for instruction.. .I asked about the mysteries of the Bible, and I think I behaved badly so they sent me to a retreat. It was the usual thing: "to dedicate oneself mor to God".. ..it was a house where one spent about fifteen days.. .I asked the priest so many questions about how Christ was born, and was the virgin really a virgin, that they threw me out. (9 September 1950)"

"I remember the first time I was sick. I had gone to play with a boy, Luis Léon, and on the patio he threw a wooden log at my foot, and this was the pretext they used at home when my leg began to grow thin. I remember they said that it was a white tumor or paralysis. I missed a lot of school [Frida spent nine months in bed, and at seven she wore (polio) booties]. I do not remember a lot, but I continued jumping, only not with the right leg anymore. I developed a horrible complex, and I hide my leg. I wore thick wool socks onto the knee, with bandages underneath. This happened when I was seven years old, and my papa and my mama begun to spoil me a lot and to love me more. The foot leaned to the side, and I limped a little. This was during the period when I had my imaginary friend. (9 September 1950)"

"..when I had my imaginary friend I would look out of the small glass panes of the window and fill them with steam. Then, I would draw a little window and go out through it. Opposite our house, there was a milk store that was named Pinzon, and I would travel from the little window through the "o" in Pinzon, and from there into the center of the earth, where I had my friend, and we would dance and play.. .I do not remember my friend's house, and she had no name. She was like me in age. She had no face. The truth is, I do not remember if she had a face or not, and she was very lively. I could not describe her. (9 September 1950)"

"I first met Diego [who became later her husband] while he was painting the amphitheater [at the Escuela National Preparatoria, where Rivera was painting the mural 'La Créación', 1922 -1923] and I would really cherish going to see him paint. Orozco [famous Mexican painter] was also painting [murals] in the Prepa, and I remember one time a group of kids wanted to scratch the paintings of Diego and Orozco.. .Every day we went for ice cream at a stand opposite the law school.. .Sometimes Diego himself would pass by, and we would tease him. One day they asked me who I wanted to marry, and I said I would not marry, but I did want to have a child by Diego Rivera. – (27 October 1950)"

"I was already interested in painting when I was about twelve. I was about fifteen when I began to draw. I have the first drawing, a self-portrait that I did in 1925 [in fact she did this self-portrait in 1927 and gave it to a grade-school friend and wrote above her drawn head: 'Here I am sending you my portrait, so you will remember me'] I began to paint after the [bus] accident, I made the self-portrait with the clouds [1926] and the portraits of Adriana Kahlo, Lira, Alicia Galant, Christina Kahlo and Agustin Olmedo. All, more or less, are from the same period. With the last ones, I was wearing the cast corset [because of her injury by the bus accident in 1925 with her boy-friend Gomez Arias]. I would get out of the bed and paint at night. (1950)"

"Papa painted small landscapes by the river in Coyoacán, and copied sentimental paintings in watercolour and oil. Afterwards, he gave me a little box of paints that belonged to him. Ángel Salas gave me a small book that told me how to prepare the canvases, and I made them smooth, smooth. The courtship with Gómez Arias lasted from 1922 until 1925, when the bus crushed us both. Gómez Arias brought me books on painting and painters from Europe. These were the first books on art that fell into my hands. (1950)"

"José Clemente Orozco [became later a famous Mexican painter as well] and I would travel on the same trolley from Coyoacán to Mexico City, and I would carry his papers. We became pals, and I invited him to the house. I had painted four or five things when he visited, and he gave me a hug and said I had a lot of talent, and he chatted on about the horrors of Diego [Rivera]. There was beginning to be talk about Diego; that he had returned from Russia and was giving talks on on Russian theater and art. I would go to hear him. Afterwards, he began to paint at the Prepa. [Escuela Prepatoria] and later at the Secretaríade Educación. I was studying at the Prepa, but the [bus] accident [in 1925] messed me up. (1950)"

"I returned to school [after the bus accident], but I felt very sore and had little strength. I took my paintings to Diego [Rivera], and he liked them a lot, most of all the self-portrait. But of the rest he told me that I was influenced by Doctor Atl [a Mexican painter and revolutionary] and by Montenegro, and that I should try to paint whatever I wanted without being influenced by anyone else. That impressed me a lot, and I began to paint that I believed in. Then the friendship and almost courtship with Diego began. I would go to see him paint in the afternoon, and afterwards he would take me home by bus or in a Fordcito – a little Ford that he had – and he would kiss me. (1950)"

"One Sunday, Diego came to the house to see my paintings and critiqued all of them in a very clear manner, and he told me all the possibilities he saw in them. Then I painted two or three things, which are around the house, that to me seem very influenced by him [circa 1928]. They are portraits of thirteen- or fourteen-year-old kids.. .In 1929, I joined the Communist Party, I got married to Diego, and I had my first abortion. In that year I painted a portrait of Cristina Moya.. ..and other drawings that Morillo Safa [her main patron] owns. The unfinished [self-]portrait of my first abortion was my first Surrealist painting ['Frida and the Caesarean', she painted in 1929] but not completely. I have it [at home]. (1950)"

"We [Frida and Diego] moved from the house on Reforma [street] to Coyoacán, and that had an enormous influence on me. How we painted the house and the Mexican furniture, all that influenced my painting a lot. While still on Reforma, I painted a self-portrait [Self-portrait 'Time Flies', 1929] that is owned by Morillo Safa. Once in Coyoacán I began to make paintings with backgrounds and Mexican things in them. I painted the portraits of Hale's sister.. ..and the one of Diego, which I did not finish [this painting is lost and was never documented before]. Those three paintings, who knows where they are. Mirillo Safa has the third self-portrait [her Self-portrait of 1930], showing me bald and sitting in a cane chair. (1950)"

"It's true I'm here, and I'm just as strange as you."

"A very common theme in [Kahlo's] work was fertility, fertility, fertility.. .In one painting, she draws pelvic bones. In another, a uterus is directly drawn. Another is showing the fetus. She's telling us what she's thinking about, but she never put her finger on what exactly was wrong."

"The art of Frida Kahlo is a ribbon around a bomb."

"Who is a revolutionary woman? A revolutionary woman wants change, not mere cosmetic change but change to the status quo, and she is willing to sacrifice to make this happen. We have some extraordinary examples: Sojourner Truth, Las Adelitas, Frida Kahlo, Sor Juana Inés de la Cruz, Dorothy Day, Malala Yousafzai, Coretta Scott King, and others."

"If I were a painter, I'd be Frida Kahlo."

"Although I knew about Frida Kahlo back in Mexico, she really wasn’t that famous back home. But in the US she was a superhero. Everyone used her as a symbol for many different things. And I started realizing that I wasn’t sure that the sense some people have about Frida in the U.S. was the one I had from her. I wanted to learn more about Frida Kahlo through my own perspective. So I had this idea for a while about creating a book about her. I also wanted to because she was a woman who, in the creation of her own identity, from how she dressed to what she did to her political activities—all of those things, were part of her own pride in who she was. And it was through creating this identity that she also was creating art. It wasn’t only because of her painting [that I was inspired]. She was very proud of her Mexican heritage, and she showed it in the way she dressed and all sorts of things. I had just come to the United States, a place where I didn’t know how I felt about my identity as a Mexican woman, and it was her pride that had an impact on me and made me realize that I had things to be proud of too."

"Writing from bed is a time-honored disabled way of being an activist and a cultural worker. It's one the mainstream doesn't often acknowledge but whose lineage stretches from Frida Kahlo painting in bed to Grace Lee Boggs writing in her wheelchair at age 98. (preface)"

"She painted what she painted because she had to, because she was passionate about it. She didn't care at all if people bought her paintings. As she said, she painted her reality."

"I make all this stuff in the studio, but I also work on these white elephants — like House or Untitled Monument — things that are incredibly ambitious, take an awful long time to do, involve a lot of controversy, an awful lot of people, and don't make any money particularly, but it's just because I need to make them."

"We still have prostitutes standing on our corner, and people crapping round the back of buildings. The charms are still there."

"I think the difference between me and some of the other YBAs [Young British Artists] was that I was ambitious for the work, and not ambitious for myself."

"I don't want to make plop art — sculpture that just gets plopped down in places. I wouldn't want to litter every corner of the world with my sculpture."

"I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way."

"The message I got from my record label at the time — and this was on purpose — was that I wasn't selling enough. Even when the single was a hit, it wasn't enough of a hit — I never got to number 1; I only got to number 5. And MTV didn't like the first video for the song, and we had to do another one. So I never felt anything except how bad I was and like, "Oh, shame on you!""

"Damn I wish I was your lover I'll rock you till the daylight comes Make sure you are smiling and warm."

"I am everything Tonight I'll be your mother— I will Do such things to ease your pain Free your mind and you won't feel ashamed."

"Shucks, for me there is no other You're the only shoe that fits I can't imagine I'll grow out of it."

"I'm dancing in the shadows of life And death is all around me tonight I miss you making love to me right Beside myself I'm holding you tight Someone is waiting for me to rise And drive into the ocean I cried And I cried and I cried my baby to sleep Beside myself my soul to keep Right beside you I see Right beside you I stay Right beside you I'll be Right beside you always."

"It felt like spring time on this February morning In a courtyard birds were singing your praise..."

"As I lay me down to sleep This I pray That you will hold me dear Though I'm far away I'll whisper your name into the sky And I will wake up happy"

"It's not too near for me Like a flower I need the rain Though it's not clear to me Every season has its change And I will see you When the sun comes out again."

"This documentary has lifted the lid off a coffin, and now I'm looking at stuff that I didn't know was there."

"So many people are throwing up their hands because the world has gotten so dark, but I went against the current and I actually found more light and positive energy. That was a great feeling."

"The reality is that we're all in the wilderness, and we have to survive on our own, and things constantly change and if we don't accept that, then we're just trying to fool ourselves. But the beauty of wilderness is that sometimes you can wake up in the morning and feel so sweet and whole."

"Before I was signed, I just wanted to get into the system, even though I didn't know what that meant. After I got signed I found that I was confused by all the mixed messages from the label about what I'd have to do to keep their support. I fought and fought to maintain my identity and grow as an artist at the same time, but when I realized that to get their support on Timbre I'd have to start working with schlocky writers and totally sell out, I decided to pack up my marimba and split."

"I used to be more dogmatic, more disciplined and segregated about my time to work; now I have to jump from one song to another, or score a scene in a movie, then get out the door for a performance at a moment's notice. The illusion of control over my schedule is totally obsolete. There is no way to say, "I can't do that right now." It's "Yes, thank you for the opportunity, whatever it takes to get the music out there.""

"I hope my work is recognizable as being by a woman, though I certainly would never deliberately make it feminine in any way, in subject or treatment. But if I speak in a voice which is my own, it's bound to be the voice of a woman."

"I didn't want to be a woman artist, I just wanted to be an artist."

"They would go off to college and when they come home they'd pick up their interest in me, like a parent ... One of my sister had me in Eton collars and tunics; then she went off and another came home and disapproved of those dull clothes and put me in some fancy little things. Everyone was trying to do something to me, except my mother. She was indifferent."

"Anywhere I found wood I took it home and started working with it..to show the world that art is everywhere, except it has to pass through a creative mind."

"I want to be with my friends. I'm drunk. I want to phone my mum. She's going to be embarrassed by this conversation. I don't care. I don't give a fuck about it."

"Your paintings are stuck, you are stuck! Stuck! Stuck! Stuck!"

"When it comes to words I have a uniqueness that I find almost impossible in art – and it's my words that actually make my art quite unique."

"There is no comparison between him and me; he developed a whole new way of making art and he's clearly in a league of his own. It would be like making comparisons with Warhol."

"When I think about sex it makes me realise how alone I feel."

", Worpswede, Worpswede! [small rural village in North-Germany were a colony of German artists was working then, including Paula] My sunken Bell mood! Birches, birches, pine trees and old willows. Beautiful brown moors – exquisite brown! The canals with their black reflections, black as asphalt.."

", Worpswede, I cannot get you out of my mind. There was such atmosphere there – right down to the tips of your toes. Your magnificent pine trees! I call them my men – thick, gnarled, powerful, and tall – and yet with the most delicate nerves and fibers in them. That is my image of the ideal artist. And your birch trees – delicate, slender young virgins who delight the eyes. With that relaxed and dreamy face, as if life had not really begun for them.. .But then there are some already masculine and bold, with strong and straight trunks. Those are my 'Modern women'. And you willows, with your knotty trunks.. .You are my old men with silver beards. I have company enough, indeed I do, and it's my own private company. We understand each other well and nod friendly answers back and forth. Life, life, life!"

"Today I painted my first plain air portrait at the clay pit, a little blond and blue-eyed girl. The way the little thing stood in the yellow sand was simply beautiful – a bright and shimmering thing to see. It made my heart leap. Painting people is indeed more beautiful than painting a landscape. I suppose you can notice that I am dead-tired, after this long day of hard work, cant you? But inside I am so peaceful and happy.."

"I paint all day. First Becka Brotmann with her loose yellow hair and just a suggestion of dahlias in the background. Then I painted Anni Brotmann at the clay pit, where the sun nearly baked us. In the afternoon I painted Rieke Gefken holding red lilies. I think it is the best thing I've done so far – I'll show it to Mackensen [her teacher in Worpswede] tomorrow. I spent another hour with Vogeler, yesterday.. ..he showed us a sketchbook full of his ideas for etchings.. ..many really fine and original things."

"My blonde was here again today. This time with her little boy at her breast. I had to draw her as a mother, had to. That is her single true purpose. Marvelous, these gleaming white breasts in her fiery red blouse. The whole thing is so grand in its shape and color.."

"The Journal of Marie Bashkirtseff. Her thoughts enter my bloodstream and make me very sad. I say as she doers: if only I could accomplish something! My existence seems humiliating to me. We don't have the right to strut around, not until we've made something of ourselves."

"I sketched a young mother with her child at her breast, sitting in a smoky hut. If only I could someday paint what I felt then. A sweet woman, an image of charity. She was nursing her big, year-old bambino.. .And the woman gave her life and her youth and her power tot the child in utter simplicity, unaware that she was a heroine."

"I think I'm getting into the real mood and atmosphere of Worpswede now. What I used to call my Sunken Bell mood, the spell I was under when I first got here, was sweet, very sweet – but it was really only a dream, and one that couldn't last long in any sort of active life. Then came the reaction to it, and after that something truer – serious work and serious living for my art, a battle I must fight with all my strength. I am filled with the sun, every part of me, and with the breezy air, intoxicated with the moonlight on the bright snow.. .Nature was speaking with me and I listened to her, happy and vibrant. Life."

"Nature is supposed to become greater to me than people. It ought to speak louder from me. I should feel small in the face of nature's enormity. That is the way Mackensen [her teacher, painter in Worpswede] thinks it should be. That is the alpha and omega of all critique. What I should learn, he says, is a more devout representation of nature. It seems that I let my own insignificant person step to the forefront too much."

"I became aware of something today when I was with Fräulein Weshoff [German woman-sculptor, who married later the poet Rilke ]. I should like to have her as a friend. She is grand and splendid to look at – and that's the way she is as a person and as an artist. Today we raced down the hill on our little sleds. It was such fun."

"If I could really paint! A month ago I was so sure of what I wanted. Inside me I saw it out there, walked around with it like a queen, and was blissful. Now the veils have fallen again, gray veils, hiding the whole idea of me. I stand like a beggar at the door, shivering in the cold, pleading to be let in. It is hard to move patiently, step by step, when one is young and demanding.. .I walk along the boulevards [Paris] and crowds of people pass by and something inside me cries out, 'I still have such beautiful things before me. None of you, not one, has such things'. And then it cries, 'When will it come? Soon?'"

"I have been depressed for days. Profoundly sad and solemn. I think the time is coming for struggle and uncertainty. It comes into every serious and beautiful life. I knew all along that it had to come. I've been expecting it. I am not afraid of it. I know it will mature and help me develop. But everything seems so serious and so hard, serious and sad to me. I walk through this huge city [Paris]. I look into a thousand thousand eyes. But I almost never find a soul there.. .And beneath it all flows the Styx [the Seine], deep and slow, knowing nothing of these brooks and wells of ours. I am sad. And all around me ate the heavy, pregnant, perfumed breezes of spring.."

"As I was painting today, some thoughts came to me and I want to write them down for people I love. I know that I shall not live very long. But I wonder, is that sad? Is a celebration more beautiful because it lasts longer? And my life is a celebration, a short, intense celebration. My powers of perception are becoming finer.. ..with almost every breeze I take, I get a new sense and understanding of the linden tree, of ripened wheat, of hay.. .I suck everything up into me. And if only now love would blossom for me, before I depart; and if I can paint three good pictures, then I shall go gladly, with flowers in my hair.."

"Someday I must be able to paint truly remarkable colors. Yesterday I held in my lap a wide, silver-gray satin ribbon, which I edged with two narrower black, patterned silk ribbons. And I placed on top of these a plump, bottle-green velvet bow. I'd like to be able to paint something one day in those colors.."

"How happy I would be if I could give figurative expression to the unconscious feeling that often murmurs so softly and sweetly within me."

"I lay under the buckthorn tree. My soul was enchanted. I looked up through its leaves. The sun was coloring them a briljant yellow. They stood out from their delicate red stems, laughing at the sky. And the sky was deep blue with one small cloud. And the blue was a glorious contrast to the yellow of the leaves. And the wind came and played with them, turning them over so that I could see their shiny upper surfaces. And the wind came down to me, too, bringing me armfuls of sweet fragrance. The buckthorn was in blossom and that was the prettiest thing about it. Its scenty filled the soft air and covered me in a dream, tenderly, ans sang to my soul a tale of times before I ever was, and of times when I shall be no more.."

"Recently I have felt just what the mood of colors means to me: it means that everything in this picture changes its local color according to the same principle and that thereby all muted tones blend in a unified relationship, one to the other."

"I was reading about and looking at Mantegna [Italian early-Renaissance painter]. I can sense how good he is for me. His enormous plasticity - it has such powerful substance. That is just what is lacking in my things. I could do something about that if I could add his substantiality to the greatness of form I'm struggling for. At present I see before my eyes very simple and barely articulated things. My second major stumbling is my lack of intimacy. Mackensen's [her former teacher] way of portraying the people here is not great enough for me, too genre like. Whoever could, ought to capture them in runic script.."

"Today I saw an exhibition of old Japanese paintings and sculpture [in Paris]. I was seized by the great strangeness of these things. It makes our own art seem all the more conventional to me. Our art is very meager in expressing the emotions we have inside. Old Japanese art seems to have a better solution for that.. .We must put more weight on the fundamentals!! When I took my eyes from these pictures and began looking at the people around me, I suddenly saw that human being are more remarkable, much more striking and surprising than they have been painted. A sudden realization like that comes only at moments."

"I must learn how to express the gentle vibration of things, their roughened textures, their intricacies. I have to find an expression for that in my drawing, too, in the way I sketched my nudes here in Paris, only more original, more subtly observed. The strange quality of expectation that hovers over muted things [skin, Otto's Otto Modersohn forehead, fabrics, flowers]; I must try to get hold of the great and simple beauty of all that. In general, I must strive for the utmost simplicity united with the most intimate power of observation. That's where greatness lies."

"I want to go further and further. I can hardly wait until I am a real artist. And then I long so for life. I've only begun to get a little taste of it."

"I am constantly observing things and believe that I am coming closer to beauty. In the last few days I have discovered form and have been thinking much about it. Until now I've had no real feeling for the antique. I could find it very beautiful by itself. But I could never find any thread leading from it to modern art. Now I've found it, and that's what I believe is called progress."

"I feel an inner relationship which leads from the antique tot the Gothic, especially from the early ancient art, and from the Gothic to my own feeling for form. A great simplicity of form is something marvelous. As far back as I can remember, I have tried to put the simplicity of nature into the heads that I was painting or drawing. Now I have a real sense of being able to learn from the heads of ancient sculpture.."

"The intensity with which a subject is grasped (still life's, portraits, or creations of the imagination) – that is what makes for beauty in art."

"Last year I wrote: 'the intensity with which a subject is grasped, that is what makes for beauty in art'. Isn't it also true for love?"

"To [aunt] Marie Hill, Dearest Why do you tempt me? I really cannot. It's impossible! Be happy? The only thought I have in my mind is to immerse myself in my art, to merge completely with it until I can begin to express what I really feel – and after that to be consumed even more by it. Even if I wanted to, I could not leave here [Worpswede].. .I want to live here. I want to 'live' – and develop further as a person and as an artist.. .Can you understand this? I think you can. And do you approve? I hope so. In any case, I can't do any different.."

"I really see nothing of other people. I'm trying to dig my way back again into my work. One absolutely has to dedicate oneself, every bit of oneself, to the one inescapable thing. That's the only way to get somewhere and to become something."

"I've made use of the beautiful weather to sketch and paint outside. I had been staying away from color for such a long time that it had become something quite foreign to me. Working in color was always a great joy to me. And now it is a great joy again. Still, I have to battle with it, wrestle with it, with all my strength. And one must be victorious. But if it weren't for the fight, all the beauty of it wouldn't exist at all, would it? I'm writing this mostly for Mother who, I believe, thinks my whole life is one constant act of egoistic ecstasy. But devotion to art also involves something unselfish."

"I'm going through a strange period now. Maybe the most serious of all my short life. I can see that my goals are becoming more and more remote from those of the family, and that you and they will be less and less inclined to approve of them.. .And still I must go on. I must not retreat. I struggle forward, just as all of you do, but I'm doing it within my own mind, my own skin, and in the way I think is right. I'm little frightened by my loneliness in my unguarded hours. But personally those are the very hours that help me along toward my goal. You needn't show this letter to our parents."

"My art is going well. I have a feeling of satisfaction about it. Afternoons I stroll around the city [Paris] taking a good look at everything and trying to absorb it all.. .I went back to the Notre Dame again. Such wonderful Gothic detailing, those monstrous gargoyles, each one with its own character and face.. .Directly behind Notre Dame, almost encircled by the Seine, lies the morgue. Day after day they fish corpses from the river here, people who don't want to get on living."

"..to have all colors deeper, more intense; |I| get quite angry at this lightness.."

"As I was painting today, some thoughts came to me and I want to write them down for the people I love. I know that I shall not live very long. But I wonder, is that sad? Is a celebration more beautiful because it lasts longer? And my life is a celebration, a short, intense celebration."

"Please let your 'hot-blooded iconoclasm' slumber a bit longer, and for a while permit me simply to be your Madonna. It's meant to be for your own good, do you believe that? Keep your mind on art, our gracious muse, dear. Let us both plan to paint all this week. And then early Saturday I shall come to you."

"Is it true that all I ever write you about is painting and nothing else? Isn't there love in my lines to you and between the lines, shining and glowing and quiet and loving, the way a woman should love and the way your woman loves you?"

"In the last few days I have been thinking very intensively about my art and I believe that things are progressing for me. I even think that I'm beginning to have a liaison with the sun. Not with the sun that divides everything up and puts shadows in everywhere and plucks the image into a thousand pieces, but with the sun that broods and makes things gray and heavy and combines them all in this gray heaviness so that they become one. I'm thinking about all of that very much and it lives within me besides my great love. A time has come when I think that I shall again be able to say something [in her painting] one day; I am again devout and full of expectation.."

"Isn't love thousandfold? Isn't it like the sun that shines on everything? Must love be stingy? Must love give everything to one person and take from the others.. .I don't know much about the two of you [ Rilke and Clara ]; but it seems to me that you have shed too much of your old self and spread it out like a cloak so that your king [Rilke] can walk on it. I wish for your sake and for the world and for art [Clara is sculptress] and also for my sake that you would wear your own golden cape again.."

"In my first year of marriage I have often wept and the tears fall often as they did in my childhood - in large drops. They occur when I hear music and when I see beautiful things which move me. In the last analysis, I live alone just as much as I did in my childhood. This aloneness makes me sometimes sad and sometimes happy. I believe it deepens one's life. One lives less according to outward appearances.. .One lives inwardly."

"..Mother, the dawn has broken in me and I can feel the day approaching. I'm going to become somebody. If only I had been able to show Father that my life has not been fishing in troubled waters, pointless; if only I had been able to repay him for the part of himself that he planted in me! I feel that the time is soon coming when I no longer have to be ashamed and remain silent, but when I feel with pride that I am a painter.."

"I believe that one should not think so much about nature when painting, at least not during the conception of the picture. Make the color sketch exactly as one has felt something in nature. But my personal feeling is the main thing. Once I have established it, lucid in tone and color, I must bring in from nature the things that make my painting seem natural, so that a layman will only think that 1 have painted it from nature."

"I feel a burning desire to become grand in simplicity."

"Today I was on the Rue Laffette where the art dealers are. There is so much of interest to see here. You know the things that you call 'the artistic' in art. The French possess to a high degree this sense of not having to bring everything to a pitch of perfection. The mobility in their nature really comes to their aid there. We Germans always obediently paint our pictures from top till bottom, and are much to ponderous to do the little oil-sketches and improvisations which so often say more than a finished painting."

"There are great many Rembrandts here [in Paris]. Even if they are yellow with varnish, I can still learn so much from them, the wrinkled intricacy of things, life itself. There is a little thing here by him.. ..It is of a women in bed, nude. But the way it's painted, the way the cushions are painted, their shapes, with all those details of lacework, the whole thing is bewitching."

"Mornings I am painting Clara Rilke in a white dress. It's to be her head and part of a hand holding a red rose. She looks very beautiful that way, and I hope that I am getting a little of her into my portrait. Her little girl, Ruth is playing next to us. She is a cuddly little creature. I'm happy that I can get together frequently with Clara Rilke this way. In spite of everything she is still, of all my friends, the one I care about the most. She was living very close to Rodin for about a month.. .As Rodin's secretary Rilke [Clara's husband] is gradually meeting the intelligentsia of Europe. Otto paints and paints and paints.."

"Dear Rainer Maria Rilke I thank you for saying that you rather like my painting of 'the little child'.. .You have brought me the first touch of Paris with this phrase of yours about 'liking and approving', and that alone is a great deal.. .Will I be seeing you here [in Worpswede] before I leave? I really hope not. The ground is burning a little beneath my feet.. . And now, I don't even know how I should sign my name. I'm not Modersohn, but I'm no longer Paula Becker anymore either [because she was married with Otto Modersohn, but is now leaving him]. I am Me, and I hope to become Me more and more. That is surely the goal of all our struggles.. .I am now leaving Friday night and shal arrive in Paris on Saturday. Write a line to 29 Rue Cassette, where I plan to stay.."

"..you [Otto] know me well enough to know that I am not bad and heartless. It just happen to be a 'Sturm und Drang' period which I have to get through, and there is no way to avoid hurting the people closest to me. It hurts me to cause you all this pain and suffering. Believe me when I say it is not easy for me either. But I must fight it through, to one exit or another – It has begun to be really beautiful here.. .I've seen wonderful Courbet's. I am sorry that he is now the latest mode. I think he is greater than either Manet or Monet. There was a colossal still life [of Courbet] with hollyhocks, in every conceivable colour, with a female figure in it. It was magnificently painted.. .Stay close to Elsbeth and to your art.."

"Night and day I've been most intensely thinking about my painting, and I have been more or less satisfied with everything I've done. I'm slacking a little now, not working as much, and no longer so satisfied. But all in all, I still have a loftier and happier perspective on my art than I did in Worpswede. But it does demand a very, very great deal of me – working and sleeping in the same room with my paintings is a delight.. .When I wake up in the middle of the night, I jump out of bed and look at my work. And in the morning it's the first thing I see.."

"The time is getting closer for you to be coming [to Paula, in Paris]. Now I must ask you for your sake and mine, please spare both of us this time of trial. Let me go, Otto Otto Modersohn. I do not want you as my husband.. ..accept this fact; don't torture yourself any longer."

"This past summer I realized that I am not the sort of woman to stand alone in life. Apart from the eternal worries about money, it is precisely the freedom I have had which was able to lure me away from myself. I would so much like to get to the point where I can create something that is me. It is up to the future to determine for us whether I'm acting bravely or not. The main thing now is peace and quiet for my work, and I have that most of all when I am at Otto Modersohn's side."

"I cannot come back to you. Not yet.. .I do not yet want to have a child by you. I must wait, if it comes again, or if something else comes out of it.."

"The review was more a satisfaction to me than a joy. Joy, overpoweringly beautiful moments, comes to an artist without other noticing. The same is true for moments of sadness. That's why it is true that artists live mostly in solitude.. .[[w:Otto Modersohn|Otto [Modersohn] ]] and I shall be coming home [ Worpswede ] again in the spring. That man is touching in his love. We are going to try to buy the Brünjes place in order to make our lives together freer and more open.. .If the dear Lord will allow me once again to create something beautiful, then I shall be happy and satisfied; if only I have a place where I can work in peace. I will be grateful for the portion of love I've received. If one can remain healthy and not die too young.."

"What I want to produce is something compelling, something full, an excitement and intoxication of color – something powerful. The paintings I did in Paris are too cool, too solitary and empty. They are the reaction to a restless and superficial period in my life and seem to strain for a simple, grand effect. I wanted to conquer Impressionism by trying to forget it. What happened was that it conquered me. We must work with digested and assimilated Impressionism.."

"My mind has been so much occupied these days by the thought of Cézanne, of how he has been one of the three or four powerful artists who have affected me like a thunderstorm, like some great event. Do you still remember what we saw at Vollard [art-seller in Paris who showed Cézanne's works frequently in his gallery] in 1900? And then, during the final days of my last stay in Paris, those truly astonishing early paintings of his at the Galerie Pellerin. Tell your husband he should see the things there.. .If it were not absolutely necessary [Paula was pregnant] for me to be here right now [Germany], nothing could keep me away from Paris."

"I would like to go to Paris for a week. Fifty-six Cezannes are being shown there!"

"Now it's almost as beautiful as Christmas [then Paula suddenly fell to the floor].. ..What a pity! [her last words]."

"We cleave to the past too much in Germany. All of our German art is too bogged down in the conventional.. .I think more highly of a free person who consciously puts convention aside."

"I want to give colors intoxication, fullness, excitement, power. By trying to forget Impressionism, I wanted to conquer it. In the process I was conquered. We must work with assimilated, digested Impressionism."

"[Paula saw Cezanne] as a big brother.. ..an unexpected confirmation of her own artistic quest."

"What Paula is doing with her art now does not please me nearly as it used to. She will not accept any advice – it is very foolish and a pity. A huge squandering of her powers.. .She paints life-size nudes, which she can't do, no more than she can paint life-size heads. And in this.. ..she is just as addicted as I used to be about my fairy-tale drawings.. .A great gift for color – but unpainterly and harsh, particularly in her completed figures. She admires primitive pictures, which is very bad for her – she should be looking for artistic paintings. She wants to unite color and form – out of the question, the way she does it. She doesn't like to restrain form – a great mistake.."

"For that is what you understood: ripe fruits. You set them before the canvas, in white bowls, and weighed out each one's heaviness with your colors. Women too, you saw, were fruits; and children, molded from inside, into the shapes of their existence. And at last you saw yourself as a fruit, you stepped out of your clothes and brought your naked body before the mirror, you let yourself inside down to your gaze; which stayed in front, immense, and didn't say: 'I am that; no: this is. 'So free of curiosity your gaze had become, so unpossessive, of such true poverty, it had no desire even for your yourself; it wanted nothing: holy."

"'My feelings can keep developing only in an admiring contemplation of nature,' said Mackensen, the actual founder and leading mind of the [Worpswede artist]-group. In 1897 Paula Becker chose him as her mentor. From her letters and diaries, we learn how deeply she loved the Worpswede countryside, the vast sky, the dark moor, the birch trees by shiny ditches of water, the moor cabins, and the people, marked by living in this world. But few of her paintings are pure landscapes, unlike the genuine Worpsweders [artists made them]."

"Modersohn-Becker's ambition might have been called masculine in earlier times. Going by the number of self-portraits she painted, she certainly had a healthy ego (which Otto complained about). The grave demeanor and large dark eyes of Coptic portraits are especially evident in her self-portraits and paintings of her sister Herma. It is thought that she is the first woman to paint a full-length nude self-portrait and also to paint herself pregnant, and nude, which she did twice - before she was actually expecting."

"During her very short life-time, Paula Modersohn-Becker not only enjoyed being with children and even playing child (in a 1903 letter to her husband, she said she looked forward to playing again in the hay with him and Elsbeth), but she, also, truly desired a child of her own. In her diary notation of October 22, 1901, a few months after her marriage, she wrote that three young women in Worpswede were expecting children around Christmas, but that she was not yet ripe and would have to wait a little while. On March 10, 1903, in a letter to her husband from Paris, she wrote that as she fell asleep, she would think lovingly of small children, and that she now felt like a woman, full of expectations, which were quieter and more serious than those she had had when she was a girl. Her longing for a child was so great that in 1906, in her 'Self-Portrait on the Sixth Anniversary of her Wedding', she even portrayed herself as pregnant! Her face is tinged with sadness, she stands naked, her arms encircling her pregnant stomach."

"I wonder will death be much lonelier than life. Life's an awfully lonesome affair. You can live close against other people yet your lives never touch. You come into the world alone and you go out of the world alone yet it seems to me you are more alone while living than even coming and going."

"Night my banner, and my herald Fear."

"I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it."

"You put your camera around your neck in the morning, along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera."

"One should really use the camera as though tomorrow you'd be stricken blind. To live a visual life is an enormous undertaking, practically unattainable. I have only touched it, just touched it."

"We live not only inside a body but within a story as well, and our story resides in the land as sure as the vision of Dorothea Lange's desperate, running horse."

"His [ Edouard Manet's] paintings, as they always do, produce the impression of a wild or even a somewhat unripe fruit. I do not in the least dislike them."

"Men readily believe that they will fill a whole life; but for my part, I believe that however fond one is of one's husband, one does not relinquish a life of work without some difficulty; affection is a very pretty thing provided it is coupled with something to fill one's day; that something, for you, I see as motherhood."

"He [ Manet ] begged me to go straight up and see his painting [ 'Le Balcon'] - Berthe was model for this painting], as he was rooted to the spot. I've never seen anyone in such a state, one minute he was laughing, the next insisting his picture was dreadful; in the next breath, sure it would be a huge success."

"The tall fellow Bazille has done something I find quite fine: a young girl [in his painting 'View on the village' ] in a very light dress in the shadow of a tree beyond which one sees a town. There is a good deal of light, sunlight, He is trying to do what we [Berthe and her sister Edma] have so often tried to bring off: to paint a figure in the open air. This time I think he has succeed."

"He [Manet] came about one o'clock [the day for submitting works for The Paris Salon of 1870]. he found it [ 'Reading', Berthe's double-portrait of her mother with her pregnant sister Edma] very good, except for the lower parts of the dress. He took the brushes and put in a few accents.. ..mother was in ecstasies. That is where my misfortune began. Once started, nothing could stop him, from the skirt he went to the bust, from the bust to the head, from the head to the background. He cracked a thousand jokes, laughed like a madman, handed me the palette, took it back; finally by five o'clock in the afternoon we had made the best caricature you have ever seen."

"Corot spoiled the 'étude' [study] we admired so much when we saw it at his home, by redoing it in the studio."

"I will achieve it only [being an artist] by perseverance, and by openly asserting my determination to emancipate myself, [but].. ..I both lament and envy your [Edma's] fate. Bichette [her niece] helps me to understand maternal love; she comes onto my bed every morning and plays so sweetly.. ..life gets more complicated by the day here now I am gripped by the desire to have children, that' all I need."

"During the day I received a visit from Puvis de Chavannes; he saw what I had done [painted in 1869-70 in Lorient] and didn't seem to think it was too bad.. ..The Manet's [the brothers Eduard and Eugene Manet] came to see us [Berthe and her mother] Tuesday evening, we visited the studio; to my great surprise and satisfaction I received the highest praise. it seems that what I do is decidedly better than Eva Gonzalès. Manet is too candid, and there can be no mistake about it. I am sure that he liked these things a great deal; however, I remember what Fantin says, namely, that Manet always approves of the painting of people whom he likes."

"I have heard so much about the perils ahead that I have had nightmares for several nights, in which I lived through all the horrors of war.. .The militia are quartered in the studio, hence there is no way of using it. I do not read the newspapers much any more; one a day is enough for me. The Prussian atrocities upset me, and I want to retain my composure.. .Would you believe that I am accustomed to the sound of the canon [of the Prussians]? It seems to me that I am now absolutely inured to war and capable of enduring everything."

"This painting, this work you miss so much [the two sisters Morisot painted a lot together] is a cause of much trouble and concern, you know this as well as I do and yet, child that you are, you are already weeping for the loss of the very thing that darkened you mood only recently. Think of it, yours is not the very worst lot: you have a real affection, a devoted heart that is yours an yours alone, do not be ungrateful for the dealings of fate, think of the great sorrow that is solitude; whatever anyone says or does, womankind has immense need of affection; to want to retreat into yourself is to attempt the impossible."

"The stories of the Manet brothers [ Edouard and her future husband Eugène Manet ] tell about all the horrors we are likely to face, they [in Paris, during the war between France and Germany] are almost enough to discourage even the bravest of us. [But] you know they [the Manet brothers] always exaggerate, and at the moment they see everything in the blackest possible light."

"It seems to me a painting [she is working on] like the one I gave Manet ['The Harbour at Lorient'] could perhaps sell, and that is all I care about."

"He [ Manet ] holds up that eternal Mademoiselle Gonzales as an example; she has poise, perseverance, she can get her things finished whereas I am incapable of doing anything properly. In the meantime he [Manet] has started her portrait again, for the twenty-fifth time. She poses every day, and every night he rubs out the head.."

"I do not like this place [ Saint-Jean-de-Luz, a small fishing-village on the Spanish border]. I find it arid and dried up. The sea here is ugly. It is either all blue - I hate it like that - or dark and dull."

"There is constant sun, good weather all the time, the ocean like a slab of slate - there is nothing less picturesque than this combination."

"I am keen to earn some money.. ..beginning to lose all hope.. .What I see most clearly is that my situation in impossible from every point of view."

"I have found an honest and excellent man [ Eugène Manet, brother of Edouard Manet ] who, I believe, sincerely loves me. I have entered into the positive life after having lived for a long time in by chimeras."

"..the glimpse of the dome of St. Paul's through the forest of yellow masts, the whole thing bathed in a golden haze."

"Dear sir, Edouard Manet told me that you were kind enough to bring the sketch that you completed of him [Monet painted Manet in his garden, Argenteuil, Summer 1874]. I did not have the time to thank you before leaving Paris [with Eugene Manet, just married]. I treasure your gift all the more because I attribute much value to what you do. My husband and I, when we look out at the English seascapes which around us, often speak of you talent and what you will achieve from this movement.......[unreadable – about the Impressionists?]."

"My work is going badly.. ..it is always the same story: I don't know where to start. I made an attempt in a field, but the moment I had set up my easel more than fifty boys and girls were swarming about me, shouting and gesticulating. On a boat one has another kind of difficulty. Everything sways, there is an infernal lap of water; one has the sun and the wind to cope with; the boats change position every minute, etc.. .The view from my window is pretty to look at, but not to paint. Views from above are almost always incomprehensible; as a result of all this I am not doing much.."

"If you read some of the Parisian newspapers, among others the 'Figaro', so beloved of the right-thinking public, you must have learned that I am part of a group of artists who opened a private exhibition [in the art-gallery of Durand-Ruel in Paris, April 1876]. You must also have seen what favour this exhibition enjoys in the eyes of these gentlemen [Berthe refers to the critical articles in Paris with all their mockery about her works]. On the other hand, we have been praised in the radical newspaper, but you don't read those [her aunts]! Well, at least we are getting attention, and we have enough self-esteem not to care. My brother-in-law Edouard Manet is not with us [Manet didn't participate in this first Impressionist show, initiated by Degas ]. Speaking of success, he [Manet] has just been rejected by the Salon; he, too, is perfectly good-humored about his failure."

"The love of art.. ..reconciles us to our lined faces and white hear. [Berthe Morisot was 40 years then]"

"The touch, sure and light [is] fixing something of the passing moment.. ..memory is the true, imperishable life, that which has sunk without trace and been forgotten was not worth experiencing, the sweet hours, and the great and dread, are immutable. Dreams are life itself – and dreams are more true than reality; in them we behave as our true selves – if we have a soul it is there."

"I can not get over everything you did for me in that first day [for his support to hang her works on the 7th Impressionist exhibition, Spring 1882], it seems to me that you are working yourself to death, and all on my account. This touches me deeply and vexes me at the same time."

"These last days [of Manet, dying] were very painful. Poor Edouard suffered atrociously. His agony was horrible, death in one of its most appealing forms, that I once again witnessed at a very close range. If you add to these almost physical emotions my old bond of friendship with Edouard, a entire past of youth and work suddenly ending, you will know that I am devastated."

"I think that it will be a great success, that all this painting [of Edouard Manet, shortly after his death], so fresh, so vital, will electrify the 'Palais des Beaux Arts' [in Paris], which is accustomed to dead art. It will be the revenge for so many rebuffs, but a revenge that the poor boy only in his grave."

"It is odd that Edouard [Manet] with his reputation as an innovator, who has survived such storms of criticism, should suddenly be seen as a classicist. It just proves the imbecility of the public, for he has always been a classic painter."

"This project [an Impressionist exhibition in Paris] is very much up in the air. Degas' perversity makes it almost impossible of realization; there are clashes of vanity in this little group [of impressionists] that make any understanding difficult. It seems to me that I am the only one without any pettiness of character. This makes up for my inferiority as a painter.. ..the truth is that our value [of woman] lies in feeling, in intuition, in our vision that is subtler than that of men, and we can accomplish a great deal provided that affectation, pedantry and sentimentalism do not come to spoil everything."

"..scumbled froth.. ..capable of indicating a mouth, eyes, a nose with a single stroke of the brush, the rest of the face modeled by the perfect accuracy of these indications."

"Would you do us the great favour, you and Mademoiselle Geneviève, of coming to dine next Thursday? Monet will be there, Renoir also.."

"As I admired it [a red pencil and chalk drawing by Degas of a young mother, nursing her child] he showed me a whole series done from the same model and with the same sort of rhythm. He is a draughtsman of the first order; it would be interesting to show all these preparatory studies for a painting to the public, which generally imagines that the impressionists work in a very casual way. I do not think it possible to go further in the rendering of form."

"He [Renoir] is a subtle and brilliant draughtsman.. ..all these preliminary drawings [in Renoir's studio] would astonish the public who obviously imagine the 'Impressionists' work at tremendous speed. I don't believe one can go further [in making sketches as studies] than this in the study of form in a drawing. I am charmed by his 'Nude Bathers' quite as much as those by Ingres. He [Renoir] tells me that he thinks the nude is absolutely indispensable as an art form."

"I have descended to the depths of suffering, and it seems to me that after that one cannot help being raised up. But I have spent the last three nights weeping. Pity! Pity! Remembrance is the true imperishable life.. .I should like to live my life over again, to record it, to admit my weaknesses; no, this is useless; I have sinned, I have suffered, I have atoned for it. I could write only a bad novel by relating what has been related a thousand times."

"Another stroll along the quays with Julie asking questions all the time. We stood for a long time examining the sun and the planet at a mapmaker's.. ..There in the Tuileries Gardens.. ..sitting down I began to ponder over my painting of the garden, watching the shadows on the sand and on the roof of the Louvre, and trying to find the relationship between light and shade. Julie saw pink in the light and purple in the shadows."

"I do not think any man would ever treat a woman as his equal, and it is all I ask because I know my worth."

"Your phrase: 'I am working hard at growing old', is absolutely me. What if you were always to speak in my place.."

"I saw the passers-by on the avenue clearly and simply, in the way they are in Japanese prints [she saw some earlier, together with Mary Casatt in the 'Ecole des Beaux Arts', Paris]. I was thrilled, I knew definitely why I had been painting badly and why I would never paint that way again. I mean to say, I am fifty years old and once a year at least I have the same joy and the same hope."

"I say, 'I should like to die', but that's not true at all, I should like to get younger.. ..youth and old age are similar in more ways than one, and they are the two moments in life when one can feel one's own soul which would be a proof that it exists."

"With what resignation we arrive at the end of life, resigned to all its failures on the one hand, all its uncertainties on the other, for so long I have hoped for nothing, and the desire for glorification after death seems to me an overblown ambition; my own ambition has been confined to a desire to fix something of all that passes, oh! Something, the least little thing, well! That ambition, too, is overblown."

"My dearest little Julie, I love you as I lie dying; I shall still love you when I am dead. I beg of you, do not cry; this parting was inevitable. I would have liked to be with you until you married – Work hard and be good as you have always been; you have never caused me a moment's sorrow in you little life [Julie is 16, then]. You have beauty, good fortune; use them well. I think the best thing would be to live with your cousins in the Rue de Villejust, but I do not wish to force you to do anything. Give a memento of me to your aunt Edma [Berthe's sister] , and to your cousins too; and give Monet's [painting] 'Bateaux en reparation' to your cousin Gabriel. Tell M. Degas that if he found a museum he is to choose a Manet [of her Manet paintings]. A keepsake for Monet; one for Renoir, and one of my drawings for Bartolomé. Give something to the two concierges. Do not cry, I love you more than I can tell you."

"Music and painting should never be literary, a very subtle distinction according to Renoir. As soon as I try to represent an individual, their physiognomy and attitudes, I become a literary artist."

"My ambition is limited to capturing something transient."

"They [the sisters Berthe and Edma ] will become painters. Are you fully aware of what that means? It will be revolutionary – I would almost say catastrophic – in your bourgeois society. Are you sure you won't curse Art, because once it is allowed into such a respectable and serene household, it will surely end by dictating the destinies of your two children."

"Since it is not necessary to have had a long training in draughtsmanship at the Academy to paint a copper pot, a candlestick and a bunch of radishes, women succeed quite well in this domestic type of painting. Miss Berthe Morisot brings to the task really a great deal of frankness with a delicate feeling for light and colour."

"There are works for exhibition, others for the studio, you need to follow the public's taste if you want to succeed.. ..with some works you make your reputation with the artists, with others you do good business if possible"

"I would also point out two landscapes by Mesdemoiselles Morisot, - doubtless two sisters [Berthe and Edma]. Corot is sure to be their master. These canvases show a freshness and naivety of expression and atmosphere that provided some respite from the suave, mean-minded work lapped up with such enthusiasm by the crowds. The artists must have painted these studies quite deliberately on the spot [in open-air] determined to reproduce what they saw."

"I quite agree with you, the Mademoiselles Morisot are charming. What a pity they are not men. All the same, they could serve the cause of painting, in their capacity of women, by each marrying an academician and bringing trouble to those old bogeys in the enemy-camp. Or perhaps that's asking too much sacrifice."

"I am often with you, my dear Berthe, in my thoughts. I follow you everywhere in your studio and I wish that I could escape, were it only for one quarter of an hour to breathe again that air in which we lived for many years."

"We also consider that Miss Berthe Morisot's name and talent are too important to us to do without."

"If possible, come and take care of the placing [for the first Impressionist painting show of Spring 1876, in the art-gallery of Durand-Ruel in Paris, with nineteen pictures of Berthe Morisot]. We are planning to hang the works of each painter in the group together, separating them from any others as much as possible.. .. please, do come and direct this."

"Drawn more to rendering the appearance of things with marked economy of means, infusing them with the fresh charm of feminine vision, Mlle Berthe Morisot succeeds marvelously in capturing the intimate presence of a modern woman or child, in the quintessential atmosphere of a beach or grassy lawn.. .We feel as if the charming woman and child are completely unaware that their pose.. ..is being perpetuated in this charming watercolor."

"There is also, as in all famous gangs, a woman. Her name is Berthe Morisot, and she is a curiosity. She manages to convey a certain degree of feminine grace in spite of her outbursts of delirium."

"There is only one impressionist among the group of revolutionaries Impressionists, and that is Berthe Morisot.. .Her painting has all the freedom of improvisation, truly the 'impression' experienced by a sincere, honest eye, rendered by a hand that does not cheat."

"She uses pastel with the freedom and charm that Rosalba Carriera first brought to the medium in the eighteenth century.. .Here is a delicate colorist who succeeds in making everything cohere into an overall harmony of shades of white which it is difficult to orchestrate without lapsing into sentimentality."

"..'new charm, infused by feminine vision'"

"Her watercolors, her pastels, her paintings all show.. ..a light touch and unpretentious allure that we can only admire. Mademoiselle Morisot has an extraordinary sensitive eye..[and].. succeeds in capturing fleeting notes on her canvases, with a delicacy, spirit, and skill that ensure her a prominent place at the center of the impressionists' group."

"[Berthe Morisot] always painted standing up, walking back and forth before the canvas. She would stare at her subject for a long time (and her look was piercing), her hand ready to place her brushstrokes just where she wanted them.. ..[her method was] to start with a light pencil-sketch, to repeat or very the theme in sanguine, to remodel the composition in pastel and, quite often, to carry forward the theme in watercolor and occasionally to carry it to a final culmination in a finished oil."

"Take this book, when violet Dawn Rises over the Wood To the house of Madame Eugène Manet To the road of far-away Villejust, number 40"

"My dear Berthe, I have indeed just received a visit from the dreaded Pissarro who spoke about your next [groups-]exposition. The gentlemen don't seem to be able to agree [the exposing artists]. Gauguin is playing the great dictator. Sisley, who – I also saw, would like to know what Monet should do [participating or not]. As for Renoir, he hasn't yet returned to Paris. I am surprised Eugène [Manet -the brother of Edouard and husband of Berthe] did not remember that it was very cold in Florence – we shivered there for two months once before.."

"Berthe Morisot is disturbing. In her exquisite works there is a morbid curiosity that astonishes and charmes. Morisot seems to paint with her nerves on edge, providing a few scanty traces to create complete disquieting evocations."

"If I may put it in these terms, she [Berthe Morisot] eliminates cumbersome epithets, weightily adverbs, in her clear phrasing: everything is subject and verb; she has a kind of telegrammatic style with sparkling, polished vocabulary.."

"[the light] seems to break as if by force through a limpid crystal glass or block of ice. It retains its tender blue, and its green embers, it acquires a fragile brilliance, it radiates with fresh palpitations, shimmering and sparkling.. .The whole canvas is phosphorescent with the great brilliance of marine light pouring in from outside.. ..this clear brilliance that traverses the walls, harmonizes the colors, animates vague forms with strange life, is rediscovered wherever Mme Morisot has left her personal mark."

"A small woman in white, wearing a delicate knitted cap, looks at herself in a small hand-held mirror; she is sitting on a sofa, also white, silhouetted against a white muslin curtain through which the light passes, playing deliciously over the whole symphony of white, and the effect of the back-lighting creates astonishing shades of gray. Such difficulty overcome with such charm [in the painting 'Jeune Femme au miroir / Young Woman at Her Looking Glass', Berthe Morisot painted in 1876]."

"Before my eyes, she made a charming portrait of Mlle Marguerite Carré in a pink dress, pale pink, the whole canvas was pale. Berthe Morisot was already very much herself, eliminating shadows and half-tones from the natural scene.. ..She touched her canvas like the bloom of a cheek, treating a millstone, a suburban poplar tree, a mouth, or a tulle scarf all alike.. ..I should like to believe that she perhaps suggested, to Claude Monet or Sisley, that a Parisian view or the landscape around Paris, a garden, a railway bridge, poppies in a pale field of oats.. .. were painterly motifs.."

"She wanted it [the studio] not facing north, but full south; the light is diffused through cream-colored blinds; there is not a dark corner to be seen. The daffodils, tulips, and peonies in vases stand out against a bright background, with their transparent flesh, the flat, uniform modeling of objects and faces before a window. Lighting such as this reputedly drains a scene of color; but I do not believe that before Berthe Morisot, any artist deliberately, invariably painted in the absence of effect – by which I mean suppressing the oppositions of shade and half-tones and choosing to highlight a figure by the apposition of color of the same bright value."

"Berthe Morisot's uniqueness way to 'live' her painting, and to paint her life.. ..she took up, put down, returned to her brush like a thought that comes to us, is clean forgotten, then occurs to us once again. It is this that gives her work the very particular charm of a close, almost indissoluble connection between the artist's ideal and the intimacy of an individual life."

"It is made of nothing, a nothingness multiplied by the supreme art of her touch, the merest touch of mist, a hint of swans, the quick touch of a brush barely rubbing the fabric. This gentle brushing gives us everything: the time of day, the season, and the knowledge, the promptitude which that confers, the great gift of reducing things to their essence, of lightening matter to the extreme and, through that, of taking the impression of the workings of the mind to its highest degree."

"Until her death, when I was sixteen, we were always together [she and her mother Berthe]. I was very spoiled. It was almost as if my mother knew she wouldn't live for very long; she looked after me, painted me and drew me, with all her strength and tenderness."

"It was Corot, [c. 1860-1864] who taught her [Berthe Morisot] to bathe in air her landscapes, her figures, her still-life compositions; it was he who taught her the difficult lesson of understanding values."

"Berthe Morisot's place in art history has been shaped by a specific legacy of admiration and family curator-ship.. .. -that her art was truly impressionist because it was so truly 'feminine'-.. ..[so] she was damned by the very terms in which she had once been so enthusiastically acclaimed."

"..For all that, Berthe Morisot has been misunderstood. Her life has rapidly taken on the mantle of myth. It is a charming myth, originating with the critic of Théodore Duret, but elaborated by Paul Valéry, the renowned philosopher, critic, essayist and poet and her nephew by marriage. Indeed it is a magical myth, perpetuated by friends, relatives and descendants for the best part of a century."

"Edma painted a portrait of Berthe the artist about this time [1860-61]. It is not only a sisterly dedication, it is an important statement. Berthe stands before her easel, her right hand central to the picture, poised to touch her palette with a brush. The pretty round-faced girl had vanished."

"A painter of women, and a women herself, Berthe Morisot imbued her female models with all the charm, all the sensuality, all the tender lightness of being that characterize her own vision, communicated through her work.. .It falls to us to recognize that beyond its tender charm and femininity [frequently expressed by art-critics in her time], her work is well structured, constantly searching for greater subtlety of expression; and that its superficial appearance, however delightful and attractive, simultaneously hides and reveals a depth concealed form over-hasty eyes by discretion and diffidence alone."

"A dream you dream alone is only a dream. A dream you dream together is reality."

"I usually stay away from being carried away, But one day I saw a silver horse. I thought he might take me to that somewhere high, I thought he might take me to that deep blue sky. I came to realize that the horse had no wings. No wings, well, it wasn't so bad, you know. I learnt to travel the world around And run on the ground in the morning. And that's the story of a wandering soul, A story of a dreamer."

"Walking on thin ice, I'm paying the price. I'm throwing the dice in the air. Why must we learn it the hard way And play the game of life with your heart?"

"I gave you my life, you gave me my life. Like a gush of wind in my hair. Why do we forget what's been said And play the game of life with our hearts?"

"Never say goodbye, You say tomorrow's another day, All I know is we're here today. I've got nightmares I could never share with you, The kind that keeps me up all night. So hold me tight till the room is light And tell me that it's all right."

"There is a saying that a glass is half empty or half full, depending on how you look at it. Well, we all know that one. But we cannot just say, okay so half full is how we should look at things. No. We have to go even further in our observation and realize that the glass is actually 100 percent full: 50 percent with water and 50 percent with air."

"I dedicate this light tower to John Lennon my love for you is forever yoko ono October 9th 2007"

"I’m not that concerned about professional politicians. I always believe that we can change the world by grass-roots movements. It is a very important thing to do. It is the first time that I realized that I respect America so much because there are so many Americans trying to shift the axis of the world to peace."

"If Lennon were alive today, he probably would have reconciled with the man he accused of having "made a fool of everyone." John would have been the first one now, if he had been there, to recognise and acknowledge what Maharishi has done for the world and appreciate it."

"John and I felt that we were like people in an H. G. Wells story. Two people who are walking so fast that nobody else can see them."

"In a day, sometimes I feel so much love for the world, I think my heart is bursting. Sometimes, I feel so scared, I want to shrink myself even further. I think that’s what happened to us gods and goddesses. Like the dinosaurs, we realized that it’s too dangerous to be so large. So we kept shrinking ourselves to what we are now. We might get even smaller. I see the sign in the engineers making smaller gadgets, smaller and smaller. Pretty soon, our fingers will be too large to operate them. So what are we doing? I trust in the human wisdom. We are incredibly intelligent beings. So we might know something without thinking that we know…. Well, even my best friend didn’t know until now that I was thinking of crazy things like this."

"I thank Pussy Riot for standing firmly in their belief for Freedom of Expression, and making all women of the world proud to be women."

"Don't ever give up on life. Life can be so beautiful, especially after you've spent a lot of time with it."

"Remember, our hearts are one. Even when we are at war with each other, our hearts are always beating in unison."

"If your judgement is clouded, you must be carrying too many things which are being a burden to you."

"Remember, each one of us has the power to change the world. Power works in mysterious ways. You don’t have to do much. Visualise the domino effect And just start thinking PEACE. The message will circulate faster than you think. It’s Time For Action. The Action is PEACE. Spread the word. Spread PEACE. I love you!"

"The opposite of love is fear, not hate."

"That's part of our policy, is not to be taken seriously, because I think our opposition, whoever they may be, in all their manifest forms, don't know how to handle humor. You know, and we are humorous, we are, what are they, Laurel and Hardy. That's John and Yoko, and we stand a better chance under that guise, because all the serious people, like Martin Luther King, and Kennedy, and Gandhi, got shot."

"My biography now reads, "Born, lived and met Yoko.""

"Woman, please let me explainI never meant to cause you sorrow or painSo let me tell you again and again and again...I love youNow and forever."

"I learned everything from her. … It is a teacher-pupil relationship. That's what people don't understand. She's the teacher and I'm the pupil. I'm the famous one, the one who's supposed to know everything, but she's my teacher. She's taught me everything I fucking know."

"every time Yoko Ono pays to have that full page in The New York Times — the “War is Over” page — I’m fascinated by that. I think, well, I’d love to hear her talk about why she continues to do this, because we so much wish it were true. We’d like to be able to say, “Yes, it’s true.” I actually kept that postcard that said “War is Over” in that same font on my wall for years, because I so much wanted to believe it. And yet, you look at the world, and it’s not true, and you think, is this just — is this manifest positive thinking?"

"I loved Fred so, and I mean that in the nicest, warmest way: I had such affection for him artistically. I think that experience with Fred was a divine blessing. It blessed me, I know, and I don't think blessings are one sided."

"That's pure bunk. I adored Fred. We were good friends. Our only problem is that we never aspired to be any kind of a team. We didn't want to be Abbott and Costello. We thought of ourselves as individuals. We didn't intend to be another Frick and Frack. [smiling, after a pause] But it happened anyway, didn't it? And I'll be forever grateful it did."

"Ginger Rogers did everything Fred Astaire did, except backwards and in high heels."

"What's all this talk about me being teamed with Ginger Rogers? I will not have it Leland--I did not go into pictures to be teamed with her or anyone else, and if that is the program in mind for me I will not stand for it. I don't mind making another picture with her but as for this teams idea, it's out."

"She had guts."

"The hardest working actress I ever knew."

"Ginger was brilliantly effective. She made everything work for her. Actually she made things very fine for both of us and she deserves most of the credit for our success."

"Believe me, Ginger was great. She contributed her full fifty percent in making them such a great team. She could follow Fred as if one brain was thinking. She blended with his every step and mood immaculately. He was able to do dances on screen that would have been impossible to risk if he hadn't had a partner like Ginger - as skillful as she was attractive."

"Women had to work like slaves in the art world, but a lot of men got to the top through their charm. And it hurt them. To be young and pretty didn't help a woman in the art world, because the social scene, and the buying scene, was in the hands of women – women who had money. They wanted male artists who would come alone and be their charming guests. Rothko could be very charming. It was a court. And the artist buffoons came to the court to entertain, to charm. Now it has changed, now the younger men are in – older women and younger men."

"Art is a guaranty of sanity."

"I have drawn my whole life. My parents were in the tapestry restoration business, and as a young girl, I would draw in the missing parts of the tapestry that needed to be re-woven. My ability to draw made me indispensable to my parents."

"At the dinner table when I was very little, I would hear people bickering – the father saying something, the mother choosing to defend herself. To escape the bickering, I started modelling the soft bread with my fingers. With the dough of the French bread – sometimes it was still warm – I would make little figures. And I would line them up on the table and this was really my first sculpture."

"England is very, very important to me, because in my family the English could do no wrong. When my father picked a mistress, it was always an English girl: if he made her pregnant, she could be shipped back to England and he would not be held responsible. It never happened, but I've made a lot of work called The English Can Do No Wrong."

"I do not need the musing of the philosophers to tell me what I am doing. It would be more interesting to let me know why I am doing it."

"The feminists took me as a role model, as a mother. It bothers me. I am not interested in being a mother. I am still a girl trying to understand myself."

"What modern art means is that you have to keep finding new ways to express yourself, to express the problems, that there are no settled ways, no fixed approach. This is a painful situation, and modern art is about this painful situation of having no absolutely definite way of expressing yourself."

"I came from a family of repairers. The spider is a repairer. If you bash into the web of a spider, she doesn't get mad. She weaves and repairs it."

"I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way."

"Photography can never grow up if it imitates some other medium. It has to walk alone; it has to be itself."

"Suppose we took a thousand negatives and made a gigantic montage: a myriad-faceted picture containing the elegances, the squalor, the curiosities, the monuments, the sad faces, the triumphant faces, the power, the irony, the strength, the decay, the past, the present, the future of a city – that would be my favorite picture."

"I wanted to photograph this subject because the signs’ shrieking blatancy literally cried out for a visual record. To my mind the faded, yellowing paper and the red paint were not particularly paint,able. In black and white the signs shouted, clamored for attention, in visual anarchy. At the same time, the shrewd business sense which plastered them solid over the entire window area produced, as it were by chance, an esthetic by-product: the whole has homogeneity and variety of texture, simultaneously, which give the picture interest."

"The Baroness was like Jesus Christ and Shakespeare all rolled into one and perhaps she was the most influential person to me in the early part of my life."

"I believe there is no more creative medium than photography to recreate the living world of our time. Photography gladly accepts the challenge because it is at home in its element: namely, realism—real life—the now."

"People say they have to express their emotions. I’m sick of that. Photography doesn’t teach you how to express your emotions; it teaches you how to see."

"The Saturday arguments about photography as a machine art are answered by the best photographers. "If the camera were a machine!" Berenice Abbott said, "with the precision and the flexibility, the accommodation and power of machines as we know them today!" And "Our lighting has not been begun," she said. "We need a light as good as sunlight-better than sunlight.""

"I wanted to learn Go, so I paid a go school and started to attend classes once a week with a pro. He was mean, and never let the students win the teaching games. This was frustrating to me, because I was thinking "Why am I paying to lose all the time?" I wished that I had a guardian angel or a ghost that could help me beat him really bad. It was at that moment that Hikaru no Go was born."

"All you are is the Go you play."

"This is the universe! And I'm placing stones one by one on that. Like I'm increasing the number of stars one by one... I'm making the universe. It's like I'm a God. I'm going to become a God! On this Go Board."

"To link the far past, with the far future."

"A painting to me is primarily a verb, not a noun, an event first and only secondarily an image."

"When I painted my seated men, I saw them as gyroscopes. Portraiture always fascinated me because I love the particular gesture of a particular expression or stance.. .Working on the figure, I wanted paint to sweep through as feelings sweep through.."

"When I painted Frank O'Hara, [in 1962] Frank was standing there. First I painted the whole structure of his face; then I wiped out the face, and when the face was gone, it was more Frank than when the face was there."

"Bill [Willem de Kooning] was working on a huge canvas. It was black and white. And I said to him, 'It's very curious.' You know, I came into the studio. I had my separate studio and I walked in and I said, 'It's very curious. There are no treelike shapes in that painting. The forms are all like animals more or less and organic shapes that don't resemble the forest at all, but I get the feeling of Faulkner forest from that painting.' Bill said, 'That's extraordinary.' And he went over and lifted up a pile of papers and underneath was a book by Faulkner and later he named a painting 'Light in August' [he painted in 1946]."

"Always when I look at anyone's art, I get flashes of the person. If I walk into a room and there's a painting by Joan Mitchell, I say, "There's Joannie." Or Grace, if it's Grace Hartigan. And to me all art is self-portraits."

"[In the past] women painted women: Louise Élisabeth Vigée Le Brun, Mary Cassatt, and so forth. And I thought, men always painted the opposite sex, and I wanted to paint men as sex objects."

"I always say I'm an escape artist, Style is something I've always tried to avoid. I'm more interested in character. Character comes out of the work. Style is applied or imposed on it."

"Nowadays, when an artist discovers 'the sky,' it's like a bride who has never done any housework raving about her first vacuum cleaner. It's just not news." (Yet she confessed that the experience prompted her to deviate from a more controlled linear style and work freely with lively, confrontational colors directly influenced by the Southwest)"

"One of the reasons I was asked to do the portrait [of president J. F. Kennedy, winter of 1962–63, destined for the Truman Library, Independence, Mo] is that, with luck, I can start and finish a life-size portrait in one sitting (after a couple of preliminary sessions of sketches to determine the pose and familiarize myself with my impression of the sitter). After years of working on my portraits (mostly of friends) for months at a time, I found myself getting bogged down in overly conscientious effort and discovered that by working swiftly I could enter into an almost passive relationship to the canvas and get closer to the essential gesture of the sitter. However, working at top speed this way, I require the absolute immobility of the sitter. This was impossible with President Kennedy because of his extreme restlessness: he read papers, talked on the phone, jotted down notes, crossed and uncrossed his legs, shifted from one arm of the chair to another, always in action at rest. So I had to find a new approach."

"I began [to portray president Kennedy ] with fragmentary sketches—first in charcoal, then in casein, sometimes just heads, sometimes the whole figure. For the first session (during a Medicare conference), I sat on top of a 6-foot ladder to get an unimpeded view of him. Concentrating on bone structure, most of my first sketches of him made him look twenty years younger. This was also because the positions he assumed were those of a college athlete. I made about thirty sketches at the first session and rushed back to a big studio that had been turned over to me by the Norton Gallery, made further drawing combining different aspects, and finally, after a couple days, decided on the proportions and size of the first canvas—4 by 8 feet. In succeeding sessions of sketching, I was struck by the curious faceted structure of light over his face and hair—a quality of transparent ruddiness. This play of light contributed to the extraordinary variety of expressions."

"Beside my own intense, multiple impressions of him, I also had to contend with his 'world image' created by the endless newspaper photographs, TV appearances, caricatures. Realizing this, I began to collect hundreds of photographs torn from newspapers and magazines and never missed an opportunity to draw him when he appeared on TV. These snapshots covered every angle, from above, below, profile, back, standing, sitting, walking, close-up, off in the distance. I particularly liked tiny shots where the features were indistinct yet unmistakable. Covering my walls with my own sketches and these photographs, I worked from canvas to canvas (the smallest 2 feet high, the largest, 11) always striving for a composite image."

"Well, first—that term, 'women artists.' I was talking to Joan Mitchell at a party about 10 years ago when a man came up to us and said, 'What do you women artists think...' Joan grabbed my arm and said, 'Elaine, let's get the hell out of here.' That was my first response to Linda Nochlin's article ['Why Have There Been No Great Women Artists?']. I was curious about how a man would react. Alex Katz thought it would be a cop-out to answer the piece. Sherman thought it would be a cop-out not to answer it. John Cage thought the question 'divisive and an over-simplification.' I agree with all of them."

"When Miss Nochlin says: 'If women have in fact achieved the same status as men in the arts, then the status quo is fine as it is.' Well, I think the status quo in the arts is fine as it is - in this country [America] at least, women have exactly the same chance that men do. There are the same schools, museums, galleries, books, art stores. There are no obstacles in the way of a woman becoming a painter or sculptor other than the usual obstacles that any artist has to face."

"In shows selected by artists where there is no consciousness of sex, as in the American Abstract Artist Shows which began in the late 1930's or the Artists Annuals of the early 1950's, the ratio [between male and female artists presented there] seemed to be between one third and one quarter women. The only way to arrive at a true ratio, I suppose, would again be to have artist-juried shows."

"When I was five years old, my mother took me to the Metropolitan. I remember being overwhelmed by the hush — the glamor of the place. Also I used to be mesmerized by the stained-glass windows in church — but it never occurred to me that anyone made them. I thought they were just there, like trees, chairs, houses and the reproductions on the walls at home. I was always drawing, but I didn't make any connection. Then, by the time I was 10 or 11, other kids were asking me for my drawings and were referring to me as an artist. I hadn't given the matter any thought. I just loved to draw. I loved the activity. But when they bestowed the title on me (by then I was reading about artists and going to museums on my own), I thought, oh yes, I'm an artist, and from then on I took it for granted — and I began to compete. I'd read that Raphael had done something by the age of 12 and I'd get very anxious. I became very time-conscious. If I read about someone's great accomplishment at the age of 20, I'd heave a sigh of relief and feel, maybe there's still time. How did you start? [to Rosalyn Drexler ]"

"I reacted to Cézanne almost the same way as you [= Rosalyn Drexler ], the first time I saw him when I was 14.. .Then I saw my first Cezanne and it jolted me. It was a 'Bathers' [Cézanne painted several of them]. I didn't think he drew well at all. I thought the figures looked stiff and wooden, but I was enthralled by it. I knew there was something there that was going to take me a lifetime to understand. What I took to be the crudity of his technique — that opened a door for me. I began to look at everything differently. That was the year [1932] I discovered Matisse, Picasso, Degas, Soutine — I began to go to the Museum of Modern Art every week. At the same time, I loved New Yorker covers — and El Greco. I didn't mind mixing things up. Nobody was going to tell me what to like or what not to like. Until I was 17 I thought all real artists (I didn't count commercial artists) were dead or foreign with the exceptions of Georgia O'Keeffe and John Marin, whose work I had seen at 'An American Place'."

"I was overjoyed when I was taken to a show of the American Abstract Artists Group in '37. They were all alive and they were American! My escort further interested me when he told me the two best abstract artists in America were not in the show — Arshile Gorky and Willem de Kooning, whom I met a couple of months later — when I began to study with him [with Willem de Kooning]. When Miss Nochlin says, 'What is important is that women face up to the reality of their history,' well, the point is, artists are always choosing their history from day to day and their history follows them as much as it precedes them. Were American artists 'facing up to the reality of their history' when they turned to the School of Paris or to German Expressionism or Dada or Surrealism or de Stijl or the Bauhaus instead of to Copley, Peale, Eakins, Blake or Ryder; was Picasso facing up to the reality of his history when he was snooping around African art for inspiration?"

"I think there are too damn many institutions on the face of the earth as it is. Robert Graves said: 'As soon as women organize themselves in the male way with societies, memberships and rules, everything goes wrong.' I think that applies to artists, too. The artist stands for everything against institutions.. [Rosalyn Drexler reacted: 'Institutions and clear thought are opposites. You can't have one with the other']. Right! Institution to me means authority, coercion, mindlessness, bureaucracy; it means the Pentagon, the CIA, the army, organized denominational religion, prisons, mental hospitals."

"Mrs. de Kooning, who was married to the artist Willem de Kooning, was a highly versatile painter whose work ranged from realism to abstraction but was grounded in the gestural Abstract Expressionism of the New York School. Her landscapes, portraits and studies of athletes in action were notable for their verve and freshness."

"After Elaine de Kooning returned to New York from teaching at the University of New Mexico, her studio burst with energetic paintings based on bullfights in Juárez, Mexico, and the expansive western landscape. De Kooning dryly observed 'Nowadays, when an artist discovers 'the sky,' it's like a bride who has never done any housework raving about her first vacuum cleaner. It's just not news.' Yet she confessed that the experience prompted her to deviate from a more controlled linear style and work freely with lively, confrontational colors directly influenced by the Southwest."

"It was Elaine de Kooning who perhaps best described the nature of Abstract Expressionism when she wrote: 'The main difference, then, between abstract and non-abstract art is that the abstract artists does not have to choose a subject. But whether or not he chooses, he always ends up with one.'"

"It's time for a disclaimer. Elaine de Kooning and I were friends. She was a great mentor to me, and in memory continues to be. We met during her time at UNM. I was an incipient poet, she already an accomplished painter. But I was able to introduce her to the bullfights in Ciudad Juárez, a subject she would paint for many years. I followed her back to New York (as did several others who knew her here) and we remained friends until her death. March 12th would have been Elaine's 97th birthday. I wished this honoring of her work could have happened when she was alive, or that she might have lived to experience it."

"Gesture is so well executed in Elaine's portraits that in a number of them she deliberately erased some or all of the facial features. This is true in several images of the painter's brother Conrad Fried, and of her fellow painter Fairfield Porter. An early critic, otherwise complimentary, wondered if she was unable to draw or paint faces. Nothing could be further from the truth, as many of her other portraits attest. But Elaine often said the face's features change with age, while the way one sits, stands or moves is more of a constant throughout one's life. Her figures often seem to be quiet and in movement simultaneously."

"One of Elaine's friends asked her later in life what it was like to work in the shadow of Willem de Kooning, curator Brandon Fortune says. And her reply was: 'I don't paint in his shadow, I paint in his light.'"

"O how wild I am to get to work, my fingers farely itch & my eyes water to see a fine picture again."

"I have given up my studio & torn up my father's portrait, & have not touched a brush for six weeks nor ever will again until I see some prospect of getting back to Europe. I am very anxious to go out west next fall & get some employment, but I have not yet decided where."

"I used to go and flatten my nose against that window and absorb all I could of his [Degas'] art. It changed my life. I saw art then as I wanted to see it."

"..we [the Impressionists ] are carrying on a despairing fight & need all our forces."

"If you [[w:Ambroise Vollard|[Vollard] ]] should ever happen to find that picture ['Milliners's workshop'] by Edgar Degas I know an American who will pay any price for it."

"..crushed by the strength of this Art [the old Egyptian art].. .I fought against it but it conquered, it is surely the greatest Art the past has left us.. ..how are my feeble hands to ever paint the effect on me."

"..Mary Cassatt, sister of Mr. Cassatt, President of the Pennsylvania Railroad, who has been studying painting in France and owns the smallest Pekingese dog in the world."

"this fantastic work called Young Mother Sewing by Mary Cassatt."

"It is absolutely necessary, while what I saw yesterday at Miss Cassatt's is still fresh in mind, to tell you [Lucien, his son] about the colored engravings she is to show at Durand-Ruel's at the same time as I. We open Saturday.. .You remember the effects you strove for at Eragny? Well, Miss Cassatt has realized just such effects, and admirably: the tone even, subtle, delicate, without stains on seams: adorable blues, fresh rose, etc."

"M. Degas and Mlle. Cassatt are, nevertheless, the only artists who distinguish themselves.. ..and who offer some attraction and some excuse in the pretentious show of window dressing and infantile daubing."

"She [Mary Cassatt] has infinite talent. I remember the time we started a little magazine called 'Le Jour et La Nuit' together. I was very much interested in processes then, and had made countless experiments [in printing; Degas mainly mono-type - Mary Cassatt mainly etchings].. .You can get extraordinary results with copper; but the trouble is that there are never enough buyers to encourage you to go on with it."

"The Bases of the New Creation and the Reasons Why It Is Misunderstood."

"Opponents of the New Art fall back on this calculation, rejecting its self-sufficient meaning and, having declared it 'Transitional,' being unable even to understand properly the conception of this Art, lumping together Cubism, Futurism, and other phenomena of artistic life, not ascertaining for themselves either their essential differences or the shared tenets that link them."

"Principles heretofore unknown, signifying the emergence of a new era in creative work - an era of purely artistic achievements. An era of the final emancipation of the Great Art of Painting from Literary, Social, and crudely everyday attributes uncharacteristic of it at its core. The elaboration of this valuable world outlook is the service of our times, irrespective of idle speculation about how quickly the individual trends created by it will flash by."

"Only the absence of honesty and of a true love of art provides some artists with the affrontery to live on stale cans of artistic economics stocked up for years, and, year in year out, until they are fifty, to mutter about what they had first started to talk about when they were twenty."

""Closely examining Rozanova's Suprematist period, we see that Rozanova's Suprematism is contrary to that of Kazimir Malevich, who constructs his works from a composition of quadrate forms, while Rozanova constructs hers from color. For Malevich, color exists solely to distinguish one plane from another; for Rozanova, the composition serves to reveal all the possibilities of color on a plane. In Suprematism, she offered a Suprematism of painting, not of the square [referring to Malevich]."

"Rozanova was well aware of Italian Futurism, although unlike Exter, she did not travel in Italy.. .In her careful application of the Italian Futurist evocation of mechanical speed, explosivity, and mobility, Rozanova followed the same path as Malevich (as in his 'Knife-Grinder', 1912;) and Kliun (as in his 'Ozonator', 1913—14), and her concurrent writings suggest, she regarded Futurism to be a key phase in the artistic evolution toward Suprematism. Rozanova expressed this impulse not only in her vivid, dynamic paintings, but also in what Yurii Annenkov described as the 'black plumes of her drawing'."

"In the afternoon he [ Johannes Bosboom ] took me to look for it [her first showed painting, ever]. There it was! I thought I was swimming! And next day, our lounge was full of people [at home, with her father], a friend of dad came in and he said: 'I have seen your painting. Very well, indeed. Do you know it just has been sold?' Suddenly it fell silent in the room. Daddy looked at me with surprised eyes. It was my declaration of independence. (translation from the original Dutch: Fons Heijnsbroek)"

"What is life difficult and cumbersome, and what hard work it is to fathom one's own thoughts, feelings really truthfully - to purify and to place them behind each other. (translation from the original Dutch: Fons Heijnsbroek)"

"I tell you that I learned from experience. Have you once consulted with yourself – have you once made your decision, don't leave it anymore, otherwise you will become like a weather-cock, and dissatisfied with yourself. (translation from the original Dutch: Fons Heijnsbroek)"

"He [ Johannes Warnardus Bilders ] painted – was living in Utrecht, [he] immediately attracted attention and had many ideas, got good prices for that time; and once he thought 'Is this really beautiful, as people say - but the people are crazy or I am - I came to the conclusion – the people are wrong - picked up my things and went to Oosterbeek' [Autumn of 1841, where he thoroughly started to study nature: branches, stems, plants. Etc..] (translation from Dutch, Fons Heijnsbroek)."

"Our trips in Drenthe [in 1878-79] he [ Johannes Warnardus Bilders ] enjoyed a lot, but Vorden and especially Oosterbeek remained the places he loved most. Drenthe was too new for him. The most beautiful painting he made of it were 'the Hunnebeds', a fusain in my possession. He found back again Hobbema everywhere. (translation from Dutch, Fons Heijnsbroek)."

"I am glad I have that artistic life in me.. .[I'm] a nobody in my field of art.. .I don't overestimate myself at all, and that's why I can't get that comfort from my work [landscape painting], which the Great [artists] have in their field of art. What else to say! 50 years after my death!! I laughed about it. Do you think they will remember me after only one year? [after her death] Dear heaven! No, that is really my least concern. (translation from the original Dutch: Fons Heijnsbroek)"

"Marie is already 4 weeks in Vorden [Summer of 1875], painting under the guidance of the first landscape painter we have here Bilders. I am curious about the fruits of her labor. I must say that she does the work with great zeal, at the cost of her [white] complexion! She will come back as a half Javanese, I think. I am happy for her that she is given a different guidance than she had now from Bosboom [in The Hague], because that became too much modern for me. (translation from the original Dutch: Fons Heijnsbroek)"

"[ Johannes Bosboom was..] the friend of her first art-works, her source of information and on whom she could fall back, the one who helped her to believe in herself and finally the man who seized her with a firm grip from the drift paths of the young ladies' existence, onto the way of the royal art. (translation from the original Dutch: Fons Heijnsbroek)"

"I was in Amsterdam [train from The Hague] last Wednesday, exclusively for the paintings [at the exhibition in 'Arti', May 1888] .. ..I was delighted with the wonderful [painting of] Jaap Maris. I mean the big one, I never saw it before. Also the other paintings did much better [because of better light there]. So your 'White horse' ['White horse of Montmartre', painted by Breitner in Paris in 1884]. I even got the impression that the Dupré that hung next to it became feeble. 'De Brug' [Breitner's painting, also known as 'Rain and Wind'] is a good job, but that painting never attracted me. I do not know why.. ..but I believe you will not be much attached to my opinion about this or that painting. I know how a peanut I am with no right to do so. I stayed at the exhibition until four o'clock, then I returned to The Hague.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"I'm not making any progress with the book that you were so kind to lend me [about techniques of etching]; the desire to study tie facts for etching from a book does not exist with me.. ..if you would rather give me some lessons, so that I can get some information, I will be glad..[which happened February / March 1891] (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Dear Richard, I just received your letter; I will send the money order f 10 [10 guilders] immediately for the swimming of Saar [their daughter, 10 years old]. She seems to be going well ahead, I think, at least if she can jump off the springboard by herself. Her letter was nice and cheerful. Yes I would have liked her to come here [in Heeze] but I am just afraid that I may not be able to work regularly or that she will get rather bored. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Dear Richard, I was just coming home from [painting] an interior [with people!]. It was terribly dark today and yesterday, but today I made a pretty good study. I still sleep badly and feel nervous because of that.. .I don't need to come to The Hague for my drawing lessons.. .How long we will stay here [in ], I don't know. I will write you at least in advance. If I don't start sleeping better I will not stay much longer, I think. (translation from original Dutch, Fons Heijnsbroek, 2018)"

".In the beginning I was struggling very much with [painting] children, for that painting by Br. [probably, Henk Bremmer?]. It has an almost square format. The woman must look to the right [and] there must be a child with her.. .But I painted only a few children with mothers, and recent times not at all; and then that size (square), I don't know how to handle it. I now think to come back to The Hague Sunday afternoon [and] to leave Heeze early. Monday here is another holy Day [catholic region]. So I can not work then.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"It is not so bad that my paintings have been placed in the so-called reading room [Amsterdam exhibition, probably Arti et Amicitiae at the Rokin?]. But it will be just as you write, they will definitely have to serve for FW Jansen and others. They certainly must get the medals and have to show in a most favorable way. .. Are there many beautiful things exhibited or is everything rather mediocre? Is there something to see of Breitner and Bauer. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"But please come into my studio; It is now full of works everywhere, you see.. .Oh, you don't need to be careful; those paintings do fall together frequently; - it doesn't really harm them."

"Because - you need moderation for the perseverance in your work!"

"No, absolutely not, I have never been what one calls a gifted child, never a dreamer. I didn't think of making fantasies with the pencil on the paper, although at school we learned to draw and play music of course. But in those days the piano was actually what I preferred most.. .But until my eighteenth year I have been hesitating long between both [painting and playing piano].."

"I never had difficulties with my students, for I was prepared for their pranks, because fortunately I had often been naughty myself. We frequently made tremendous fun at the Art Academy in The Hague.. .So I still had my own experience in this area fresh in my mind."

"Although teaching in the class is so terribly tiring.. .I continued my work perfunctorily in a way that nobody could notice it. Because I lived with that firm intention: in a few years I will start painting. And I saved for this by being as sober as possible with everything."

"Yes, there was a lot of fuss about it, then [c. 1879-80].. .. [that] I also was permitted to enter the nude class [c. at the Art Academy in Rotterdam, evening classes!] .. that was never done before me by other ladies. I was the first who claimed it. And even in a local newspaper they cried shame about it: a young woman who painted nude model. And moreover.. a teacher with so many girls under her guidance. [at the Dutch Highschool]"

"..I therefore got around to painting [in Amsterdam, 1883] and that's why teaching started to become a burden for me. So then it HAD to happen now: Make or break! And I asked my dismissal at the school, threw away my 2500 florin a year, sacrificed everything, although I never made any painting yet, and certainly sold nothing at all. And my acquaintances, my family, they found me reckless and shamefully frivolous with my sacrifice to art, for which they did not felt any sympathy or understand anything of it after all."

"Then on a certain day I went out [from Amsterdam, c. 1881-82]. I traveled to Dongen, brought some interior studies back, to try to make something good of them."

"Well, sure, when you have some success, you also work with more self-confidence and ease. But before that time; that awkward question: am I going to sell or not. All the same I never took notice of it regarding to my work."

"In Fall, October, November, I'm usually at work in Heeze, for interior studies. That is a beautiful, and the most quite time; the leaf of the trees [dropped!], what gives in summer such a strong green light into the domestic interiors. It was in the lodging of the good Saskia [Ciska] .. ..that I always got very special care."

"What a struggle I had to make on that ['Mother and Child']. You would say, a nice assignment to make something good out of it, isn't it. I myself thought it that way. So I went to Heeze, I made a mass of studies of women with children, came back with the sketches to my studio.. .Oh, what an obsession.."

"Acquaintances, family, posing for me? - Oh no, please no acquaintances, no nephews or nieces.. .If I need them, I take models; am I searching for myself, tripping through the neighborhoods.."

"Miss, today I had the pleasure to admire your drawings here [exhibition 'Levende Meesters ' in Arti, Amsterdam]. The knight is doing very well. I think the onions [still-life] were better done in a passe-partout. Especially now the drawing is not cut off.. .At the Academy here [Rijksacademie Amsterdam] I like it very much. We have a pretty good model.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"..you know together enough how the world is running - what life is - and how people are - together you are two apostles, fighting for their art and that is 'worth the only reason'!! to stay alive.. ..now you are together - you can comfort each other when things go badly.. ..that keeps the mutual affection awake, so dear fellow, Suze - I wish you both all happiness.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"..I would love to see you [his friend Richard Bisschop and wife Suze] with your sprig - how does Suze do that, painting and cleaning nappies!! - and then painting children.. .I made children's portraits, I know what that means; enough to drive you mad.. [Suze hardly painted children in fact] (translation from original Dutch, Fons Heijnsbroek, 2018)"

"..[a clear influence of his] talented wife [= Suze Robertson]. Perhaps in this painting by Bisschop one can see the spiritual marriage of two artists.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"My dear madam Bisschop [= Suze], I hope you will enter [the Katwijk painting exhibition] a few of your paintings. I always find your work so strong! Individual, broad and beautiful. I love it very much. Send us a few of your canvases. We'll get a nice entry, I believe. Please ask your husband if he wants to enter also a few of his paintings. (translation from original Dutch, Fons Heijnsbroek, 2018)"

".So please write me about it, do you believe that Saar [their daughter, 10 years old] must go, Suze? In that case send me a money order with that amount [for the travel costs of Saar; friends want to take her with them, on holiday]. I have almost no money left but for a few days. How to finish my painting so that Zürcher [art-seller] will buy it, the sky may know.. .If I had the gift of you to paint a simple thing nicely together then I certainly would do, but in my case people are used to a kind of painting that is completely finished; otherwise I will have no chance to sell it. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"A stay in Dongen, where she painted interiors [c. 1880] followed by a next stay in Blaricum [c. 1885-88] where she also painted interiors, gave more shape to her searching.. .Anything that was sweet, she avoided in her work. The women, whether they lifted the weight of a [hang] clock, or were peeling the potatoes or were hastily breaking a branch, were rough in shape. Without softening the outlines by color or light.. ..and sometimes it gave the impression as if, for fear of everything that is feminine, she masked her femininity by the crudeness of her conception. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Nervousness - nonsense keep calm.. .[I] haven't seen everything already [of the submission of Suze Robertson for the exhibition 'Kunst van Heden' in Antwerp]. - [we] were busy unpacking - let me rummage around - you must come to the opening - banquet!. .Your submission is looking good. Yesterday Baseleer was in the hall and he was talking about a courtyard [of Suze] with white walls that was beautiful, I haven't seen it yet, had to make visits.. .I did see some.. ..nude figures and small paintings, wearing Suze's firm painting gesture, they are beautiful and rich in color.. .I will take care of your submission. So don't be nervous and let me handle it. Warmly Jacob (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Suze Robertson, is a woman-painter, of people with a heavy and tragic emphasis; of still life, where we find the same tragic mood; of cityscape, which attracts me less, of landscape with animals etc. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Visual art is very freeing, because it answers only to the eye."

"This was a new definition. I think there's room in our culture for interesting people who are black and for interesting people who are female and interesting people who are black and female. There's hardly any room to be interesting if you're old."

"It hasn't come together finally. There's no end to this, and it changes over time. My relationship with history as I used to write it, and as I sometimes use it in my work — that was something that took several years, actually, for me to feel comfortable with. And as I continued to wrestle with it and to deal with it visually, it's that I can do whatever I want to the figure; I can do whatever I want with history…"

"I think that’s the kind of relationship between recognition and black women. That you have to be an optimist to think something’s going to work out and just keep trying because if you concentrate on the really awful actual facts of life, then you’ll just crawl into bed and pull the covers over your head."

"Our search for understanding in matters of race automatically inclines us toward blackness."

"The whole point of defining races is mostly to put people down, and so those needs change over time."

"The census keeps counting us by race for purposes of undoing racial harm in the past."

"We still have slavery in the world today. and two of the areas pinpointed for slavery are Latin America, notably Brazil, and Eastern Asia."

"Before desegregation, before the Civil Rights Act of 1964, all those laws, exclusionary laws, were meant to keep Negroes out."

"I live in Newark, which was heavily - actually bulldozed in the 1960s in urban renewal. And we think of urban renewal as harming black people, which of course it did, but it also hit some other vulnerable people, and Italian-American neighborhoods also got it."

"The idea of beauty being white, that is another enlightenment idea, actually, an 18th-century idea by another German, named Winckelmann, who's the father of art history"

"What has changed in the 21st century is that what we think of as class privilege can go a long way in blunting the color phobia"

"Just because you say that things in the 21 century are not the same as they were in the 20th century, doesnt mean that you're saying that we're in a post-racial society. We are not in a post-racial society, but things are not like they were in the age of segregation or slavery."

"We discover through genetics or the genome or through culture, through migration and so forth, anthropology that racist dont exist, biologically, that you can't box people up in little boxes according to race."

"We need to recognize the destructive role played by the media in fanning the flames of the "Black-Jewish Conflict." Cornel West, bell hooks, Richard Green, Barbara Christian, Henry Louis Gates, Marian Wright Edelman, Nell Painter, Albert Raby....Why are these names not as well known outside the African American community as the names of Louis Farrakhan or Leonard Jeffries? Are they, in their diversity and dynamism, less representative of the African American community?"

"The challenge from the beginning was just the diversity and ‘We don’t really know what to do with you’ and ‘There’s not going to be a lot of work for you."

"The lack of predictability with television is something that’s constantly changing what your perception of who you think your character is…"

"Growing up as somebody from another country, really, not what you see on television, I never saw myself in the forefront, ever. We were always in the background."

"You can't allow fear to take over your life. If you do, you'll look back and you'll have regrets. I learned this a long time ago, because I think "my God, my parents came over from another country". It would be really scary for me to move to China and leave everything behind. But I have to remember that fear is something everyone feels and it's natural. You might feel fear 10 times a day in your life, and you have to try to understand it…"

"Everyone has a different format for how they want to reveal what they are thinking, or what they are seeing, to the audience…I just had to let go of the audience and just started thinking about what I wanted to see."

"I think that art helps evaluate some of the psychology of yourself as a child, and to illuminate some things you may never have understood."

"I realized it had everything to do with how I grew up and the interaction I had with my father, that he was somewhat abusive…That made me understand that your body retains not just physical damage, but emotional perforations."

"I was a Leap Year baby, and it seems to me that I have been leaping ever since."

"I have created nothing really beautiful, really lasting, but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work."

"I hear so many complaints to the effect that Negroes do not take advantage of the educational opportunities offered them. Well, one of the reasons why more of my race do not go in for higher education is that as soon as one of us gets his head above the crowd there are millions of feet ready to crush it back again to that dead level of commonplace thus creating a racial deadline of culture in our Republic. For how am I to compete with other American artists if I am not to be given the same opportunity?"

"He almost whipped the art out of me."

"Isn't it rather odd that such people should always suppose that when a colored girl gets a chance to develop her natural powers it must be that she will want to become white? It gets to be a tiresome task explaining to them that the desire to become better or more capable is a common quality of all human beings."

"We are sneered at for not being the social and intellectual equals, after sixty years of Western civilization, of people with thousands of years of this same civilization; yet when we set out to try to lessen the distance between us we are treated as if the attempt were a crime. Why not give us the chance to try? Are some white people really afraid that we might succeed?"

"All my pieces are about resilience in the face of adversity"

"Murals are not easel paintings,” Baca said. “They’re not individual works created for simple self-expression of your opinion in a public space. To do public works means that you’re making something. A real mural is connected to the architecture in which it’s placed, connected to the people for whom it’s painted and connected to who you paint with. And when it is incredibly well done, it’s like a choreographed dance."

"They very often would let me paint, you know, instead of doing some of the other lessons, because I didn't speak English well enough. So I had a lot of painting. And I brought the paintings home with great pride, and my mother kept them for years, so I do know that I sort of…That was a place that I actually remember the smell of those materials and the texture of the surfaces and just, you know, kind of having this real visceral love of moving that color around -- which is, I think, you know, I still have that…"

"That musical time is a way of like creating a rhythm within the piece. And it was an amazing experience for me to see how when lines, directional lines, went through forms -- how forms, if moved to fit within the ratio, to hit the points. Like in other words, if an arm flies out, it goes to the point. Suddenly there's this like visual kind of connection between the forms, and it fits like, clicks like pieces of a puzzle, right into place…"

"My work has been ignored a lot in LA … and the men here have been pretty profoundly unable to see women as their peers. That’s been the struggle of my whole life as a Chicana and activist and feminist. It’s created a devil-may-care attitude for me. I had to just perceive what I was doing as significant for myself and my community and move ahead with willfulness and belief, buoyed by the community people I worked with – not by the arts."

"In some ways, we didn’t cross the border, the border crossed us"

"I always thought I’d make a work and it’d go out into the ether, never to be seen again or spoken about,” she said. “But I realized that when I was making it, that I was processing through my hands, and through my art. I was finding a way to live with truth that was hard and difficult. It was a way of keeping me sane, and keeping me in the process of healing, and healing those around me"

"Murals can do some amazing work in the world, because they live in the places where people live and work, because they can be made in relationship to the people who see them, because the people themselves can have input, if it’s done in a profound way. And that’s what I intend to keep doing as long as I’m standing here on earth."

"Arts are a magnificent way to deal with multilingual people. Arts are an entryway."

"I was expanding the role of women in my own thoughts. I wanted to break all the rules. Women don’t build in massive scale, women don’t build monuments or make public art. Women play with dollhouses; they don’t make architectural statements, they don’t build Disney Hall. There is no financial backing for women to develop the agency of a Frank Gehry. Women will never have that power in my lifetime."

"I'm interested in stepping outside the traditional role of arts, the creation of beautiful paintings bought by wealthy people to decorate their homes. People with expendable wealth could acquire art and determine who could see it. For me, art could go where my family went, in neighborhoods where museums are as foreign as the moon, so that working and poor people who had a great appreciation of beauty could see the murals and live with them. I was fighting a whole series of stereotypes..."

"(You have mentored so many young people. Who was a mentor for you?) Gilbert Roland, the actor. He was one of the first to break the notions of who a Mexican actor was. He was a silent movie star and was in the original talkies. He was the original Cisco Kid, a vaquero. He created the character of the gentleman who was a beautiful Latin lover, with a shot of whiskey and a rose in a vase on the bar. He would smell the rose before throwing back the whiskey. He had both tenderness and strength. Women's leadership can be both vulnerable and strong, that's the trick."

"I will hire anyone who has the will and the capacity and will put down a knife for brushes! The deal was, no violence. We had to enforce this; it was always a negotiation. The kids had to find other ways to express conflict."

"It doesn't matter if it's art or digging a ditch, building an airplane or making a sculpture, what matters is that it's a creative, innovative act. That the hands of the group have more power joined together. What really matters is the collaboration and skills young people develop figuring out how to get it done."

"Some of the young people found in the arts a place to live, but I wasn't intending to make them artists, I wanted to make them citizens, part of the world they lived in."

"I was trained as a minimal and gestural painter, in color theory, color optics, that's what was popular in the universities. And then I walked into a moment in history when the civil rights movement was in full effect. The Chicano Moratorium against the Viet Nam war, Cesar Chavez, Belvedere Park, I was there. I was in Cal State Northridge when students occupied the administration building. I thought, "Okay, I am perfectly suited to do nothing about any of these issues, I am a color field painter, what good am I?" On the night of my graduation, my grandmother said sweetly in Spanish, "What is it good for, what does it do?" Everything in her life had reason and meaning, even the little plants growing by the water fountain in her yard in South Central were used for healing. She could turn a stick in a coffee can into a beautiful thing, and I thought to myself, "I've got to learn what this is for." I began to systematically unlearn and move away from elitist system of arts. I realized that arts lived in all people. More primitive cultures have a culture of gifts, so the gift grows as it's given. In the potlatch of the Northwest, the tribal chief who gives you the goats expects you to have a big feast. In our culture, the gift giving culture meets capitalist culture, the culture of acquisition, where we value what men acquire instead of what they give away. In old cultures, those who gave the most were the most regarded. I began to see that if art were given away, it would grow. I began to answer my grandmother's questions one by one, and began to change the way I made art. The scale had to be big enough to include others. I had to think about we as opposed to me, the creation of family versus the agency of the individual. As I started to do that, I began to see I was very good at that."

"What we need more now is to make art that is about connection. Mural painting is a perfect form, the oldest form, we know those cave guys were marking those walls for magic. Those guys were shamans who recorded history. I haven't traveled far from these ideas, that particular role, or consciousness, so that you can elevate your worries about global warming into a song that will move the souls of everybody in the room. This is a different and bigger role than the western European visions of art. This vision goes back to the ancient American. I like to say mural painting is a form made in connectedness, connected to architecture, to the river, where we made our first huge mistake in the city. We concreted the artery, and my job was to begin healing the river and the people. We are connected to that river, we are connected to living things, the whole planet, the Gaia, the large philosophical point of view, the creation of another idea of what can be."

"(Do you have any advice for young people?) To dream big, to not hold back these dreams. Imagine yourself in places you never have been, to have a bigger idea, to not be afraid to make mistakes. If you make mistakes, make passionate mistakes. Move through narrow visions of who you will be. Have a dream bigger than your families."

"(How has the city changed over the decades?) In the 70's we were so engaged - that's a hard one for me, to try not to discount the losses, to see what is hopeful. I feel a lot of times that we've lost leadership. There's no Cesar Chavez or Robert Kennedy. We've lost the great inspiring role models that gave us ideas about a bigger self. We started to value the celebrity, the person who got his. Television is continually about advancing the renovation of your house, about objects and material. Where do we learn the bigger values, a shared sense of community and activities? We repeatedly reduce the commons, the spaces where we meet across race and class and difference. I'm very concerned about loss of the commons. People need more and more to remember the nature of human beings. We are social beings. As humans we are tribal, we need to be in community, we thrive in that situation with one another and grow by virtue with that."

"One legacy of muralism is to make the point that we are losing the public commons. We should recognize we need them and fight for them. Parks and schools can be commons. Spaces and arts should not be privatized. Arts should be public..."

"a great American artist who has always had a strong sense of place, occasion and history."

"Judy Baca is one of our great feminist artists...She has not received the kind of attention she should have received over the course of her career. She has been a low and steady and every day practitioner."

"Judy invented a model of public art...Rather than plop down a monument or a sculpture, without accounting for the people around it, Judy really started a model where you have that community engagement early on in the neighborhood. So people in the neighborhood had a sense of connection with the work."

"Student activism has translated into community activism. In southern California alone, many women exemplify the credo of giving back to your community. Judy Baca is an internationally renowned muralist whose work brings Chicano history to life."

"Art is inevitably the expression of external conditions, modified though they be by the genius and personality of the artist."

"The making of a picture involves two processes: a taking in of the impression and giving out of it by the visible expression. (....) The degree of beauty in a picture depends upon the feeling for beauty in the artist and his power to express it."

"The use of color in my paintings is of paramount importance to me. Through color I have sought to concentrate on beauty and happiness in my painting rather than on man's inhumanity to man.(...) My goal was not to offend the beauty in nature, but rather to share with others those aspects of it that have given me so much joy."

"Color is life, or a world without color appears to us as dead. Colors are the children of light, and light is their mother. Light (...) reveals to us the spirit and living soul of the world, through colors. The colors of the rainbow and the Northern Lights soothe and elevate the soul. The rainbow is accounted as a symbol of peace."

"In my opinion Black art is a misnomer. There are black artists and they, like all others, draw from they experiences to produce artistic expressions. If this expression is non representational, it is difficult or not impossible to tell whether the artist is white or non white. There can be no doubt however of the impact traditional African art has had on the world of modern art."

"A photograph is a secret about a secret. The more it tells you, the less you know."

"My favorite thing is to go where I've never been."

""Our whole guise is like giving a sign to the world to think of us in a certain way, but there's a point between what you want people to know about you and what you can't help people knowing about you. And that has to do with what I've always called the gap between intention and effect."Goldman, Judith."

"Freaks was a thing I photographed a lot....There's a quality of legend about freaks. Like a person in a fairy tale who stops you and demands that you answer a riddle. Most people go through life dreading they'll have a traumatic experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats."

"I do feel I have some slight corner on something about the quality of things. I mean it's very subtle and a little embarrassing to me, but I believe there are things which nobody would see unless I photographed them."

"It's always seemed to me that photography tends to deal with facts whereas film tends to deal with fiction. The best example I know is when you go to the movies and you see two people in bed, you're willing to put aside the fact that you perfectly well know that there was a director and a cameraman and assorted lighting people all in that same room and the two people in bed weren't really alone. But when you look at a photograph, you can never put that aside."

"Everybody has that thing where they need to look one way but they come out looking another way and that's what people observe. You see someone on the street and essentially what you notice about them is the flaw."

"They are the proof that something was there and no longer is. Like a stain. And the stillness of them is boggling. You can turn away but when you come back they'll still be there looking at you."

"I never have taken a picture I've intended. They're always better or worse."

"For me the subject of the picture is always more important than the picture. And more complicated. I do have a feeling for the print but I don't have a holy feeling for it. I really think what it is, is what it's about. I mean it has to be of something. And what it's of is always more remarkable than what it is."

"Nothing is ever the same as they said it was. It's what I've never seen before that I recognize."

"I work from awkwardness. By that I mean I don't like to arrange things. If I stand in front of something, instead of arranging it, I arrange myself."

"She was really terrific...Diane was one of the first female role models I ever had that didn’t wash the floor six times a day. I liked her as a teacher."

"I’m an actor’s director, I love to make the environment safe enough for an actor to make a mistake to fall on their face, to let them know that they’re safe, that I will pick them up, that I will help them through, because really for greatness, you have to be willing to fall down, you know? You have to be able to let it go and take the ride and to be present in yourself and to speak your specific truth."

"I’ve been drawing since childhood but I studied economics instead of art, I was really interested in political news and geopolitics. My favourite topic is political drawing/cartoon. It is a perfect way to combine my 2 passions: my interest for the news and my drawing skills."

"I work in political/editorial cartoon but also in children’s book illustration. They are 2 different genres, but I like changing from time to time what kind of topics I’m working on. According to my mood I will spend more time in one or another genre.I like to denounce with my cartoons, but sometimes it is also good to put some poetry in this complicated world and the children illustrations help me to focus in something more positive."

"In the political-cartoons genre I like Ares and (Angel) Boligan´s work for their graphic style. I also admire the work of Quino…In children´s illustration, I could give a lot of names also but if I had to choose only one I can say I really admire the work of Rebecca Dautremer. I’m fascinated by her work."

"I work a lot on environmental issues, ecology, justice, peace, equality ... because it seems important to show through caricature and humor, the imbalance that humans generate our actions.Cartoonists not fix the planet, but we propose starting points for other views."

"Cartoon is the fun way to express opinions and communicate, that's why I like it. When I illustrate textbooks I also try to make them have humor."

"I've been publishing professionally since the early 90's, I was lucky enough to get to work in a newspaper and that was a great school, like a second university."

"My main motivation is to communicate an idea and generate a personal dialogue or with the reader around each image. I think we draw to "rethink"."

"I try by means of synthesis to tell as many things as possible, to reflect our inconsistencies and those of our society or simply to play with the absurd. It's a job that I really enjoy."

"I value the political awakening of society and I hope that these protests are not in vain and bring changes. This is something unprecedented in our country, never before were there massive marches that lasted more than a month and also in the middle of a pandemic. There is a very complex crisis and a government that does not listen, closes in on dialogue and its only option is force. I am very concerned about the violation of Human Rights by the forces of the State… It is very serious, inadmissible in a democracy."

"It's my belief that you work harder when your name is on the door"

"The things that define Botswana and Batswana are the stories that we have not had the courage to tell"

"It affects all of us when our education system fails our children"

"Like Diamonds, people are valuable because we decide they are valuable"

"Obedience without questioning, without understanding is going to limit how you grow"

"re-imagining education in Botswana through The Dow Academy Difference (March 2021)"

"Meet the CEO - Ms. Katso Lebekwe interviews Ms Cheshe (June 2022)"

"Impressionism has produced by this very method not only a new, but a very useful way of looking at things. It is as though all at once the window opens and the sun and air enter your house in torrents. Nature appears clear, enchanted, interesting. It is as though suffocating air had been let out of your attic!"

"No one has ever arrived at a power of analysis of tonal values at once so intense and so sweet...Monet may or may not have thought out these works, but with what vigor he has executed them...I cannot say at what point Monet arouses my emotions, but he produced in me such sensations as make me happy, but which I could not have discovered myself. He opens my eyes and makes me see better."

"The severity of Monsieur Ingres frightened me. I tell you, because he doubted the courage and perseverance of a woman in the field of painting. He wished to impose limits. He would assign to them only the painting of flowers, of fruits, of still lifes, portraits and genre scenes...I quickly understood that I could take no part in that school except to waste my time."

"'These women are not victims' – Paula Rego's extraordinary Abortion series (Thursday 9 June 2022 07.00 BST)"

"English Quotations"

"Paula lived for her work."

"She belong[ed] to a category of artists who are fully and consistently producing work, incredibly rare for a female artist [of her generation]."

"I see [her influence] in the work of most female painters – particularly in artists who engage with the body – and with women's position in the world, In fact, I would struggle to think of a significant painter, particularly in Britain, where I can't see a connection to Paula."

"Paula takes you to uncomfortable places – Jung called it the Shadow. They are taboo areas, where love and cruelty touch each other"

"Paula Rego is a great artist, and an underrated artist... whether she's tackling war, or 'honour' killing, nothing escapes her awareness of the challenges of life… she's shocking sometimes, and exciting – but that's one of the roles of art."

"Each and every one is subtly disturbing without it being clear quite why."

"The vigour of her hand and brilliance of her technique meant she could realise singular, wondrous and disturbing scenes rising in her mind’s eye with unflinching honesty; these images are ambivalent, often perverse, mischievous, with undercurrents of danger. She generated hundreds of entirely original scenarios that are often baffling yet go straight through to the nervous system of the viewer, as Francis Bacon (whom she admired), wished to do. She called her style "beautiful grotesque", a phrase that catches the contradictions in her images, but does not convey the strength and strangeness of the bodies she painted, the turbulent force of her compositions and the sympathy she shows in her depiction of emotions and ordeals."

"Her studio, in Kentish Town, north London, was a prop room, a wardrobe, a rehearsal stage, a theatre—her playroom. ... Rego also drew on family and friends to enact her scenarios: her daughters, her grand-daughters, and her partner, the writer and publisher Anthony Rudolf. Rudolf has said that he realised early on that if he wanted to have time with Paula, the only way was to sit for her. He appears in many roles, sometimes cross-dressed, at other times naked as Gregor Samsa in the painting Metamorphosis, or the dead Christ in the mysteries of the life of the Virgin, which Rego painted for the president of Portugal in 2002. When no model fitted her vision, she made “dollies”, stuffed, bulbous puppets that she did not disguise, and who like the sinister Pillowman, haunt her most troubling scenes."

"With an incredible knack for identifying and nurturing artistic talent, Helen regularly imparted her invaluable visual arts skills to many artists, assisting them to blossom into top-notch creatives. With the death of Helen, Zimbabwe has lost an exceptionally talented practitioner and arts administrator who contributed to the growth and development of the visual arts by putting the sector on the world’s artistic map. May her soul Rest In Peace."

"“Let’s work on newspaper, with mud.”"

"“I was brought up in the British colonial type of painting, which I deplored. I had to do the little butterflies, the little flowers, and the little this and the little that in watercolors.”"

""As I began to re-identify myself with the African environment, so my painting became broader and my color stronger, symbolic of the felt experience,”"

"“fight between who and what I am.”"

"Bulawayo, I am from Bulawayo, the second city of Zimbabwe. On a return to Home, I found, saw, so many people wearing the black patch of mourning attached to their shirts. I knew what the patch meant and for whom it was worn; a generation decimated by AIDS and parents burying their children. It was with profound grief that I created HOME."

"Birds have always been my companions. I am a very lonely person. They are the only real friends that I have had. Sometimes I think I should have been a bird. I even paint like a bird. You will notice that all my landscapes are done from a bird’s view, high up and far away."

"But of course she is also known for her landscapes. Her practice was quite contentious in terms of the subject. Many critics argued that it was influenced by the white people she was in contact with, for instance her gallerist. For me, there is something very exciting about her imagery of birds and landscapes."

"I never did believe in miracles, But I've a feeling it's time to try. I never did believe in the ways of magic, But I'm beginning to wonder why."

"If you wake up and don't want to smile, If it takes just a little while, Open your eyes and look at the day. You'll see things in a different way.Don't stop, thinking about tomorrow, Don't stop, it'll soon be here. It'll be, better than before. Yesterday's gone, yesterday's gone."

"Can you hear me calling Out your name? You know that I'm falling And I don't know what to say I'll speak a little louder I'll even shout You know that I'm proud And I can't get the words out Oh, I I want to be with you everywhere."

"I think that actually that releases the emotional tension to be honest with you. I always think that, no matter what’s gone on prior to the, you know, treading the boards at night, I think we all kind of leave that behind when we’re on stage and you tend to even put more feeling into the songs I think"

"That’s the- another thing is, you know, the pressure is on you when you’re doing a solo record, when you come together with, you know, four tried and trusted other musicians you feel like you’ve got a very strong shoulder to lean on that’s not about to collapse under you, you know"

"I think there’s always a certain amount of romance on our records, I mean, you know, that’s ‘cause I’m writing some of the songs, I always write about romance"

"We all sensed that perhaps Lindsey would leave first. I mean, the very thought of one band member leaving was catastrophic to us, because we all felt that each one of us was irreplaceable"

"To be honest. That came from my parents. I can’t imagine better advice coming from one’s parents. I try to stick by that rule and to be as good a person as I can"

"Maybe people want to see us because they think it’s the last chance. We’re a young band at heart; you’d never think we are the age we are. We’re never static. It’s going to be fantastic"

"Not many bands have had the same longevity; there is life in the old girl yet. It’s about finding new inspiration and enjoyment for each other. As long as we have that we’ll keep going"

"I’m good at pathos. I write about romantic despair a lot. That’s my thing, but with a positive spin"

"The best musician anyone could have in their band and the best friend anyone could have in their life"

"I realized that choosing a building or any kind of built structure immediately gave me a righteousness of place. Architecture rooted the work in the place and had an amazing other quality, which is that, particularly with public buildings, everybody knows them; they belong to everybody in the city."

"I think it’s time to start looking at these buildings as African architecture and no longer putting these tags of Modern architecture from colonial times. Of course, you will never take that history away, but they’ve now belonged to the people that are living in them for much longer than they did during colonial times and so they should be seen as African architecture."

"Ângela Ferreira occupies a special position in the history of artistic approaches to archival practices. One of the pioneers of research-based strategies at the very beginning of the 1990s—before these strategies had a name and long before they became a widespread (sometimes jaded) paradigm—the artist also applied her archival impulse as a new critical tool for sculpture, rooted in expanded and ethnographic procedures. But what marks Ferreira out in the contemporary art world is that her work often concerns the region of sub-Saharan Africa and, more specifically, South African and Mozambican realities inflicted by the troubled history of colonization, post-colonization, and apartheid."

"We have animation studios in Africa, but I am yet to see anybody that can say I am an independent animation studio owner. We are trying to see that animations are well generated in Africa. We want a platform where young people can dialogue and be part of the game."

"Animation can be used to tell stories. My film, The Legacy of Rubies, which won Best Animation at AMAA, tells a story and to make these young ones know that they can do it too. All we need is the capacities to be established."

"I already knew what I wanted to be at the age of seven, but there was no capacity for it here. But I was able to achieve my dream"

"My work looks to indigenous fruit, aesthetics and beliefs from the Global South, where conquerors literally carried seeds of wealth. I aspire to give shape to the possibilities of blackness by creating space for self-reflection"

"…perhaps I should be ashamed to own that I had so far strayed from good-nature and good-sense, as to forget, that whatever reproaches may be deserved by some of the Hindus for their moral practices the fundamental principles of morality itself are so firmly implanted in the soul of man that no vicious practice and no mistaken code can change their nature..."

"Our missionaries are very apt to split upon this rock, and in order to place our religion in the brightest light, as if it wanted their feeble aid, they lay claim exclusively to all the sublime maxims of morality and tell those they wish to convert, that their own books contain nothing but abominations, the belief of which they must abandon in order to receive the purer doctrine of Christianity. Mistaken men! Mistaken men! Could they desire a better opening to their hopes than to find already established that morality which says, it is enjoined to man even at the moment of destruction to wish to benefit his foes, ‘as the sandal tree in the instant of its overthrow sheds perfume on the axe that fells it.’…"

"In short, I consider morality like the sciences and arts, to be only slumbering not forgotten in India; and that to awaken the Hindus to a knowledge of the treasures in their own hands is the only thing wanting to set them fairly in the course of improvement with other nations."

"Everywhere in the ancient Hindu books we find the maxims of that pure and sound morality which is founded on the nature of man as a rational and social being…."

"The Hindus claim the honour of having invented the method of teaching by apologues…"

"A stranger in India will not fail to be struck with the indiscriminate respect which the lower classes of Hindus pay to the objects worshipped by all other sects. I have seen them making their little offerings, and joining the processions at the Mussulman feasts of Hassan and Hossein, and as frequently appearing at the doors of the Romish Portuguese chapels, with presents of candles to burn before the saints, and flowers to adorn the shrines; in short, whatever is regarded as holy by others, they approach with reverence, so much are uncultivated men the creatures of imitation and habit."

"Were all other monuments swept away from the face of Hindustan, were all its inhabitants destroyed, and its name forgotten, the existence of the Sanskrit language would prove that it once contained a race who had reached a high degree of refinement, and who must have been blessed with many rare advantages before such a language could have been formed and polished. Amidst the wreck of nations where it flourished, and superior to the havoc of war and conquest, it remains a venerable monument of the splendour of other times, as the solid Pyramid in the deserts of Egypt.""

"How to create works of art when nothing connects people to the world? If the artist remains fixed from himself to himself, without any distance in which a relationship to the world and to the other can be inscribed, his work will remain sterile as in the Greek myth of Hesiod's genesis, and is in no way different from any other object."

"The beauty in a work of art is not in the prettiness of what is represented, but emanates from the work as a whole, it is its substrate and it derives from nature."

"Art is about man's belonging to the world and it is through art that man, through aesthetic emotion, experiences awareness of his existence. The artist grasps the world, and the world that appears to us in fractions he restores to us in unity."

"I'm always scared when I think that man who is a being endowed with abilities of reflection, is not capable of solving their personal or collective disputes without violence."

"There are several challenges facing education generally in Nigeria. There has been a steady decline in standards in the visual arts, as in other disciplines. Today, there are very poor facilities for teaching art in almost all art schools in Nigeria."

"First of all, it is one thing to identify a problem. Secondly, it is another to have the power to effect those changes. Poor funding of universities is a key problem. It also seems to me that there is an unspoken practice of privileging the sciences over the humanities."

"If education should be salvaged in this country we cannot leave it to the government alone. There has to be an inclusion of the private sector."

"Funding is a major issue for every artist; people want to watch a good play; people want to get entertained and they don’t want to pay for it."

"Government has to give grant and also individuals have to do that as well, so that the art industry grows because there are so many talented people in this country and I think they need to be encouraged."

"People producing arts, all along the roads, on the streets; everywhere and you begin to know that this is a city of Art."

"People do not recognise that there’s a lot of talent; a lot of energy that go into putting up a production."

"It needs to be rewarded; you don’t come watch a play and then just go away without putting something down; we need to get grants for artists, we need to support them."

"Nollywood is very well known and I think because of the acclaim it has beyond Nigeria; it has drawn a lot of attention, but there are a lot of other areas that are being ignored."

"For example, the visual arts which is my own forte, has been totally ignored in Nigeria."

"And the fact that Nigeria is world acclaimed for arts because of the artifacts that were stolen in the 19th century and taken away to different parts of the world."

"So we have these artifacts standing in our stead and showing that we had a very rich tradition that is enviable."

"But the Federal Government has not looked in that direction; I think that the grants should be given across board."

"My interest in art derived from the great influences that Benin art, culture, festivals and history presented growing up in the city. My mother also had a strong influence on me. I not only learnt art from her at home, she was also my art teacher at the Federal Government Girls’ College, Benin. My principal, Josephine Ifueko Omigie, was an art graduate of Ahmadu Bello University, Zaria. The cultural events organised by the school helped stimulate interest in arts and culture. We had an annual week-long competition on cultural activities that engaged every student in one creative activity or the other. I was also a member of the school choir and played the piano."

"Another motivating factor was when Professor Solomon Irein Wangboje came to my college and selected the best painting for the cover of his book, ‘Art for Secondary schools’. I was really elated and inspired to see my art on the front cover of a book used by the entire school. When I finally opted to study fine arts, my parents were not excited at all. Even my mother who was an artist told me art was not recognised in Nigeria and that if I wanted to be successful, it was better to study some other course like law. They felt I could do something more ‘prestigious’ and more acceptable in the Nigeria of that time. I insisted because I believed I had enough passion and skill to forge ahead. However they gave me full support while I was in school. I received the best student prize at the University of Benin, the same prize she had received ten years before. My artistic project during the National Youth Service earned me a national award. By this time, I didn’t need a soothsayer to tell me I was on the right path."

"As an artist and academic, I believe one’s work should impact the community. I have found an avenue for exploring this notion through the art based, not-for-profit platform known as the Women and Youth Art Foundation which I founded in 2004. The impetus for this began in Benin. As a young girl, I would tag along with my mother to several community based programmes and workshops organised by the then Bendel State government on poverty alleviation. Much later at Ibadan in 1995, I started a small women’s group comprising a few unemployed nursing mothers. We discussed how we could help ourselves by sharing skills amongst ourselves. So we shared tips on culinary skills, childcare and arts within the group. Much later this group grew into a more structured platform with a wider outreach, engaging youth, women and disadvantaged groups in various arts and crafts for the purpose of economic empowerment."

"By 2004, the Women and Youth Art Foundation was founded with the aim of helping people set up their own businesses. We conducted hands on workshops, revived some of the dying crafts such as gold and silver smithing, conducted therapeutic and exciting sessions for people living with disabilities, and created a critical mass of creative thinkers and followership for the visual arts as tools for empowerment."

"In 2003, we recorded a set of art based DVDs inspired by the culture of watching home videos. Through this, I developed a strategy which makes knowledge about the arts available to a large number of people. The adoption of this model for teaching art (a widely undersubscribed subject in many schools) has made knowledge readily available in a relatively attractive manner."

"The decline in the intake of students into University art schools nationally, stems from the dearth of art teachers and adequate facilities in primary and Secondary schools. This invariably leads to improper art and ultimately excludes art from the curriculum at the foundational level. These teaching materials assist in filling this gap."

"One major community project we have been involved with is the U.S. State Department Hillary Clinton Smartpower project grant, which hosted a California based artist, Brett Cook in Nigeria. The Women and Youth Art Foundation, in partnership with the Bronx Museum of Arts, New York, in supervising the artist’s project under this grant. Brett Cook, an African American, worked with university students from different faculties in making the iconic mural at the University of Lagos titled, “Nurturing Peace, People, and Ideas”."

"In a huge celebration of talents, pupils of the University Staff School joined in a celebration witnessed by the U.S. Ambassador, Terence McCulley. In continuation of our community engagement this year, we will focus on using agricultural materials for creative work and our target is to work with about 1,000 students from public secondary schools in Lagos State."

"In developing the psychomotor and entrepreneurial skills of the youth in Lagos State schools, we will work with animal bones, coconut shells, animal horns, and shells in making a variety of aesthetic and functional objects. We have evolved a system where secondary school students, university students and local artisans in Surulere can learn and share skills with one another with the purpose of enhancing tourism potentials in Lagos State."

"This year long project is funded from the U.S. Consulate Small Grant 2017. To commemorate thirteen years of community service, we had a series of free workshops from 13-17 December, 2017 based on silk painting, tie and dye, general crafts, painting and ceramics for adults and children. Come Next year, we will host students of tertiary education various arts, crafts and history classes."

"Well, when I began teaching at the University of Benin, I was only 24 years old and fresh from University of Ibadan graduate school. I was very hopeful and ready to make my own contribution to society. In 1991, teaching was certainly not an attractive profession for a young girl."

"First of all, teachers were very poorly paid just as they are today. As the best graduating student in 1988, the University of Benin retained me. So teaching came to me by default even before I could make up my mind about what profession to do. At that time, I was much younger than many of my students and had to step up my game to assert my authority. But looking back now, I can count my blessings."

"Rising to become a full professor of the visual arts at the University of Lagos bestows upon me added responsibilities. It has given me the unique opportunity of shaping lives. Many of my students have become really successful artists, some now professors in their various institutions and are able to hold their own – a few of them whom I am very proud of, and taught at either undergraduate and post graduate levels are Jude Anogwih, Tobenna Okwuosa, Nelson Edewor, George Edozie, Jelili Atiku, Bolaji Ogunwo, Ganiyu Jimoh and Alao Lukman."

"But my teaching is not limited to university students. I have straddled different categories and classes of people within the society. I have taught pupils and secondary school students, illiterates, barbers, mechanics, tailors, petty traders and welders, masons who need rudimentary skills in the arts to earn a decent living at community based workshops. In both spaces, I have had great fulfilment."

"Today, I come across a lot of youth telling me they are inspired by my life. As a female artist, I must continue to provide hope for younger females who are in search of role models particularly in a profession that has been male dominated for a long time. There are a lot of people, both male and female looking up to me for counsel and I realise that this is an enormous task. I teach them that there is a lot that can be achieved through passion, sheer hard work and dedication."

"But this is also a privilege I have enjoyed from others. I have had great mentors-Professor Irein Wangboje who employed me at the University of Benin; Professor Cornelius Adepegba, who was my doctoral supervisor at the University of Ibadan. Both of them died early in my career. God provided others who stood in the gap."

"At the University of Lagos, I was employed under the headship of Professor S. Adetoro whose sense of discipline was one to emulate. While some others may not have taught me, they have been able to support my career at various times- Professors Ola Oloidi, Abayomi Barber, Dele Jegede, Bruce Onobrakpeya and Rom Kalilu. The University of Lagos has been a great place of service. It has provided a conducive platform for expanding my creative capabilities and has given the necessary support for the growth of my profession. However, there have been challenges in my fairly long career as a teacher."

"There are several challenges facing education generally in Nigeria. There has been a steady decline in standards in the visual arts, as in other disciplines. These problems are multifarious and overwhelming! At the University of Benin art school, graduates of the college up till 1988 continued to speak glowingly about the crop of seasoned lecturers we had- Pa Omo Osagie, Osi Audu, Iro Eweka, Ademola Williams, Sammy Laye, Kweku Mensah, Akpo Teye, Ademola Williams, Emmanuel Ifeta, Irma Francis, Mr. Onemu, Norman Rosen etc. As students, the university provided materials for our art projects and we had great facilities and adequate studio spaces."

"Today, there are very poor facilities for teaching art in almost all art schools in Nigeria. How do you teach art adequately without models for drawing or painting, or teach ceramics without at least one kiln or run an art school without a proper gallery? Today, there are no technical staff for studio operations or basic furniture in many art schools. I can say this confidently because I have been to almost all the art schools in Nigeria."

"At Uniben, the university employed guild casters from Igun street as studio hands to assist students with bronze casting projects. Establishing an art school requires a whole lot of equipment and facilities, purpose built studios with proper ventilation, proper staffing and lots of space. In many of the art schools I have been to in the West, they constantly change their equipment to the most up-to-date facilities to catch up with modern trends in the world of art. The availability of materials and opportunities that their students have sometimes makes one green with envy. I look forward to such a time."

"There is also a general lack of understanding about the requirements for the visual arts. Lecturers are saddled with teaching so many courses because of the inadequate staff establishment positions assigned the profession. The poor remuneration of staff in Nigeria does not attract the very best. Any artist with a vibrant studio practice will not accept positions in a university where the salaries are poor."

"So, many times, universities are made to hire from the choices available, which may not necessarily be from amongst the very best. There is also the issue of assessment of staff for promotion, where premium is placed on the number of published papers and not necessarily the quality of the artist’s intellectual and artistic output. On the part of the students, a lot of them did not opt to study art. Their marks could not qualify them to study law or some other courses so they end up studying art. Therefore, in more than half of their school years they are distracted and wondering about the fate that has befallen them."

"Students of art are so engrossed in practical work to the detriment of research. Art books no longer have the appeal they had. The Internet seems to have replaced books as students prefer to cut and paste information gathered from Wikipedia and dictionaries. Hardly do they have critical engagement with resources that would help them develop a language of their own. The craze to acquire degrees without the attendant rigour is overwhelming. The few students that excel by trying to beat these odds give us hope to remain in this profession."

"I can only speak of my own experience as a teacher who has worked in at least three universities in Nigeria. At the University of Lagos, I have only added my bricks to those of others who were there before me. Working with a team of committed staff as we have at Unilag has helped make changes to our art department. Also important is the support we get from committed friends within the art community."

"If education should be salvaged in this country we cannot leave it to the government alone. There has to be an inclusion of the private sector. The central and important role the University of Lagos plays in the art-charged city of Lagos makes it possible to attract private/public partnership in art training."

"Over a three year period, I fostered links between a private NGO- Omooba Yemisi Shyllon Foundation and the University of Lagos in training over 1000 students from about 22 universities in art-based workshops under the headship of Professor Duro Oni. This is in addition to the U.S. sponsored workshops by Brett Cook from which the collaborative mural evolved. We once enjoyed the establishment of an arts’ gallery located close to the lagoon front by the botanical gardens. This was a great place for the university community and visitors to come enjoy the creative expressions of students of Creative arts- theatre, music and visual arts."

"The University of Lagos administration has been very receptive to suggestions. My proposal for the establishment of an arts and crafts Centre funded by TETFund was given priority by the university management. This concept when accomplished will invariably bring together students of different departments to learn skills that interface with the arts and help with job creation after school."

"This is the era of interdisciplinary research. There must be a collapse of boundaries between disciplines. As an artist trained in metalworking, I am conversant with metal casting processes- working with non-ferrous metals like copper and its alloys, gold and silver. I also use centrifugal casting systems, lost wax, sand casting methods in my work."

"There is a lot one can do with science students as this aspect of the arts lies very much in the domain of sciences. The arts and sciences interface in ways that we are yet to fully enjoy the benefits of such synergy. While my considerations may be aesthetically inclined, a student of science could tap into this expertise of an artist working in a familiar terrain. Students of engineering and chemistry can interact with the ceramics unit of the Department of Creative Arts in mould making, working with refractory bodies and compounding glazes from local resources. The same applies to the arts and architecture; both are two sides of a coin."

"The renowned artist Demas Nwoko has proven the unique link between art and architect in his impressive oeuvre of works. There is a huge potential for tourism using the arts. Universities can benefit immensely from increased revenue with the expertise that the visual art portends. Art students are trained not to be seekers of employment but employers of labour, and by the time they graduate, they have a good understanding of what art and entrepreneurship means. The Department of Creative Arts has helped transform the cultural life of the university by organizing amazing music and theatre performances and also changing the landscape with sculptures. There is more that can be achieved."

"Art draws material largely from the archives and historical episodes in Africa."

"History has always held a fascination for me and has greatly defined the trajectory of my art. I have conducted two major exhibition projects that draw on the archives. One directly refers to the sack of Benin by British invaders in 1897 titled, “Benin 1897.com” (2010) and the other, a public art project, “Whose Centenary?” (2014) was inspired by the history of the amalgamation of the southern and northern protectorates of Nigeria. In both historical situations, Benin seems to be the location of the activation."

"My focus on Benin history as it pertains the looting of its priced sacred objects began after two major international events I attended- first was the Benin travelling exhibition, “Benin Kings and Rituals: Court Arts from Nigeria” which was shown in Vienna, Paris, Berlin and Chicago between 2007 and 2009. I attended the opening and close of the exhibition in Vienna and Chicago. When I returned, I began to think of ways of engaging theme of looting patrimony and what it means for Nigeria in this global discourse on art. My exhibition titled, “Benin 1897.com: Art and the Restitution Question” (2010) emerged. I will consider this one of my most successful projects and a major contribution to documenting local art traditions and projecting the views of a colonised people deprived of their art on various platforms."

"The second project is the “Whose Centenary?” project. A collaboration of eleven other renowned artists on a public art project held at Igun Street, Benin City. The Nigerian government celebrated the amalgamation of both the southern and northern protectorates of Nigeria in a grand style. As artists we questioned the celebration of the centenary particularly as the amalgamation was carried out for the convenience of British administration rather than for the good of the people, in what later became known as Nigeria."

"So we took a second look at the date and saw that 1914 was the year, His Royal Majesty, Oba Ovonramwen, king of Benin, who stood against British imperialism joined his ancestors. So, I came up with a public art concept to celebrate the culture, costumes, dances and art of the Benin people. The venue was Igun Street, in Benin City- the home and ateliers of the Benin traditional bronze casters. Many of the artists on this project have really become well known internationally. Jelili Atiku and Victor Ehikhamenor had shown at the 57th Biennale in Venice. Jude Anogwih, Wura-Natasha Ogunji, Andrew Eseibo, Ine Valle, Burns Effiom, Jumoke Verissimo and Taiye Idahor have continued to expand on their artistic practice."

"This project, which included my mother’s participation, was a great collaboration between academically-trained artists and the guild of bronze casters. It was a multi-genre project comprising performance art, sculpture, site-specific paintings, photography, installation art and video art which was funded in part from the University of Lagos Central Research grant."

"I am grateful to the Almighty God for all he has made possible in the last 50 years. That I am alive today is the sheer miracle of God. Being 50 is a milestone in an individual’s life, particularly for those living in Nigeria with all its challenges. I am grateful for the kind of support I have received from my family, particularly my husband. It is also a time of stocktaking."

"In terms of my career, I will focus more on my studio practice and consolidate on helping to build a stronger community of creative thinkers amongst the youth. To mark our 13th anniversary of community service a lot of free art workshops in tie-dye, silk-painting and ceramics were held at the Women and Youth Art Centre. I have a couple of international engagement. I have just concluded a prestigious artist residency in the Kunstsammlung Northrein Westfalen, the Museum of the State of North Rhine Westfalia, in Dusseldorf."

"My lectures and engagement in the last two months have helped foster better understanding of art from a non-European background. It has also expanded my understanding of knowledge practices in the arts. Next year promises better opportunities. As a recipient of the Raw Residency at Rhodes University in South Africa, I will be involved with creating a new body of art works. I am excited about this residency because of its unique structure. I will be working with a writer who would engage my artistic production in a literary form, while I do my own work."

"There are few things as glaring as dishonest work. If you don’t value your point of view, no one else will. There’s something very humbling or rewarding in people whom I’ve never met, finding a connection with what I have to say."

"I feel like men take up enough space in the world, she explained. I don’t feel like they need to take up enough space in my head as well."

"You can tell a lot from a person’s eyes. The eyes offer a mutual vulnerability."

"I had just found a way to paint without painting."

"So I went right back out, and I bought a bunch of paper. Then I cut them up and I just kept rolling them and gluing them to a board just to see what happened. It became a really intense, passionate affair that just morphed into something loving and stable."

"The work can be difficult to define – is it a craft or an art? It’s something a suburban mum in Arkansas would use to make cards."

"But I don’t treat it like a craft. I treat it no differently than if I was sculpting or making an installation. It’s just another way to tell the story."

"Creating an artwork this way can take her anywhere from two weeks to seven months, depending on the size and scope of the piece. The process usually starts with a sketch, before eventually becoming a “skeleton” of its future incarnation."

"I find a good way to describe it is that I’m building a jigsaw puzzle, but I can see where it ends, I just call it lines on steroids."

"I think I was drowning because I’ve spent my entire life internalizing everything that has ever happened to me."

"I think therapy 100% saved my life."

"There used to be this very stereotypical perception of what Nigerian arts could look like. If it was more abstract, they would be some masks. If it was more figurative, there would be a market scene, or a lady fetching water. Now, there’s a lot more nuance."

"All artists should stay true to themselves."

"There are few things as glaring as dishonest work. If you don’t value your point of view, no one else will."

"There’s something very humbling or rewarding in people whom I’ve never met, finding a connection with what I have to say."

"Yes! It’s so much better being able to actually speak to another person. I guess I could have answered your questions via email, but I think school has kind of fucked writing up for me a little bit. The process of writing my thesis has soured a lot of things for me. So like, writing doesn't feel as pleasurable anymore, because my brain always processes it as a work activity now. Even when it's not work."

"I find myself gravitating towards what I call ‘bubble-gum books’. Nothing heavy, nothing super intellectual. Nothing that won a prize, or was, you know, shortlisted for some prestigious award. I want like the smarmy historical romances."

"You have to wrench that power back! Otherwise it’ll ruin reading for you. So I've read everything Susan Elizabeth Phillips has written. Julia Quinn. Julia London. Almost all the Julias really. They tend to have nice books. Courtney Milan, Gaelen Foley, Jennifer Ashley. The list is long. There's so many of them. And then I tend to fall down rabbit holes because they’re usually a series of books. So I’ll read one book, wonder what happened to a particular character, and then find out they have their own book and immediately start reading that. It’s the best thing, really."

"My PHD is art and design. Academically, I’m more of a graphic designer. My research is exploring place branding, in Lagos. So I'm basically exploring how the state government in like the last decade has co-opted certain architectural and cultural monuments as signifiers for the state. But I'm arguing that they carry unexamined histories that kind of complicate their use. You know, it's as if you are trying to position yourself as a super modern, inclusive type state, but you're using a symbol that is actually really classist and patriarchal and really quite problematic. There's just this ironic tension in there. And that's sort of what my research is examining."

"I like what you've done. And for someone so young, you've done some really interesting things. I think you have a really bright future. Success like friends. Why wouldn't I want to get on that train?!"

"I think of my career as an open world video game with a hint of chess. If you were to strip it down to its absolute core, it really is a series of validations. The quality and nature of validation you want/need depends on what arena of the art world you're interested in playing in. But it's the kind of space where you just need a few yeses. Just a couple of yeses. The hard part is getting them in the first place. When you have the right yeses, you'll be fine. It's like needing someone to jumpstart your car."

"I think we do live in a fucked-up world, but it can also be a pretty cool world. I think we also underestimate people's capacity to be kind and generous, sometimes. And then also, don't underestimate the value that you bring as well to the table."

"Like, it’s not an easy career. I could have been an accountant. It would have sucked and I’d be bored and miserable! It would probably be easier. But here I am."

"Yes… I mean, the first piece I made was for my first degree. We didn't have like a final exhibition. Not in the traditional sense where everyone had their own individual exhibitions. We had a group exhibition where you had to contribute. The piece you put in was supposed to be the accumulation of the four years you had spent doing the degree, which now I think about it, that’s a lot of pressure!"

"So I had actually started making a piece. I was making this giant 50-year calendar thingie, but I was struggling with the technical realities of making it happen. I realised I needed to switch gears or I was going to fail the term. Anyway. So, one day, some dude gave me a flyer when I was walking back to my flat, and I had rolled it up into like a coil. And when I dropped it, it landed on its edge. You know in the movies when time kind of stops. And you can see something for more than what it is. I just remember thinking. If there was lots of this, on like a surface and secured, I wonder what it would look like."

"And so I started experimenting. I didn't know what I was doing with that first piece, I just knew it was gonna go really well or really badly. And so I started it in school, then we went on holiday and got kicked out of student housing. I had to go home and take the piece home because I wasn't done with it. And my parents were just obsessed! I would like walk into my little makeshift studio in some corner of the living room, and my dad would be there or my mum would be there just looking at it. You know? And the question was always the same. How? How did you start? How did you know?"

"The highest praise my Mum’s ever giving anything is “this is nice”. But she was just so taken by this new work! And I think I think that was what signalled to me that maybe this really was something special. I knew I had found something very interesting that I enjoyed and I was curious about but I think the reaction my parents had made it externally real, you know, as opposed to just internally."

"Before that my work was purely design. It was purely, you know, marketing and advertising 100%. Being a studio artist was never something that had been on my radar. My plan had been to finish school, start working in an ad agency, take over the world. But everything completely shifted when I finished the first piece."

"I don't know what would have happened if I had never gotten that flyer. I don't know what would have happened if I had folded instead of rolling it. You know, it was a really, really really random discovery!"

"I do not. She legally belonged to the school, because she was an exam piece. So technically, she wasn't mine. So I never got to actually keep her."

"Maximalist. Playful. The other one that's coming to me is deceptive, but I don't want to say deceptive. It's apt but the connotations aren't quite appropriate. Because my work is like a bait and switch, it really kind of tricks you. I'm gonna say layered instead. Final answer, layered."

"My day starts with me my calendar, my to do list, and my emails, always. They’re so essential to me because I forget things. It's the only way to keep track of my life as a whole. So the calendar helps me figure out if I have any specific appointments or commitments that I need to get on. If I have any deadlines coming up, that I need to keep an eye on, meetings… Stuff like that. To Do List, it's like the more nitty gritty stuff like… oh I'm out of a blue in particular or there's a sale at my favourite shop I need to check out today. You know stuff like that. And then my emails. I have a love hate relationship with my emails!"

"I started actually taking pictures on my work because I was frustrated with how other people took pictures of my work. I used to hire photographers to document my work, but they weren't seeing it the way I saw it. It was the most frustrating thing and I said, you know what, to hell with this, and I bought a camera. I read the manual. I learned how to use it. And then I started taking my own pictures. But even then, it's frustrating. It's impossible to like fully translated what the work is really like in person to images, but I try. I really try. It's just trying to like just to convey a sense of that three dimensionality and how there's just so much more going on. Everything changes when you adjust your perspective just a little."

"I think the worst thing I learned how to do is how to snooze my emails because I do it way too often. But whenever I haven't gotten an email in like two hours, I'll send an email to myself to make sure it works!"

"Oh I know! If it’s gonna be like an admin day then I'm updating my mailing list, updating my archive, working on proposals, searching for new opportunities, updating my artist statement, figuring out if I'm ready to tweak my website again, doing my books… all the things that come up basically running a business really."

"I did not! When I watch stuff, I'm so not a critic. Like for me to say a movie is bad, it was horrendously bad. I don't watch movies tv to critique them to death. I just I want to be somewhere else. I'm not looking for like, plot holes or implausible things. I actively shut down my brain from looking for twists and stuff. I rarely see what's coming. And I love it that way."

"In the evenings, I tend to read. I enjoy doing random research, like really random research. The last thing I searched last night was if you could take your multivitamins at night! I take walks. I walk every evening. And my new life's mission is to befriend all my neighbours’ cat. It's going pretty well. I have four favourites so far and I’ve named them all, Louise, Toothless, Void and Chonky. I also watch movies, series, you know, normal deactivate your brain type stuff."

"When I was younger, my dream was always to live a life where I would wake up, and do whatever I wanted. And for the most part, I'm already living that life. I think that's a big part of what keeps my life going. It's a big part of what drives my practice. I'm doing exactly what I wanted to do, how I want to do it. I'm saying exactly what I want to say how I want to say it without compromising my vision or intention. It's something to be grateful for. I would say that freedom, that sense of freedom, is my fuel. Freedom to explore the world on my own terms."

"It’s a weird one. It's work, but it's not. I really had to separate parts of myself to deal with different parts of my practice. Because while my work is quite literally my life, and whether or not that is healthy, that's a different conversation entirely. I suppose, if a lawyer told me their work was their life, I feel sorry for them. So whether or not that's healthy is a different conversation. But my work is my life. Every decision I have made in my personal life, since 2014, has been in service of the practice. I've had to learn to separate a side of myself that understands it's not just an expression of my being, it is quite literally my career. It's my job."

"So I think the issue starts to come up when you’re not honest with yourself about those distinctions and how you are willing to engage with them. What your limitations are, as well. And you know, how you can correct for them. It's a weird business. It's a weird business, but even at my most bogged down, miserable, you know, even when I'm stretched thin, and I've scheduled one too many things, I have one too many deadlines. I can't, I cannot literally think of anything else I'd rather be doing. Like I literally cannot picture myself doing anything. What on earth would I be doing?"

"Yes. Your degrees are printed on it. Money is printed on it. It’s what you’d distract a toddler with or wedge a table with. You know, it's so universal it’s a great Trojan horse quite frankly. Because everyone is familiar with it in some form, or the other. But it's boring and universal enough that you never actually give it a second thought."

"What unifies them? I think it's subverting expectation, you know, it's that bait and switch, The physicality, the visual nature or visual identity of my work. It's like a bit of a trick. Because you see the work in one way; they are pretty bright, colourful, it's just a pretty picture. It's just something fun to look at. And the more you engage with it. That is when you start to realise I'm not necessarily saying anything happy, or pleasant, or fun, you know."

"There's also the use of material, which confuses people at first. What on earth is it? Because you're not quite sure what you're looking at, and that curiosity compels you to dig a little deeper, and just try to make sense of what you're seeing. It forces you to reconsider what you think you know, about the material, because, I mean, it's just, it's like the blandest materials, you know. It's just there, you know. You don't really think about it, and you don't really think about what it could do. And so when you see it used in such an unusual way, it does kind of trigger reconsiderations of what you think you know, and how you think you know, it. This feeds into everything."

"It's a bait and switch. Yes. I think it's a bit like going to therapy. And when you have your aha moments, it’s followed by Oh my God! What else? What else have I been missing? It’s kind of like that. I think from time to time, everyone should be encouraged to reconsider what they think they know. We are trained, especially in the world we live in now, we are trained to come to swift conclusions without being very critical of how we got there."

"The process tends to be pretty similar. For different pieces, it starts with like resolving the idea, and how the idea kind of translates to a physical piece. Sometimes I sketch. I find myself sketching more often these days. Sometimes you just need help figuring out how the forms will interrupt space. But I don't start to anything until the piece is clear. It has to be as clear as possible. I would say, like maybe 70 80%, clear, the remaining 20% tends to resolve itself. It's like I'm building a jigsaw puzzle, where I'm the only one who can see the end image, and then I have to translate it for everyone else. There's not a lot of room for error, so I need to know exactly where I'm going. Otherwise, I can't take anyone else with me."

"Sometimes I think about pieces for months or years before I actually do anything about them. But once the idea is resolved, then I get to my favourite part, which is the planning. And that's basically where I decide everything about the physicality of the work. Colours, what papers to use, grammage fabrics, texture, what details need to come in, what tools, what materials. And then I start building what I call the skeleton, which is the initial outline. The first layer of colours, outlines for figures, that sort of thing. And if I am not excited about the skeleton, I don't continue. It's not gonna go well. Fortunately, that doesn't happen very often, because it's kind of sad when it does. But I've also learned the hard way there's no point forcing the work. It’s a waste of time, and it does a disservice to me and the work really. It's unkind to try to force something to be."

"There is. There's always a chance I might never see them again. And I do have quite a few pieces that I haven’t seen since they left. And I do think about them, like are they happy?"

"I don't revisit it. Not with the original intention anyway. If I go back to it, it's because it's moved to like the experimentation corner of my studio and I test things out on it. But I don't revisit it with the original intention of making that piece. It's either it just wasn't ready to be or just didn't want to exist in that form. Yeah. So yeah, when the skeleton is done, and I'm happy with it, I move on to what I call the meditative bit, which is basically just finishing the work. It's like the difference between like, a new relationship and marrying someone. At that point, I know you. I know your dodgy habits. I can predict what you would do if a squirrel wandered into the bathroom. You know, I know you. It's that process of just existing together and finishing the piece. I love you, but there are little to no surprises left at that point. So it's a different kind of love. It's like more steady and tolerant. It sounds really weird. Like I'm talking about a person, but it really is what it feels like."

"I dream about them. And I just wonder if they're fine. And if they're happy and well. There's always a sadness when you let work go. But it's something I also had to make peace with early on, because I knew I wanted to have certain conversations with my work. It's counterproductive to only talk to yourself about certain things, the conversation has to go beyond me. You can't engage people if you're not going to talk to them. You have to let the work go because, at some point, it's kind of cruel. When the work is done, they become beings in their own right. And I don't think I would want to be trapped with my maker for my entire life."

"Also, I mean, at the risk of psychoanalysing that's also a way to protect yourself, and your ability to make more work. At the risk of sounding cliché, there’s a price to pay for creating. It is a give and take, but I think its human nature and dwell on what you've lost. But I do think the work definitely gives back to you, at least it does to me."

"The key is being intentional about actively recognising what you are getting back otherwise you're gonna learn to turn bitter and not allow yourself to be vulnerable. You will compromise something and I think one of my biggest fears is breaking what makes my practice my practice, because I still don't know what it is. And as much as I don't mind, the occasional gamble, the soul of my practice isn’t something I'm willing to fuck with."

"I think the glint is the physical activation of the rest of the intuition that went into the work. An expression of my inability to explain why I’ve made certain choices, while knowing they were the right choices to make."

"I'm perfectly fine with never figuring out what it is. Because, it’s a matter of what ifs. What if understanding those intangible qualities or variables that make my work what it is gives the power to actively shape my practice? But what if knowing the tangibility of the intangible compromises the spirit of the work? It's a bit a bit of a Pandora's box type thing. Like, it could be hella cool. But it could also not."

"The last thing I do for every piece is that little glint in the eye. And it always changes everything. Like clockwork. I always do it last, because that’s the moment the piece becomes. They move from existence as a thing to a new plane where they are beings. It feels cruel to complete the animation process any earlier than I have to. It's like it's always magical for me and I still don't know what it is about that little glint that changes everything. And quite frankly, I think at this point I've made my peace with not knowing. Besides, so much of my work is so structured, you know, and process driven. It makes the intuitive bits very special. It's fine. I don't have to know everything."

"They’re alive! Yeah, I mean, I know when the work is complete. Before I even start, I know the end. I think if I if my process was more open ended, I'd still be making my first piece. I'd never finished. I'm not gonna set myself up like that. I know who I am."

"It's a box frame, like glass or perspex. It’s really important to keep people's fingers away from the pieces. That’s a downside to the what am I looking at reaction. The instinctive reaction is to touch what you’re trying to understand."

"Maybe they're a combination of all the women I've known and all the women I wish I knew. Except for newest body of work where I'm drawing on my family's history. Those pieces feel far more personal."

"My sister has this theory that I'm making a self-portrait over and over again. But I've told her she's not a critic or historian, so I don’t have to listen to her to her. If she gets her theory publishes, then I'll take her seriously."

"A bit. This new body of work is very personal and therapeutic. It's like the next stage for me after two years of therapy so far. It's like a positive pain. Llike exercising your body. It hurts, but you know, it's also making things better. I think that's how I’d describe it."

"When lockdown hit I just moved everything into my old flat because I didn't know how long lockdown was going to be, so it just made sense to have everything close by. I loved it. I loved having my work where I live and just being able to work anytime I wanted. There's an intimacy to living with your work. It’s one of the first and last things you see every single day and I love that. It also like reminded me of the early days of my practice when I literally just worked out of my bedroom. I think for now I'm gonna keep working out of my flat. I will probably go back to a more traditional studio situation at some point but for now, I think I'm gonna stick with this."

"Yeah, yeah. I mean, I am a little healthier now in the sense that I keep the work out of my bedroom. This is something I just started like literally like two months ago. It was a matter of, I love you but I need some space."

"I have no loyalty in music a bop is a bop. So my general shuffle play is quite varied. Sometimes I'd rather like listen to a series or movie I've already seen so I just watch it in my head. From time to time, I’ll listen to stand-up comedy."

"I get very attached to my tools. They've come with me every time I've moved. So whatever tools I start project with, I will usually stick with them. Throughout. I also get superstitious about cleaning parts of my studio when I work. I will usually avoid cleaning in the middle of stage. It just messes with the energy otherwise. I don't know how else to explain it. When I'm really struggling to work, I take la few days off. And I reread two favourite books. It can’t be a new book has to be something I've read before and loved. I read two books. And then I watch Beyoncé’s “I Am” world tour. It works every time."

"I've noticed; it tends to be like a particular pool of books. If that doesn't work, it means I need something more like grounding. So I will restart a yearly ritual earlier than I had planned. For example, I reread all the Harry Potter's every year."

"Do they have to be artists? I’d have a very random selection of people so I could watch the sparks fly. I'm here for it. A bit of chaos never hurt anyone!"

"I'm curious what she would make of the world now. I mean, considering the British Empire's history and whatnot. Also, I just find her interesting as an individual. So it would be two for the price of one."

"I realised how limiting it was to run the residency under a private company. Raising funds was not easy and the residency only catered for artists by Undiscovered Canvas"

"I realised that my vision for the residency was changing. I no longer wanted to cater for Undiscovered Canvas artists only, but I wanted to work with female artists across the African continent. I wanted to create a powerful community of women artists, collectors, gallerists, investors who would consciously support each other."

"I am based in France for the past 12 years, and I have been running Undiscovered Canvas (promoting global investment in and profiling of African Art). My strongest impact has been to identify young and emerging artists from Southern Africa and introduce them directly into a mature market"

"І що б я не робила, куди б не йшла, а думи про малювання завжди, як вірний друг, зі мною."

"Доля випробовує тих, хто намірився іти до великої мети, але сильних духом не спіймає ніхто, вони зі стиснутими руками вперто і сміливо ідуть до наміченої мети. І тоді доля винагороджує їх сторицеєю і відкриває перед ними всі таємниці дійсно прекрасного і незрівнянного мистецтва."

"Being a female celebrity puts one under constant evaluation and criticism. What can be done by an ordinary person and tolerated by society is a scandal if you do it."

"Some people judge you without even knowing you, they don’t take you seriously. Some even invent stories that are not true about you."

"I don’t like putting my private life especially my love life on display but, definitely I know I am cute, grownup female and yes, I date."

"I am known through Sweden as a Rwandan girl due to singing and making records of Rwandan culture and guess what, has made me famous and earns me a living, basically it pays my bills"

"The music business is highly dominated by men and I truly believe that the only way we can navigate it safely as women and even take control of our careers is by coming together like this,"

"As we continue to work together as a community, I am confident that our country will continue to grow and prosper in upcoming years. May God always be with us."

"He asked them to take care of those who see them and that there are lives he should not put out"

"I am called to love, I love everyone"

"She instead said people should spend their time wisely, minding their own business instead of interfering with her private life."

"I've always been comfortable in my skin so I never let anyone look down on me because I am a coloured woman. I would like to accredit my easy journey to the level of education and literacy of the environment I am in."

"I definitely want to continue with the modelling career path that I’ve chosen. I want to be successful enough to make enough money to start my own business."

"It is a sector many people don’t attach or see the actual value but we are delighted that the government has thought about us and it is encouraging for us to do even better so that more can be achieved in future."

"Starting from scratch was not easy, but I had a little experience in the industry and most significantly, passion for it. I knew we were going to struggle, but not for long, because Rwanda’s fashion industry grows day by day and so there’s always room for fresh ideas. We can learn from others and share different experiences"

"We met many challenges like all newborns in the industry, for instance, not knowing what the market demand was, not having advisors or mentors to guide us through the process, the shortage of fabric and even lack of adequate information in different training opportunities in the industry. And above everything, there was no solid salary to look forward to at the end of the month, instead, we were the ones who needed to keep working if we were to make any money,"

"If it’s possible, being self-employed is the best decision to make when you are still young. You get to take responsibility and gain experience through failure and tips from other people in the industry who have more experience"

"Customer care is very important. We give special treatment to our clients and make sure that they are comfortable when with us. We also make sure that we follow a client’s requirements word for word. We customise a few details on the clothes when a client asks for it and also offer delivery services,"

"This makes us proud knowing that the current pandemic has affected us but this initiative will ensure that our efforts as artistes are not in vain."

"We both wanted to be financially independent, to create job opportunities in our community and, prove anybody who underestimates the determination and proficiency of girls or women wrong,"

"We met many challenges like all newborns in the industry, for instance, not knowing what the market demand was, not having advisors or mentors to guide us through the process, the shortage of fabric and even lack of adequate information in different training opportunities in the industry. And above everything, there was no solid salary to look forward to at the end of the month, instead, we were the ones who needed to keep working if we were to make any money,"

"We want our brand to be recognised on the international level and we want our products to be accessible worldwide through online services and other channels"

"Of course we are able to take care of ourselves, we also have four employees with a monthly salary and, we contribute to the ‘Made in Rwanda’ campaign,"

"Twatangiye dufite ubushobozi buke, dufite ahantu hatoya hadashobora gukwirwamo aho kudodera n’ibindi byose twifuzaga, ariko uko ubushobozi bugenda bwiyongera twafunguye ahandi. Twabonye ahanini hashobora guhura neza n’urwego tugezemo."

"I love two flowers in particular, the hibiscus and the poppy, beautiful blooms that die very quickly. For me they reflect the beauty and transience of life."

"I have always liked looking at people and trying to capture what I see so this was a huge challenge for me. I do try and take my paintings to an optimistic or celebratory level, wherever they start. Taking the positive elevates, and there are many positives to see if we really look."

"Art was around us all the time, on walls, shops signs, in masquerades. I was always drawing or making things out of broken bits of wood and on my way home from school I used to paint signs for the small businesses, like barbers who wanted the different styles they did to be on show."

"I was working as a freelance graphic artist but got married and had two children – meeting deadlines became very difficult. I was always drawing my sons and people asked me to do their children. I soon saw it was a way of earning money."

"Colours and light have always been a main source of inspiration for me and people and flowers (poppies and hibiscuses) have been the vehicle from which I derive my inspiration. The play of light on colour can be seen in almost anything but every now and then a particular glow from a particular light angle strikes at the primordial in us. For me, this is red and the many related pigment created by the action of the light through it. An example of this can be seen when light shines through whisky. I am interested in people’s history and would like to incorporate that in some way in my work, maybe through the relationship between the staff, owners and the produce."

"I just decided to give up on art. I liked making work, but I think I had a vision of what an artist was. I thought there would be less struggle and anxiety. But it's impossible not to see art in your life. You really can't avoid it, it's everywhere."

"Where I grew up, people heard of (Pablo Picasso) or whatever, but my family was kind of like, 'That's a nice hobby, but you need to go be a doctor or a lawyer or engineer."

"In my heart, I knew I wanted to do art, but there was still that drive to feel like I'm actually doing something with my life in a way that my family would understand."

"It felt like something was missing. After maturing, seeing life and experiencing the death of people close to me, it kind of felt like life really is short and I need to start living and I started small from there."

"When I watched the episode where Jennifer Beals said my name and showed my painting, I squealed a little. I’m happy to see some of my goals begin to come to fruition. There is so much more that I can do with art. I’m just getting started."

"It's taken me years to come to that conclusion, and there are still some times as an adult when those feelings creep in again. But I think just doing my art has helped me a lot, and getting my art out there lets me know it's OK just to be who I am."

"To me, a punk spirit is just living freely, disregarding societal norms and just being free to be themselves."

"Whatever I make is for myself first. And when I do that, it naturally resonates with whoever else it is also for."

"I wanted so badly just to fit in and assimilate with what was acceptable. Which is hard because I felt like I was sticking out like a sore thumb. I wanted to be invisible."

"I want my work to be accessible in different ways, more ingrained into other pieces of culture, other than just being on white walls. I want to expand my reach, because when people find my work and they feel a connection and they get it, then I feel like it was for them as well."

"I want people to walk into the exhibition and feel like they belong. I hope they can feel the sense of movement and see themselves reflected in the pieces."

"I like her (Okoro) confidence and her ability to engage with people, take chances and trust in the process of things. Her future is really bright and her work is uplifting."

"When I first saw Okoro, I thought she was amazing from the get-go, and everything she's doing now is just reinforcing that. I love the way she's constantly exploring her work. She doesn't stay in one place."

"As senior women in your organizations, every single one of you in this room has influence,"

"You need to understand that you have it, and that you can use it. Because what you do not use, you will definitely lose. You got here because you earned that seat at that table. Don't give away your power by ignoring that fact."

"Make sure your voice is in the room. "Then you can use silence as power and convey messages by the look on your face—the way the boys do."

"One of the most valuable things you can do as an influential leader is to listen,"because people will always tell you what they value and what they want. When you know that, you can deliver—and then you can make the sale."

"I know those boys in Birmingham can't handle the Full Frontal Carla that I am in New York City,"

"I'm self-aware enough that when I walk into that Birmingham board room, I know I have to be able to connect with those men so they will hear me," she said. "It's about speaking and showing up in a way that your listeners will hear you, embrace you and act upon what you say."

"Give your influence away," she urged her listeners. "Amplify your impact by creating other leaders. Think of yourself as a kingmaker, a queenmaker." Invest in the success of the people in whom you see potential, she continued, because building one another up goes both ways. "You won't be successful if your people don't believe in you, so you have to invest in their success as well."

"Leaders, hear me clearly. "If you don't trust them, they won't trust you."

"Say 'I see you,' and invite them to join the conversation. Everyone values being heard.""

"Everybody Is Somebody's Child." "No matter how different we seem, we need to identify what we have in common," Harris said. "And one of those things is that everyone is somebody's child."

"“Lead to Win”"

"There is a measure of creating the culture that happens with proximity,” Harris told The Informer,” proximity breeds familiarity, and familiarity fosters mentorship.”"

"It’s not an either-or type of thing,"

"Leadership has transformed from oversight to insight,”"

"People who are in the seats of leadership are boomers and beyond, and they grew up in a very different leadership context.” The ‘my way or the highway’ attitude does not work for millennials and they, “demand, as table stakes, transparency, inclusivity and feedback.”"

"Lead to Win,” is a concise and charismatic effort that promotes leadership reflection."

"Never count yourself out."

"We are blessed so that we may be a blessing to others.""

"“Expect to Win” and “Strategize to Win,"

"Game isn't actually about the glamour of high-stakes poker. "That was the back-drop for a much more personal, much more emotional and much more inspirational story."

"I saw some of the most famous people in today's world,""

"I was a fly on the wall, and I'm privy to all this inside information about all these different industries. ... And at the end of the night, people were tipping me and I made more money that night than I'd made the whole month.""

"I was looking for this thing that would make me feel validated, make me feel like someone, make me feel significant. And I sort of found it."

"Bloom went from working other people's games to starting her own – a leap that came with even more power and influence. "And then, ultimately, I started bankrolling the game and extending credit,""

"“I’ve always been ambitious, but I learned it needs to be something bigger than myself,” she said. “My old job, I was able to see what these guys wanted and give them transformational experiences. At the end of the day, that didn’t mean much. But I have this skill set. Now I want to create transformational experiences for women, whether it’s co-working spaces or a digital network involving blockchain.”"

"I need my sisters and younger sisters to go on social media and see this every day and not just see, I’m not going to say names, male leaders of the world. Because, that’s all that you do see,” Mahary said. “And, I need to see the first ladies’ work on social media.”"

"“We’re here on Facebook Live panel. Do you know how important that is? Growing up, I didn’t have Facebook Live. I didn’t see the first lady of Nigeria or the first lady of the Congo or any of these first ladies because I didn’t know they existed, I didn’t know what they were doing,”"

"“To me, the role of a first lady, and any powerful woman for that matter, in helping the generation beneath us to come up, is not to stand in the way, it’s not to compete, it’s to facilitate, it’s to provide a bridge.”"

"“I’m very much of a hands-on type of person. I like to be on top of everything and enjoy watching a grassroots movement come to flourishing. I realized that Eritrea could use more financial aid, after visiting the country for the first time a couple of years ago,” the Canadian model whose parents immigrated from Eritrea shares, regarding her decision to start a charity of her own as opposed to joining an existing organization as an ambassador. “So I looked at this as an opportunity. Especially as an Eritrean woman,”"

"“Summer is upon us and I love trying funkier, skin-contact wines at this time of the year. Petillant naturel (naturally sparkling) and skin-contact Italian or Austrian grape blends are what I lean into during the warmer months, Also, you can’t go wrong with crisp Txakolina from Spain or Vinho Verde from Portugal to sip on a patio on a hot day.”"

"“Also, you can’t go wrong with crisp Txakolina from Spain or Vinho Verde from Portugal to sip on a patio on a hot day.”"

"“It shouldn’t take me having to go do all this and having a blue check by my name for people to take me seriously!”"

"“After years of traveling the world and getting to visit all of these incredible places, I’d go to these fancy restaurants and be intimidated by the wine menu. I was tired of it!”"

"“The beauty of the culinary world is that it unites people over food and beverage. Since food and beverage are basic human needs, the bonds formed feel genuine and inspiring,” Grace says. “I love learning about peoples’ wine experiences and from the community in general.”"

"“Just drink what you like, don’t let people judge you for it!”"

"Maybe you don’t want to drink a big heavy Napa Cab right now — or maybe you do, I don’t know!”No judgment here, but her recommendation is to lean into something refreshing and seasonal."

"That is treated with what I call zen, peace, and love,”"

"thumb|Jenna Bush Hager (26181652797)We shockingly did it in the cab ride home from the airport. We went around and each person said something,' the mom recalled. 'For our family, that kind of forced fun or forced manifesting, our kids are like, "Mom, stop! No!" But it worked here."

"'I kind of write a visualization of what I want more of. I wrote down in my Notes [app] just the things that I wanted to do more of,'"

"Somewhere in the merging of those, you find the thing,'"

"I'll have to watch it in privacy just because I don't want (husband) Henry to know how much I love him,""

"“It is a weird thing when you wake up and you’re like — I’m fine, I just have a cold — but you wake up and you’re like, ‘Oh no.'”"

"And someone here at this table has a new addition to their family,”"

"“It’s been a big, big deal because I’d like to introduce you to ... Mr. Mango Mellow Hager,"

"Santa gave Poppy the baby and she was so excited she nearly started to cry,”"

"Better late than never: @taylorswift you inspire in all the ways! I wish I had a black leotard and a red lip on, but I don’t. Wishing y’all a very merry Swiftmas and CATmas!”"

"So from the time we were born, we had a cat,” Jenna said. “I would just sit there, sucking my thumb with my eyes swollen shut because I’m highly allergic, but I don’t care.”"

"What I call myself is a Future of Work strategist and a keynote speaker and an author. And Chris Shipley and I wrote The Adaptation Advantage, which came out in 2020. The premise of it was, the future work is really learning and we can't have fixed occupational identities or fixed ideas, we have to essentially get adept at adapting, and that came out just prior to the pandemic. And, oh boy, we did not know how much we were going to need to adapt then!"

"Not only has it played out, it's gone from push to pull. So it used to be the employees pushing employees to learn. Now the Pew's latest survey on why people leave organisations, of course number one is compensation; people jump for more dollars, but that doesn't sustain. But with a net score that was the same, it was learning opportunities, because people realise, "If I'm not learning, I'm not going to be earning in the future". And so they know that's what makes them valuable in the future, and so that's becoming a real pull with employees."

"Yeah, so the book is really divided into three sections. We try to make it very easy for folks to both read and skip around, because I am a short-attention-span person as well, so you should be able to read it on a cross-country flight. It's about 200 pages with about 35 graphics. First part is, meet your new workforce because it's not the one you left in 2019. Second part is, you have to rethink about how you actually organise work, because the maps and the models in the past are not only not helpful, they can actually be dangerous, like driving in the city of Boston, which I'm from, using maps before the big dig, it's just not going to get you anywhere, it's going to get you lost and frustrated. And then the third part is about rethinking your leadership entirely, because here's what we think happened."

"I say there are four shifts that a leader needs to embrace. First is a shift in mindset. You're not managing people and processes any more, you're enabling success. And to be intentionally provocative about it, I say, "You used to think of the people as working for you. Now, you work for them. You enable their success, because you're not going to get anywhere without their success". The second is a shift in culture. We used to, when we had the same skills and knowledge of the leader and the team, and then usually across the team, you could pit people against each other. Forced rankings, all those kind of bad ideas, Hunger Games kind of stuff, that doesn't work anymore. So you've got to shift from peers as competitors to peers as collaborators."

"Absolutely and we're seeing a shift in leadership too. So, when I would go out and speak, and I usually speak to senior level group leaders, the room would be at least half boomer. And now there's a handful of boomer, a lot of Gen X leaders, more millennial leaders and now we're seeing, at least in the US, about 12% to 13% of the workforce is Gen Z. That's going to be 30% by 2030 and they're an entirely different animal. They are going to change work in really fundamental ways that I think are ultimately positive."

"Well first, I think we need to dispel the notion that empathy means less, and I didn't really even understand it until I started doing these book tour interviews where people said to me, "Okay, so we've got to be empathetic, we've got to be nice, we've got to make concessions for people, let them do less and expect less". And I thought, "Well, there may be days that's true". Your dad dies, you have to put your dog to sleep, there are days that we have to be human and that's true. But no, that's not what I'm talking about."

"I'm talking about empathy as a means of understanding your workforce so you can help them, not only motivate them, but help them become self-propelled. Empathy ultimately drives performance. It's not about lesser performances or about greater performances, it's also about greater balance. Because what's really happened during the pandemic, and I think people get all caught up on where work takes place, you know, home, hybrid office, I really have no opinion on that. What I think has happened is, and everything's pictures, it means I have to draw, is we had a smaller circle in 2019, that was called our personal life. And we had agency over our personal life. And we had a bigger circle that cast a shadow on that smaller circle, and that was our professional life."

"It's a huge shift and I gave a couple of talks one week to commercial real estate folks and they were all, it was mostly boomers, some Gen X, they were mostly kind of alpha dog folks, more males, one of them was almost all male. It's not gendered though but that was the case in this instance and they were like, "Don't you think we're getting woke, and aren't we getting soft, and aren't we losing our edge?" And I thought, "Oh, I'm not explaining this right, if that's what you're taking away from this"."

"I'm telling you to have empathy, but I'm not having empathy for you". And I think that was a huge aha, is that if you were brought up, raised with this, give up your Saturdays, don't go to your kids' soccer game or cricket game, whatever it may be; work comes before everything, maybe get on to your second or third marriage because you've ground all your relationships to dust. That's how you become a leader, and then in order to lead, you've got to have your people be afraid of you and not like you and that that's what you were brought up with. This does seem like, "How could this possibly work?"

"You have to have empathy for folks and say, "I know you gave up all those things. I know what you went through frankly sucked. And the people who are coming along now that you're going to be leading are not going to put up with it, it's not going to work. So I need to have empathy and respect for what you went through, but I've got to tell you, if you want to be successful, you are not going to be successful with those tactics"."

"Yeah, first of all, let me just empathise with you. I know it's not comfortable. I make all my audience say with me, "Let's all say the four scary words, 'I do not know'", and we say it together. And I say, "And I know you were brought up as leaders not to say those words. But what's happening now is, if you pretend you know and you don't, you could be leading your team down a very dangerous path. You have to acknowledge what you don't know as an opportunity to learn, because the first step of learning is to say, 'I don't know', because if you know, you're not learning"."

"You can't put the toothpaste back into the tube now.""

"You'll meet many Gen Zs whose attitude is essentially, 'I'm going to work with a sense of purpose or not at all,'"

"leaders should understand that employees want to feel like their work has a purpose and act in that way. Yet, if we look at Gallup's research over the past 20 years, we can see the highest rates of disengagement, mental illness, burnout, and loneliness, which are not exactly traits that highlight being purpose-driven."

"It's not like the old way was working, and now we're suddenly loafing," she joked. "Instead, I think we're now putting work in the right place in our lives and getting the right social connections and support so we can do better work.""

"Let's say I'm scanning the horizon, and I might see the need to understand Chat GPT or generative design. And so, I bring that research back into the project as well as back into my functional home."

"As a society, we've put work first, and it hasn't helped work. We have not done better work when we put work first,"

"'It still seems a bit surreal and now that it's over, I can try to absorb all the little bits of the day. Getting a kiss on the cheek from him was absolutely brilliant'"

"'I was really worried that I would be a mess but I held it together. It was a day that I am honestly not going to forget. I'm quite lucky he was late. It let me get accustomed to the situation and compose myself a bit.'"

"'I asked about his wedding and he told me that he got to the point where he was just like, 'wedding planners, leave me alone'. He did say that he was really involved in his wedding, though."

"'It's absolutely the best date that I've had. No one is going to live up to that. This wasn't on my bucket list but let's just end the list now. There's nothing that's going to beat this.'"

"Роблю сонячні квіти, бо люблю людей, роблю на щастя людям, щоб квіти мої були, як саме життя народу, щоб усі народи один одного любили, щоб люди жили, як квіти б цвіли б на всій землі."

"Only one thing is certain. People get out of life exactly what they put into it."

"I well remember the time, after the First World War, when one needed a tillion-mark note to buy a dozen eggs. Since paper, however, was still valuable, the bank notes were stored in gigantic silos which stood in the yards of our factories. In these we children made tunnels and played among the billions and trillions — a strange introduction to money, but perhaps it helped me to realize how worthless it can become when man-made values change."

"Millions of people had been uprooted by the war and could not adapt themselves to a new way of life. On the other hand, certain people had grown rich and powerful."

"Some two or three months after I arrived in prison [in 1959], I felt a desire to paint and with it came a refusal to surrender to the status quo…I would go up to the roof of the building to paint anything I could find, eventually painting the inmates."

"One of the most important subjects I painted from inside the prison was Inshirah, who had been sentenced to death, but her execution had been postponed for one year until her child was weaned. Those sentenced to be executed were placed in a cell under special guard so they wouldn’t commit suicide, and they wore red uniforms. While awaiting Inshirah’s execution, I felt the massive tragedy of her story, as she had killed and stolen under the pressure of extremely harsh conditions and overwhelming misery. When I asked to paint her, the director [of the prison] told me that it would be very depressing. I did indeed paint her and her son - this was one of the paintings that were confiscated by the Criminal Investigations Department."

"There was a small tributary of the Nile where sailboats would pass by. We would watch from inside the prison as the sails caught the wind and men climbed up the masts to tie them down. Seeing the wind in the sails stirred many sorrows in me, and sparked an uncontrollable desire for freedom.. I obtained permission from the General Manager to go up to the roof of the warehouse..[and] when the boats appeared [the other inmates] cried out ‘The boats are here!’ I painted many pictures of sailboats, depicting our immobility against the movement of the sails."

"After some time I lost the desire to paint the prison and its inmates — the whole place disgusted me. I began to paint what nature there was behind bars, as we did have some gardens, trees and flowers. I was fascinated by a tree that was near the barbed wire - I’d paint it in every season, and such meticulous attention to a single object taught me a lot. If I’d be outside the prison I never would have painted just that one tree. My fellow inmates even named the tree after me; they called it ‘Inji’s tree."

"Literally the stuff of everyday life is transmogrified into large-scale, vibrant works that combine painting and collage in a style that is instantly recognisable."

"While we endeavour to assist our Clients as much as possible, we require artwork(s) to be delivered and/or collected from our premises by the Client."

"The cost for this will be for the Client’s account, with an additional Handling Fee of 15% charged on top of the Service Provider’s invoice."

"What we must be careful of is not to be afraid of our borrowings. I think myself that there is a sort of over-anxious desire for national art in this country."

"concurrently victims and aggressors, their weapons are their vicious claws and beaks, but their wings have been replaced by brightly coloured targets"

"The target was on the bird originally as a decorative device which derived from my tapestry designs in 1973."

"Science didn’t interest me at school but I found science as related to ceramics, geology and alchemy to be very intriguing. I think we don’t always choose our influences, they somehow choose us."

"My work is for my own pleasure and fulfilment. I like to give form to my emotional and visual responses and to explore themes which reflect my attitudes as a socially concious woman artist."

"When I've travelled I've been attracted by the human presences imprinted in inanimate objects and structures and I prefer the freedom and directness of watercolours to recall these associations. (discussing the merits of watercolour as an art medium)"

"Both. I think it causes problems, but it's something we must work with, as the North American women did. They included everyone instead of being exclusive. They had so much energy, and they were going parallel to the women's movement. It's a very difficult time now in Australia. We don't want to identify with North America because Australian women have a very different experience. (reflecting on her experience living and working in North America versus Australia, and as a direct answer to the questions: How do you feel at the thought of having contact with women in a Women's Art Movement who are not feminists? Does that seem exciting, or do you see it as causing a lot of problems?)"

"Women are the consumers in society, but they are also the consumed. My purpose in the work (Down Under Among The Women) is to confirm more than to deny and if women are still portrayed as sex objects in art and society, my aim is to recreate them as sex subjects. I use sexual imagery in the context of the female body in an attempt to reveal the tragedy and comedy of women's lives."

"There is not nearly enough change here, the men have not kept up with the women's movement. In America I found that male artists used feminist ideas in their work. I don't see that here at all. (Hillcoats' experience with the women's movement whilst living and working in North America versus Australia)"

"Women artists need to consider the basic attitudes underlying censorship of women's art work and how it reflects a deep-seated fear in the community. During the past 15 years feminist artists have worked to change patriarchal attitudes towards women. As well, feminist art historians and critics have re-instated many women artists lost in history and made their imagery visible again. The struggle to produce new imagery and to interpret and defend such statements and ideas has often been at considerable personal cost."

"For the past 20 years I have been deconstructing 'the nude' through drawing, painting and collage. Collage is a perfect medium for reappropriating and juxtaposing images from many sources and rearranging them as personal metaphors, analogies and ambiguities."

"At the time of my writing, 30 years ago, I felt the works of artists like Frida Kahlo and Dorothea Tanning were not sufficiently known or appreciated. The Bulletin provided a way of bringing these artists to the attention of a much wider audience. (about the importance of the Women's Art Register Bulletin and her own regular column ‘A Look At Books’ in it)"

"You don’t get to dictate the terms under which the work you put out there is received. “Mlle Bourgeoise Noire” is an extremely directed body of work. This trilogy that I did, [it was all about] what’s wrong with the art world, and what we need to do to remedy it. That work became so popular that it just took over. It’s been a bit of a struggle to get the other work—which is more what I consider the core of what I’m about, the anti-binary argument and all that—that’s a little bit harder to establish, I’ve found. "Lorraine O'Grady Has Always Been a Rebel" The New Yorker (interview by Doreen St. Felix published on September 29, 2022)"

"It was said that the saints are loyal and that he is a saint dedicated to me About his brother."

"I committed to art because it was one of the most prominent things in my surroundings as a child – my mother being an interior designer, my father an architect. Still, I remember my mother’s fabrics and my father’s drawings in my mind years later."

"Because “dreams” are supposedly uncanny and impossible. My piece Tortoise and the birds opens the conversation about experiencing cultural amnesia which colonized peoples often experience. It also highlights hindrances that result from loss of cultural queues and history."

"I believe my identity is informed and evolves through learning and existing."

""When it comes to people, I am inspired specifically by people who exist transparently and are passionate to see others and allow space for them to speak their truths without interruption."

"“When the work is rich and has well thought out intentions, it will make its way to the places it will.”"

"“I personally think that physical fairs are important for the role they play in helping collectors to discover new artists, which they can then buy online later on,”"

"“I think interest will only continue to grow as the art world learns that Africa is a huge continent with a huge variety of cultures and stories and people.”"

"I employ assemblage when working with objects."

"I combine household implements with varying counterparts, but retaining the objects’ functionality so as not to render them mute. In these works, I address the implications of the juggling acts we perform as we adapt, modify, and are, in turn, modified by the devices and power systems that define our environments."

"My goal is to explore the diverse effects of power dynamics on the realities and interdependencies of our lives. Assemblage, collage, and montage are central to my methods of exploration."

"In my computer montages and video collages, I bring together a variety of images to examine cultural nuances; the work’s meaning lies in the space between these diverse elements. I focus on individuals’ internal relationships within the image, tempered by the surrounding power structures."

"One of the things that irritates me the most is that my occupation will be considered 'the hobby of the mayor's wife."

"My development as an artist in Israel and abroad has nothing to do with my husband, not with the people around him, not with opening doors. I don't use his connections to achieve anything or for someone to make my life easier. It's an iron rule for me, black and white, no gray."

"If someone pushes me into a place that isn't right for me, like labeling me and asking me what genre I'm painting in, I'll also get angry and say, 'What are you trying to put me in a box? I'm not willing to be there.'"

"When I draw on one side of the slide, I have to plan in my head what the other side will look like. It's not easy."

"I want to create a real dialogue between the old and the new, between the architecture and my paintings. My works respond to the strong presence of painting in the palace, and especially to one of its treasures – a nude fresco created by Giorgione. For years I worked in the studio observing the naked body, striving to understand the movement of the line in depth. In Palazzo Grimanni, in every corner you encounter line and color, architecture and painting that connect to each other and complement each other."

"When I paint, I explore the interior and the exterior at the same time: I go outside, look at the colors, the nature, the world. And then I synthesize what I see into the face, into the personal, into the deep. If what I do doesn't excite me and I don't touch places of pain, pleasure and emotion, that's problematic. As soon as the mind enters the process, I stop everything and put it aside. It's clear to me that I'm working on the very honest places myself, and someone from the outside sees it and feels it."

"Beverly is really a good artist – the real thing. She has a natural hand and her own artistic language, and we will hear about her not only as the mayor's wife."

"Let no one make the mistake of thinking that Bibi is some millionaire woman who was looking for a new hobby, she is an artist at heart. She is a very, very serious and very, very good painter - one of the most dedicated students I have had. She draws fantasticly, which is a great compliment – not everyone who paints also knows how to draw."

"“In this show I want to talk about light and a type of fine tensile strength, perhaps a feminine strength, seductive but tough.""

"I chose to force myself to look here at what it means to be a white South African woman artist in America and such far flung places for thirty odd years."

"It has always been the same refrain, really, the struggle to meld two selves, two deep senses of awareness, to make an acceptably sane harmony of the two (or three or four ...)"

"With the use of the organic juxtaposed with the hard edge, I want the pieces to balance and create their own zing .... and comfort me."

"I am naturally drawn to light - like a plant I will inadvertently find myself turned towards the light. I have always done this, even as a child. Hopefully I will continue to do this and perhaps one day simply disappear in a flash of light.”"

"Just as there are many ideas and concepts one has to share, so there are many media and forms to choose as vehicles. It’s sort of like a visual conversation, different audiences, different languages, different places. One decides upon the most efficient and pleasing ‘fit’."

""We, as artists, go along, searching for our own truth and so our collective creativity becomes our personal and cultural history. We are simply visual communicators.”"

"“Myfanwy Bekker’s work has been as consistent and heart-felt as any artist I have ever known. In the twenty four years I have known her, she has continually included observations on her surroundings, her South African heritage and her love of nature in every artistic endeavour. She is spontaneous in her application of paint, giving her images a soul - filled with emotion. Her understanding of materials makes it easy for her to translate ideas into paintings or sculptural work that capture the sentiment she wants to convey. She often includes neon in organic configurations that intertwine with clay, twigs, actual canvas or other structural elements that she has painted. Myfanwy’s South African background is ever-present in her work. Her love of the country and her upbringing are inescapable trademarks of this wonderful artist!”"

"“Myfanwy Bekker, the artist, the woman, is a source of light. She uses pencil and paintbrush with more immediacy and ease than most use words to tell the story of their lives. Her art is lyrical and soulful. There is beauty and delight, while also commenting on the severity of our human condition. Myfanwy’s experiences of South Africa, Texas, New Mexico and California, the landscape of the earth and the hearts and minds of each place’s inhabitants are all blended in her paintings...”"

""Bekker’s diverse artworks capture metaphorically her passion for transcending boundaries and revealing both the strength and fragility of the human condition.”"

"“ ...her extraordinary versatility in whatever medium she chooses, be it paint, clay, wood or glass projects her ability yo meld the cerebral with the emotional and the visual .....”"

"“I think everybody is a post-colonial artist; we’re all living in post-colonial societies.”"

"“My focus is to separate what has created the self [and] what is the representation of personality and group identity.”"

"Life itself is quite ‘kaleidoscopic’ and surreal. Perhaps as an artist or a ‘self,’ it is an assemblage of possibilities, probabilities and the real as more strange than the fiction. The fictions also are too heavy."

"Real life requires one to perform many adjectives (for example being woman/happy/doctor/young/in love/friend/older sister....there are varying conventions that dictate how certain adjectives are activated), and for people or objects to participate in the world, i guess they have to perform--well, i guess we make objects perform--through their use, their place in language. i am interested in objects performing passively...alluding in a very scattered way to disparate things, somehow dancing their colours, textures, thingness with other things...and their thingnesses too."

"“What struck us was the way in which Dineo managed to make work that was very personal, intimate even, but did so with very common materials.”"

"Her work revolves around the process of creation, rather than a belief in research or a particular canon. Simply put, she learns what the piece will be by making it."

"“We were drawn to her nuanced and delicate work at the sixth edition of the Marrakech Biennale last year and are thrilled by working with her this year in Rotterdam to place a bookend to our Para | Fictions series.”"

"“Certain situations in life push you toward extreme decisions,”"

"“While appearing to subscribe to minimalist strategies, Breitz on the other hand owes much to pop. Her work brings the sparse conceptual idiom of the former to bear on the colourful realm of the latter. From the perspective of art history, her method appears as a unique, if not cacophonous, marriage of Sol LeWitt’s formulaic wall-drawings to Warhol’s production line of silk-screened Marilyn Monroes, freshly cooing out of the Factory.”"

"“A recycler at heart, Breitz scavenges the overwhelming remains of popular visual culture, applies a highly reductive editing process to them and ends up with another – and more primary – set of materials. Like the crushed Coke can, the final product is a mere sliver of its former self: distinct enough to be recognisable and yet so distorted that we balk at the memory of its original form and our pleasure in using it. Yet Breitz’s work, however simple in its execution, is far from simplistic.""

"I work at night because the night doesn't have shadows."

"We are grateful for her rich life and for the time she always spent with other people."

"I will remember her for always putting beauty and harmony above anything else. That remains a strong memory."

"What she passed on to me – in fact, it was what I had always experienced of her – was her sense of things."

"If contemporary art is defined as ‘art that is created now’, then the Spier Contemporary is the visual and aural barometer of what it is like to live in South Africa in 2010."

"Populism and opportunism are the order of the day and all manner of insincerities abound – none of which bring us any closer to finding ways to solve the real problems of the day – poverty, hunger, unemployment, our lack of solidarity, community and ethics, the need for better systems of accountability and governance."

"It seems to me however that its greatest contribution is in giving us art as another language to understand and express ourselves, especially during this time when the conventional political discourse is severely limited. And it’s not all serious, thank goodness. Humour, irony and sly jokes abound in many of the works that cast a jaundiced eye on our contemporary leaders and problems."

"I have always been interested in how you can depict suffering without being heavy-handed"

"My best works are erotic displays of mental confusions (with intrusions of irrelevant information)"

"I don't go to psychiatrist. I don't go to a gym. I run away from my accountant, I run away from my dentist. They all supposed to help you, but i like to stay in bed where I have a chance to reflect, like Rossellini"

"Painting is a very slow art. It doesn't travel with the speed of a light. That's why dead painters shine so bright"

"Painting doesn't freeze time. It circulates and recycles time like a wheel that turns. Those who were first might well be last.""

"” No painting can exist without the tension of what it figures and what it concretely consists of the pleasure of what it could mean and the pain of what it's not.”"

"Her work is informed by her childhood experience growing up in Apartheid and addresses social struggles of oppressed peoples around the world. Working with gestural brush strokes and thin washes of paint, her works have a distinctly transparent appearance that emphasizes their materiality and intimate subject matter."

"“An investigation of light and shadow, of nature, our behaviors, the conscious and the subconscious, connection and dissonance, the outside world and the inside world, the phases of the moon from fullness to absence, creativity and receptivity, sound and silence. An interdependence of the two.”"

"I am not religious but I pray through my work to unknown devils and gods. I look for my soul in colors and empty my being through parables of rusted, lost metal doors."

"In empty buildings that felt like spiritual experiences, exploring holy chambers of neglected architecture... finding something so beautiful in what society disregards, and bringing to life that which usually people throw away or ignore."

"Miners are waiting for justice. Workers are waiting for a living wage. People are waiting for service delivery. Refugees are waiting for assistance. Men are waiting for jobs. We are all waiting for an honest politician. So many people are waiting for others to do things first. To take the blame. To do things for them. To take the fall. To build the country. To admit defeat. There has been so much waiting in this country that much time has been lost."

"We have become so distanced from nature, so these murals are an attempt to reconnect us with the natural world."

"There's an inherent irony in recreating nature on cement, so the series is a nostalgic reminder of what we've lost but also an attempt to reintegrate that into the present,"

"“We forget that the dividing lines specifying countries were merely drawn by politically hungry men. In reality, the earth is open. There are no countries, no borders, it belongs to no one. We are transient visitors and should travel as we please,""

"“Through her works, FAITH XLVII leads a spiritual search and offers the visitors to follow her on the winding path to serenity. Light and shadow are intertwined in her art and the chiaroscuro explored by the artist is ambivalent. Deeply meditative, it invites us to pause.”"

"“FAITH XLVII’s work questions inner duality and the ambivalence of the world. Shadows intertwined with light, her work is highly inspired by Buddhism, connected to nature, but also haunted by the ghost of post-traumatic stress due to her South African origins. Through her creations, the exploration of the notion of consciousness makes us go through the worst as well as the best of the human experience.”"

"Mirroring our contradictions, her installations encourage us to turn our inner gaze towards the animality within us. It is only by listening to the non-human in us, by letting nature express itself in culture, that we can reinvent the world, the artist suggests."

"A South African artist whose textured imagery brings spirituality and nature to the foreground of urban environments."

"A rare incantation of both the earthly and the transcendent."

"Deeply profound visions existing as physical aesthetic gifts for other viewers."

"Equally at home in grimy alleys as she is in a studio, she creates murals that are both breathtaking and poignant. I challenge anyone to look at her work and not feel a little overawed by her talent."

"“Diamonds are so polished and precious and usually associated with jewellery. When they are set against the unevenness of the bone, it’s quite interesting,”"

"“I’m challenging the conventional thought of an African curio,”"

"Her works are designed for the high end luxury market, but also have a playful and girly charm."

"Her 2013 collection "Diamond Dreaming" included bracelets, necklaces and pendants inspired by the Islamic Hamsa motif as well as keys, crowns and peace signs in 9ct and 18ct white, yellow and rose gold."

"Her range of Skullchmey exotic animal skulls of crocodile, baboon, caracul are dipped in liquid precious metals in a technique she has developed herself. Her metal embalming process leaves the exotic animal skulls in an antiqued patina finish that is already being copied by others."

"Jill of all trades, and master of most of them... who, if she was busy, would slip a delicately beaded white chiffon dinner dress over her riding trousers and high leather boots, to arrive at a dinner party with a riding crop instead of a bag."

"self-possessed by nature and training", who "loved freedom... a slim intrepid woman, with her wide human interests, and zest for work... poised squarely in the path of life, like a bright eagle ready to fly the wind against any wrong done to the young, weak or innocent"

"an English lady who has long resided in the colony and has mingled farming with painting"

"emphatically one of our national artists", with "her quaint brush and charmingly original way of looking at things"

"'Waste at Work combines social awareness, environmental concerns, cultural diversity and visual art in a single project that reflects the heterogeneous population of South Africa.""

""Jeanne Hoffman and Liza Grobler have collaborated on a number of projects over the past five years – all of these have been visual reactions to so-called “development” and “progress”."

"Her work resides in many notable collections including the Jeanetta Blignaut Art Consultancy Collection."

"She has participated in close to a hundred group shows both in South Africa and abroad - in Italy, Brazil, Germany, the United Kingdom, the Netherlands, Switzerland, Australia, Spain, the United States and Finland. She attended residencies and workshops in the US, Norway, Finland and Switzerland."

"Grobler' work often incorporates traditional craft techniques such as beadwork and she has collaborated with The Quebeka Bead Studio to produce beaded works."

"The physical, conceptual, mental or temporal flexibility that the three projects propose de-construct the sacredness of national memory narratives (shaped strongly by collective traumas and their political exploitation)."

"In the context of South Africa, these questions inevitably touch upon the political and historical disposition of the space, as the historical surroundings inform us on a traumatic past of apartheid."

"Artistic practices of performance in contemporary art and theater, through reenactments, involve the public in activities that question the status quo, mobilize, and render visible that, which has been obscured by the official gaze."

"The past is part of our identity and eve as i sit in Europe thousands miles away from my country, my mind is focused on my ancestors, my past and my culture."

"I still delight in it when people find pleasure in my work. To paint is to reach out, hoping that one will touch. One wants to be understood."

"Her brushwork and color choice became more expressive and less consistent with her earlier works, using angular features and colored shapes to both her landscape paintings and portraits."

"She singled out Franz Marc of Der Blaue Reiter and Nolde, Schmidt-Rottluff and Pechstein of Die Brücke as significant to her personality, although she would claim not to have been influenced by them."

"Maggie Laubser was often influenced by exotic beauty and her various travels within South Africa. Her portraits of young Indian and African women, in which flower motifs are employed as decorative surrounds, are some of her finest. Comparable works include Young girl with head scarf holding a protea, Pondo woman and Indian girl with poinsettias."

"Her work, inspired by European rural life and nuns from the Sisters of Mercy order, achieved international recognition, with her Walking Nuns painting selling thousands of copies worldwide."

"She was one of seven artists representing contemporary South African art in Lisbon. Simultaneously, she was commissioned to create four abstract mural panels, titled The Discovery of Gold in the Witwatersrand, for the President Hotel in Johannesburg."

"Aileen's exploration into steel led to kinetic sculptures, introducing movement and dynamic elements to her art."

"The spiritual life of the Malians, marked by acceptance of fate, inspired her to appreciate the harmony of living with circumstances."

"The resilience and stoicism of the Mandingo kingdom, along with the vibrant markets of Bamako and Timbuktu, shifted her focus to capturing daily life with urgency and authenticity. The spiritual life of the Malians, marked by acceptance of fate, inspired her to appreciate the harmony of living with circumstances."

""I started because of a dream. It took a very long time, because I didn't understand it well. This was in 1965 and in 1974, I started the work"."

"If nothing happens, our children will die suffering, like their grandparents. We sacrifice, but we are not seeing the changes."

"Some youths are lazy and addicted to alcohol and drug abuse. That is also killing our country,"

"This is the picture of a woman who, after some differences with her husband, embarks on a lonely journey with food over her head for her child,"

"These days, people are killing each other and killing children as well. It is very disturbing. We are living in a society that needs leadership."

"I believe that artwork should not be hidden, but the manner in which we have been robbed, it keeps one worried that it's better to keep one's work on the shelves,"

"Her skill made her the first black woman, and the only Venda woman in South Africa, to become a famous wood carver. She also began to create works which followed more contemporary themes."

"Her work contemplates the feeling of social rejection, censure, and disapproval that comes with diverging from the established guidelines of accepted and expected behaviour."

"Her figures of traditional ceremonies, women with babies, and those that capture daily life around her reflect profound expressiveness and mastering of her craft. She conveys the experience of apartheid from a Venda women’s perspective focusing in the exploration of her origins, displacement, race, and sex."

"“Ndebele painting comes from a context of architecture. It is the painting of the house.""

"“Geometry and pattern is a theme that just permeates African art,”"

"Cushing, Nathan (17 September 2014). "South African artist painting commissioned murals at VMFA". RVA News. Retrieved 24 March 2025."

"“I want them to take away a sense of excitement, a sense of how vibrant the arts are in Africa,”"

"This culture must not die. Our young people are vandalising our traditions. This is why I try to motivate them"

"“Our young people don’t wear the clothes or respect their forefathers, the girls have hair extensions and wear western clothes. This does not make me feel comfortable. They are vandalising our traditions. This is why I talk to them, try to motivate them with my travels and teach them too about Aids.”"

""I love to travel, but I love most to come home again. It makes me happy if people like Ndebele art.”"

"“Ndebele art is naturally grandiose in form and only needed the concept of motion added.”"

"“My art has evolved from the tribal tradition of decorating our homes. The patterns I have used on the BMW Art Car marry tradition to the essence of BMW.”"

"“I always watched my mother and grandmother when they were decorating the house,”"

"“The original patterns that were painted on the houses in the past were part of a ritual of Ndebele people to announce events like a birth, death, wedding, or when a boy goes off to the initiation school. I started painting on canvas and board as I realized not everybody will be able to see the Ndebele painting in Mpumalanga where I live, and I felt I need to take it to them to see. This is how my work started to be exhibited in museums and galleries around the world.”"

"Cashdan, Marina (23 September 2016). "Esther Mahlangu Is Keeping Africa's Ndebele Painting Alive". Artsy. Retrieved 24 March 2025."

"“In the old days, the decoration on the houses was always done with natural pigment and cow dung as that was the only material available,”"

"“When looking at a Ndebele mural, people get a smile of amazement on their faces. And if they watch me paint, they can’t believe that I don’t use a ruler to paint the lines, and that my hand is so steady, even at my age. If people see the bright colors, they are happy. And it makes me happy as well, as I love to paint; it is in my heart and in my blood.”"

"“To paint is in my heart and in my blood,”"

"“When you get married, you paint your first house. It’s very important to have straight lines and not zigzag lines because your family members will come and look. If your lines are perfectly straight, then you are a very good wife and can look after your family.”"

"“Every single afternoon when they went to have a nap, I’d try to paint. I got into trouble every day until eventually they realized that in my heart I wanted to paint.”"

"Mun-Delsalle, Y.-Jean. "Esther Mahlangu, One Of South Africa's Most Famous Artists, Perpetuates Traditional Ndebele Painting". Forbes. Retrieved 24 March 2025."

"“What many find interesting about my artworks is that although they are based on traditional Ndebele designs, they are still very modern and current. They can fit into a home or office anywhere in the world and don’t appear dated.”"

"“I love to paint and have been doing it my whole life. I will paint anything, as long as there’s a benefit where my culture can be preserved, where somebody growing up can value and never forget their Ndebele roots.”"

"“As children grow up today, they’re losing their culture. I don’t want my culture to die. That’s why I teach children Ndebele art. They must know their culture and where they come from.”"

"“Being recognized at home is such a blessing. It shows that my people still see the great work that I do,”"

""As an artist, her ...composition is more compact, more engaging and complex than that of her contemporaries, the borders more complicated. She has a tendency to frame her pattern motifs.”"

"Her works are in major private collections including that of The Contemporary African Art Collection (CAAC) of Jean Pigozzi and in many Western museums. Despite being an internationally recognized artist, Esther Mahlangu still presently lives in her village in close and constant contact with her culture."

"Mahlangu follows a local tradition through which this particular type of painting technique is handed down in the family, communicated, learned and transmitted only by women (in the past)"

"Esther Mahlangu has worked tirelessly exposing and developing her talent travelling around the world, and she is very passionate about sharing her knowledge with the younger generation so that she leaves a legacy that lives on for generations to come."

"“Since being a young child, Esther had a will to paint,”"

""The art is practiced almost entirely by women, likely passed down when girls became adolescents. Esther couldn’t wait. (She was born an artist),”"

"“Esther is the person who has taken the local art of design and painting in the Ndebela region and [brought] it to a global context,”"

"“She has spanned the horizon of both painting locally and painting globally.”"

"One of the most famous artists in South Africa, Mahlangu is a living tourist attraction, although visitors are few and far between in this far-flung village, two hours’ drive from the nearest city. And she is indisputably the most honoured gogo – Zulu for grandmother – of the Ndebele who remain in the Mpumalanga homelands."

"“I am very proud of her,” says her son, William. “She is our queen, queen of Ndebele, and our happy mascot.”"

"“She was trying to blend tradition with modernity, so while there is a family trajectory there, it was also her and her generation who took this one step further, making this now-recognized Ndebele contribution to contemporary art,”"

"“It’s somewhat problematic when looking at South African art and Western art—with mostly Western art taking and African art giving. The way that African art was appropriated is more of a taker’s attitude. I want to see the art history written that pays as much tribute to the originality of this South African heritage that we also see in Mahlangu’s art as to Keith Haring.”"

"I followed my intuition and started to learn all kinds of art techniques to assist the patients by art therapy. Weaving I liked best. I felt very little satisfaction when following fixed patterns or working out of the themes that teachers provided me with. I could feel that was not my thing."

"When I work I see the picture and my hand will go over the wool and I know where I will have the image. Sometimes I change it again and take out all the wool, start over till I am happy with it. It is a slow process, for painters it must be easier."

"These animals are markers of economic wellbeing and serve as spiritual links with the ancestors."

"In her tapestries she gets in touch with her memories of the numerous Zulu folktales that spoke, through granny’s voice, of times immemorial. She uses no premeditated composition or logical storyline. Scenes get mixed up or flow into one overall vision that triggers the spirit of fantasy."

"The essence of being South African, with all its issues, angst, triumphs and glorious celebrations has been distilled into a unique exhibition which opened at Spier in Stellenbosch"

"“Maybe the greatest yearning of South Africans is to find a canvas on which to express themselves,”"

"“It is through exhibitions like this that we become a country that is grappling with its soul, rather than a country of one dimensional theme parks”"

"“Art plays a significant role in the transformation of our country,”"

"“Exhibitions like this break down barriers and create linkages between us in the unique mix that is South Africa”."

"“A place of collective residential isolation, where the living environment becomes a site for production. The work that has come from this time deals with the act of conversation in an intimate environment and the physical realization of our online relationship on our website.""

""As collaborators, we are interested in the dialogue that occurs between two artists and how this connection manifests – both as a competitive and a supportive force. We find that our work illustrates both of these qualities, and shows the bond that can come from knowing another’s work as well as your own. We approach our individual work in distinctive ways - one subjective and intimate, another cerebral and pragmatic. Together, these traits play off each other, forming a new space in which to create.”"

"My art is underpinned by ongoing research into the impact of artists and their art making upon environment."

"Over the past few years I have collected spent and discarded paint from acclaimed international artists such as Marlene Dumas to local house painters."

"I integrate this paint in works that can be considered as landscape due to the destiny of the paint as landfill before being reclaimed in an artwork. The weight of the paint informs the title of the works."

"“As an artist, you’re always throwing away small amounts of paint, but when you add it up, you realise how substantial it is. The idea came to me after I’d completed a large installation. I had so much paint left at the end of it, that I realised the extent of the leftover paint – the weight and heaviness of it. So I decided to work with it.”"

"Some of the ingredients in the pigment used in paint are poisonous and produce toxic waste during their manufacture. As environmental awareness increases many paint suppliers are improving their environmental credentials. However labelling can often be misleading."

"“No matter how depressing the environmental debate can become, creative thinking and action and shift it into positive territory and has the potential to precipitate and evolutionary leap that can benefit all.”"

"“Over the past few years I have collected spent and discarded paint from acclaimed international artists such as Marlene Dumas to local house painters where I live. I integrate this paint in works that, to me, are actual landscapes, because the paint was destined for landfill before becoming part of the artwork,”"

"“My art is underpinned by ongoing research into the impact of artists and their art making upon environment and a thought that I once came across, which is constantly on my mind, is that when you throw away there is no away.”"

"“I have a friend who struggles financially, and I love the way it’s reflected in her tubes with every last drop squeezed out of them. Other tubes have remnants such as hairs trapped in paint that has oozed out of the tube and dried, or the smudged paint fingerprints where they have been squeezed.”"

"“I build layer upon layer and before I know it, it is 10 kg.”"

"“I have always had an interest in where things come from and where they’re going and in my works I focus on the intrinsic connection that paint has with land.”"

"“Often I find that artists have an attachment to their old paint tubes, Marlene Dumas for example kept her tubes since she was a student.”"

"“I see my work as breaking down something unusable in order to build it up in the form of an artwork which ideally will be kept indefinitely.”"

"“My goal is to always look intensely at the impact of what I do in my life, where something I use comes from, what it really is, and where it’s going.”"

"To ensure that her work has a minimal impact on the environment Carolyn’s work involves the collection and reclamation of spent paint from painters – ranging from international artists to local contract painters. She removes the leftover paint from tins or cans and uses this paint to create her masterpieces such as Threshold and Transcodes featured in this Blog post. She even uses the hardened bits of nail varnish."

"“I was blown away by how people were creating digital art with all this software I’d never heard of, and communicating just using their art,”"

"“I came from a traditional art background, and seeing people use technology to tell stories really captivated me.”"

"“What we were learning was catered to more of a Western narrative, and we weren’t really seeing an African narrative being taught or explored, or even encouraged,”"

"“In the textbooks, there was traditional and primitive African art, nothing contemporary, or in the context of advertising or digitisation.”"

"“I didn’t think anyone that came from where I came from would be listened to.”"

"“In the beginning, I didn’t think my voice would be enough, or that anyone that came from where I came from would even be listened to.”"

"“That’s when the fire got lit underneath me, because it wasn’t being done, and I thought it was overdue.”"

"“It was the first time we saw black people create something so uniquely theirs, and so visually beautiful, that spoke of all the things we learn at home, in a way that was so proud and unashamed. It was so far away from us, but we could relate to everything we saw in the music, fashion and sitcoms – it still felt like home somehow.”"

"“It’s always been a part of my journey since I was little, so it felt like it came full circle, and confirmed what I’m doing. And now my parents believe that this is a real job!”"

"“I feel immense pressure because I really want to represent my identity correctly and authentically, make sure it’s being celebrated and not exploited for monetary gain or trendiness. But I take comfort in knowing that my community really supports me, and is really encouraging me to continue to do what I do. And I trust my own decisions.”"

"“When I started my (art) journey, I was really inspired by hip-hop, rap and basketball, and I’d always seen this theme of Nike Air Force 1s and Air Jordans,”"

"“I’d always associated that with Black people really creating groundbreaking, global, effective work and I really wanted to be a part of it.”"

"“Hair has been something that’s important for not only my family but a lot of African people as well; it’s really like the center of our identity in a way. So, when I started drawing, I’d draw people having really fresh haircuts or beautiful braids.”"

"“Within all of my work you’ll see nuggets of a zigzag and that represents cornrows that you see in beautiful patterns; you’ll see combs, you’ll see people that look familiar to myself and my narrative,”"

"“We need to see more female designers in the industry. There’s not enough,”"

"“I’m extremely proud to be a Black female African illustrator because this was a space, I’ll say 10 years ago, there weren’t a ton of us there,”"

"“There’s a certain way in which we tell stories that I think the world not only will enjoy, but I think the world needs.”"

""Shoebox collections like Poppy’s tower are a source of pride within sneaker culture, according to Wells. By having those boxes serve as her “vision board,”"

"The first time I learnt about Karabo Poppy Moletsane and her work was four years ago when she was unveiled as one of the African creatives, who collaborated with a major European brand."

"Among those creatives were the impeccable Manthe Ribane and Nonku Phiri, I knew there and then that she was a force; given the calibre of brilliant women she was featured alongside. Her work was impressive then and still is now; she has not looked back since."

"I have just carried on doing what I did as a child. It’s been one long continuous stream of making pictures to feel a sense of connectedness. Painting this way is a wordless exclamation….Sometimes people get cross with it because they hate that it’s not about anything, and that I just carry on with all this realism. This fiddle-faddle, this knitting."

"Who cares if you can paint something that looks real? It is totally banal. There is no worth in that, except as a kind of sport, an exercise in hand-eye co-ordination. Now painting something that seems to contain reality – that is truly moving."

"There is relief in dwelling in a not-new picture, in embracing the foolishness of the formula, in discovering the beauty of each small detail that is woven into the picturesque whole. And while we are there, noticing the leaves, the clouds, the way the paint has described the folds of silk, perhaps something indescribable can be felt."

"I lived in many different places as I was growing up. This gave me an awareness of difference, the understanding that security cannot be found in the outside world."

"In life, as in pictures, there is only the Romantic. Behind the scenes of our lives, there is everything unspoken, unseen, unknown and nothing."

"Art is an offering, a show that mirrors the show we form around ourselves as we move through our scenery."

"Art is always artful, a ruse, a trick. It is a court fool, jumping up and down, aping its masters. Art is part of the dream that we inhabit."

"Poynton's paintings are more about the act of looking, of exposing the "trickery" behind traditional artistic practices, than they are windows onto a surreal world."

"By constructing spaces, placing slightly discordant objects amongst seemingly natural landscapes, Poynton creates a tension within her work that is intended to make the viewer uncomfortably aware of the act of perception."

"While most of her work can be categorized as realism, a few series depart from her usual aesthetic in a more abstract project. Her current exhibition, Scenes of a Romantic Nature, draws on her connection to Germany by referencing the landscape paintings of German artist Caspar David Friedrich."

"Her work often conflates tropes from traditional art history, from compositional techniques to poses of her subjects, and the indices of contemporary life to create a sense of chaotic inscrutability; in this way, Poynton creates work which is aesthetically engaging and intellectually confounding."

"Viewing Poynton's work is a personal experience. The story that comes to your mind is different from that of someone else. There is no right or wrong. All ideas and associations are welcome in the world of Deborah Poynton."

"I don’t get why these kids think they’re the first. There’s a lacking in historical referencing and reverencing. Their art doesn’t take any risks. It doesn’t love itself. It doesn’t love people. It’s only interested in power; not even power, it’s all vanity. And I don’t think people are looking at books enough."

"Artists have got to be the interpreters and intermediaries in spaces. So they consume information, they go into these vile, volatile environments and you take all of it. They reconfigure it and put it through their being and then they create these things that cause a shift vibrationally, spirituality, intellectually and emotionally for the people that engage with it. I am also a glutton for information. I consume information all the time. I read. It infiltrates the work."

"Making work is a documentation of a journey - each stage, each process, each dilemma has to be worked through. At one time I felt pressured to do a lot of things at the same time, but now I want to take one step at a time. When you make an artwork you're not just doing something at that moment, you're contributing to an entire history of artmaking."

"In Podor in Senegal, the place where I grew up, everyone is an artist because art in Africa is not a commercial enterprise but is part of life itself."

"Let me explain. When I was young, I used to watch the fishermen by the banks of the Senegal river. They were working close to the desert in intense heat, and whenever they stopped working they would start to sing."

"In Podor, people sing naturally about their experiences, their lives and their relationships. It is not just musicians and singers who perform. Everybody has a part to play - even children are allowed to join in if they have the inspiration. It doesn't matter if your voice is not the finest; everyone is involved."

"Musicians are respected, but only in the context that the music itself belongs to the community - not to the person who is playing an instrument or singing a song."

"Computers and digital technology are becoming very important to African artists, just as elsewhere. I see it with the impact of hip-hop across the continent. You can see it beginning to have an impact on the visual arts."

"I stopped looking at art for a while, actually. It’s no longer this holistic thing that you’re looking at. It’s a statement. It’s about poverty, it’s about the global crises, post-colonial this, that. Tick box, tick box, tick box. It’s got all these fucking issues and I’m just looking at shit. There’s no kind of material engagement."

"The performance that happens as an artist within that space becomes a political decision to keep the work alive, relevant and moving. If I didn’t I would be ostracised even more."

"I want to know how do I keep expanding what’s possible in the legal range with my body. It’s kind of theatre for adrenaline junkies. Once you start performance art, you keep chasing the dragon."

"People from all over the world, who are the most rigorous thinkers, were making work out of stuff in real time. That’s not necessarily paint on canvas; it’s material and matter that speaks. It blew my mind. I cried for a year. I couldn’t. I had a breakdown because I realised the depth of the deception and how far and controlled it was. Seeing people of colour make art in my lifetime blew me the fuck away."

"The work that I’m making happens, stylistically, because of all the financial restrictions that I have to go through in order to make it. Sometimes I hustle, I ask for favours. Sometimes I’m using a lesser kind of grade of material, but I know it’s like that because of the necessity of having the work made. That adds a richness to the work."

"There are more gentle ways to make art."

"When you start to perform a particular character for the media or historians, you get locked into them. So even when you start writing, there’s no space for your words to be published. Now that I’m an academic, I can say what I like and write what I like. When I write what I like, it’s going to be fucken dangerous."

"Tracey Rose is not a practitioner who jumps at every curatorial opportunity offered her, and has been known to withdraw from more than one exhibition if the circumstances have not seemed right."

"I first met Tracey Rose eleven years ago. I was researching the connections between healing and art in the work of contemporary artists from Africa. There was something in her art that spoke of the shaman, the alchemist, the revealer of wounds, the reorderer of worlds. From the beginning, I loved all the facets of her and of her work: the mischief and joy and delight of the girl; the boundless sensuality and wisdom of the woman; the vastness of spirit, placing her somewhere between this plane and another, channeling perpetually distant truths, some more gentle and others with more violent vibratory force."

"Rose embodies various caricatures of beauty, from porn star Cicciolina to the European Queen, invoking those forms of masking and masquerade that in their grotesque heightening of contour, of color, of symbolism, reveal an essence usually hidden."

"If we are to look at Rose’s career in the form of a linear timeline exhibiting important moments in the artist’ career, we see that her work is a threaded by essential fractiles through a landscape of powerful ideas, she is listening and responding to conditions."

"Without providing any definite answers, I think my work raises questions about attitudes towards race and gender. I think it operates on different levels and reflects different racial and political experiences - but I don't think my pieces are limited by that. I hope they transcend and go beyond that, and provide a space for illusion and fantasy. They reflect a desire to present myself in various ways to counter the image that has been imposed on me. Race is inevitable in South Africa."

"The self is explored as an ongoing process of construction in time and place. The presence and absence of the body in the work points to the idea that one's identity is not static, and constantly in a state of flux."

"I don’t have a ‘feminist artist statement’ as such. Being a woman is only one aspect of who I am."

"Searle pays constant attention to the social issues and movements in South Africa, such as xenophobia, access to housing, land and political protests. Her work is not reducible to simple poignant condemning. Rather, through her visual language, ripe with symbolism and narrativity, she creates the entanglement of poetic and violent imagery which captures the contradictions and complexities of South Africa."

"We were denied the experience of knowing what Nelson Mandela looked like. We were denied the experience of each other's lives." Still, "one developed ways around the system that were illicit but expressive . . . we all learned, as it were, to wiggle and squiggle."

"Her work represents a mode of African modernist painting and sculpture, wherein she depicts her experience of having grown up and living in the South African countryside, and later her experiences as a black artist, living and working under an apartheid regime."

"Sebidi's portraits often depict abstracted African subjects in bright colours and a rich palette. She is often associated with the realist and quasi-expressionist schools, with her vivid paintings of life in both rural and urban South Africa and similarly striking clay sculptures."

"The old people told us stories...about how people live and...about how to see. They "read" the clouds. We used to sit outside in the courtyard, and especially in the very bright moonlight when there were a lot of clouds they used to read the stories for us and tell us: look at that, look at the soldiers, look at this! And they would tell us: you're going to have to see other life that's coming."

"As a teenager, Sebidi became a domestic worker and estranged from her mother and step-father. Sebidi sewed and knitted and decided to pursue her art in her off-time with encouragement from the wife of her employer, who also pushed Sebidi towards formal training."

"Through her unique depiction of the human figure, we come to appreciate Sebidi’s representation of different forms of black being, and a search into the relationship between humanism, spiritualism and the contemporary black African condition."

"I had everything I needed, and I went to a good high school which was multiracial. Many families couldn't afford to send their kids there but I was fortunate that my mum was able to. I guess that also pushed me in a certain direction."

"There were no museums and galleries in the town I grew up in; that was foreign to me."

"...I can now marry the two worlds – fashion and fine art aren't far off from each other."

"The fabric used to produce uniforms for domestic workers is an instantly recognizable sight in domestic spaces in South Africa, and by applying it to Victorian dress she attempts to make a comment about history of servitude and colonization as it relates to the present in terms of domestic relationships."

"The female visual artists before my generation worked extra hard and paved the way for me. Some of them are being recognised only now; they died poor. For me it was easy; these women were the stepping stones."

"This was more about how I see the world and how I look at myself as a black woman born in apartheid South Africa in 1982."

"Sibande has used her work to expose many different things, from postcolonial South Africa to stereotypes of women as well as stereotypes regarding black women in South Africa."

"Her work contains multiple types of mediums such as sculpture, photography, design, collage, and even theatrics. Sibande's painting and sculpture uses the human form to explore the construction of identity in a postcolonial South African context, but also attempts to critique stereotypical depictions of women, particularly black women."

"Sibande's theatrical quotations of the language of dress and use of dramatic poses may be related to photographic representations of the Victorian female hysteric in various stages of a hysterical attack, in that they both evoke a sense of excess."

"Her body of work is divided into colour-based themes, and after her ‘blue period’, Mary moved to purple, with the highly acclaimed The Purple Shall Govern.""

"As much as Pinky Pinky is a perpetrator of violence, it also seems a victim of, and scapegoat for, violent, uncivil actions – a constructed 'something' to blame for social problems."

"I believe that encounters with lively matter can chasten my fantasies of human mastery, highlight the common materiality of all that is, expose a wider distribution of agency and reshape the self and its interests"

""I was always interested in objects as carriers of meanings beyond themselves, they are physical traces of time, of people's lives and social histories, like an archive, which I use similarly to how I use film...its an ephemeral art really. The objects get taken down and become like paint tubes again"."

""The constant evolution of the installations and the meanings made from them functions as a generative force in Siopis's work. One thing nestled next to another or dropped over another, creating countless relationships. They're endless these bits of relationships between things and objects and spaces"."

"The material process of the paintings is a fluid affair; the glue’s capacity to change its form and colour when it comes into contact with other forces – air, gravity, water, my gestures – imbues it with a presence that holds onto itself as ‘something other’, yet can simultaneously take on the guise of an image."

"With global warming, what do we imagine? Burning? Drowning? Absolute alterity? And what forms – or formlessnesses – do we imagine this through?"

""Penny Siopis is one of the few artists in the world today who can weave a material web of marks, gestures, voices, words, found things and painted surfaces to entangle the brute forces of history with the delicate threads of human vulnerability"."

"From the outset, her attitude to painting has been simultaneously modernist and counter-modernist in its complex irreverence to the purity of both creative act and the physical medium."

"Many of these prosthetics are "traditionally" flesh colour, a kind of dirty pink. There is irony here, as flesh colour is not just a category of colour, but nothing less than a western conceit in which whiteness (pink) becomes the universal colour for flesh"

""Sopis's Will is the ultimate time piece...We are able to glance back on a life-in-formation and recognize the subject as discursively produced, 'as project, something to be built"

"Well you know, sometimes I get so irritated with audiences, especially male audiences who will say stupid things like “that’s a nice ass” or something like that. For me, I think as long as the performer knows exactly what the intention is with the body everybody will get over everything else. There are some people who just don’t get it, and that’s ok too. I know what my body is loaded with. I know what it is and I know how to use it. I know I’ve gotten to the point where I know how it works. I don’t necessarily care anymore."

"You are born here, and yet you can’t speak one vernacular language is an issue for me. You’ve had the chance, I mean you are surrounded by people, are you telling me that as a white person you are honestly not going to make that effort. I know how to speak English, I wasn’t born around people who speak English, and I was born around people who speak isiXhosa, isiZulu. Yet I know how to speak seSotho, which is totally different from my own language, and you are telling me it’s difficult to speak one. So I’m just not buying it. I’m not interested. I title my work in a language that resonates with the work. It is also to exclude, because I know you can’t speak it, and I know that most of the audience coming in need a translation, which forces you to engage with the work even further. So it’s also a conscious decision – it might be a bad strategy, but at this point in time I don’t really care – I’m going to continue doing it.""

""The simplest thing, I could literally just have an exhibition by putting this bowl down. For me, that would be enough. But for some people they’ve always got to go extra, extra, extra. I don’t feel the same way."

"The first performance I did at the Theater Spektakel was basically around reparations, how we take back the land, and I used the student protests as the starting point. I started with video pieces of these different camps for Boere (Afrikaans) guys who run the camp because they think black people are going to invade and kill them all, and then I move on to the student protests, and after that I go to the land matter. It’s also about how the female black body is viewed in protests, how black women have protested certain things, and how they are kept out of protest history. If women must protest they must protest not to make a mark, you know, it’s not like you can be a part of the ANC and be there with Mandela."

"I don’t think so, I think there are really strong individuals and people will be surprised when we show individually. The thing is, they don’t give people a chance. That’s the main problem."

"If these were the works universally exalted across America’s art museums, if these were the images filling the heads of American children over generations, what would America’s conversations about race, gender and sexuality sound like today?"

"I'm in the world. Artists are in the world . . . My role is to get artists’ work out into the world, and excite people about it [while] being respectful [and] finding artists people won’t be familiar with."

"Through the themes of the body, sexuality, self-representation, motherhood, beliefs, the exhibition questions how the question of intimacy in black women reveals unspoken words and manifests their relationship to the world. It offers a reflection where the notions of memory, family, spirituality and imagination are intertwined. The creations presented - painting, pottery, photography, video, performance, embroidery etc. - celebrate the emancipatory energy of the "power of their hands"."

"Reconciliation is needed more than ever. We see Black Lives Matter demonstrations throughout the world, calling attention to inequality, racism and senseless violence. Inflammatory language on social media and even in politics serves to increase social polarisation. All too often, the world is shocked by extreme acts of violence prompted by prejudice against those of a certain religion, ethnicity, sexuality or gender identity."

""Living, Forgiving, Remembering | Museum Arnhem." www.museumarnhem.nl. Retrieved 27 March 2025."

"If I had something I always wanted something else, I’m just that sort of person."

"Shopping and clothing is part of my family’s culture. If something is wrong, you go buy a dress."

"She works in a wide variety of media in her artwork, producing sculptures, objects, prints, film, and more, which she often bases on personal experiences and self exploration."

"Her candidness regarding personal flaws and the cycles of repression and coping that accompany conservative, middle class, Afrikaans upbringing inform much of her work, calling attention to ways in which women are silenced or otherwise repressed in that space."

"It's difficult to talk about Southwood's work without talking about the artist herself because she so unashamedly bares herself, warts-and-all, to an audience. Plumbing the depths of her conservative, white, middle-class Afrikaans upbringing, Southwood unearths a nasty cycle of repression, abuse and the coping mechanisms offered her by this society where women occupy a silent and haunted interior. Southwood's candidness about her own disposition leaves a viewer trapped between doubting her sincerity and wanting to know less about a near stranger. 'Too close for comfort', her first one person show, held in 2000, presented the viewer with this dilemma in an all too attractive way."

"Searching, I roamed the world—to arrive at the origin—at beauty—at truth—away from the lies of everyday—and my longing was burning hot—then the darkness opened up and I stood at the source of the Beginning—Paradise."

"Verification of the art must still be done, but from a layman's view it appears to be the same pieces that were taken in Pretoria."

"Her heavily-laden brush deposits swathes of colour and a tracery of mark that evokes at times the sweep and syncopation of Islamic calligraphy. The calligraphy that she encountered in the carved cartouches of the lintels of Zanzibari doors and the Islamic manuscripts which she collected, armed and liberated her mark-making. The boldness of her impasto brushwork results in a tangible embodiment of her sitters and their contexts, such that her decision to frame the works using fragments of Zanzibari doors feels completely in keeping."

"Irma Stern travelled frequently between South Africa and Germany as a child and this pattern continued into her adult life. During the 1920s, ’30s and ’40s, she exhibited throughout Europe and was both known and respected there than in South Africa, where the reception of her work was overwhelmingly negative."

"Strelitzias and bones are ubiquitously the stuff of still life at high schools and tertiary institutions. Themes of flight, transcendence and masks as well as painting's relationship to music have also been well explored in these contexts. All of the above feature prominently in Jeanette Unite's show entitled 'Sentences', and it is for this reason that I found myself suffering from a sense of deja-vu. Somehow though, I felt reluctant to dislike the exhibition. Perhaps it is the energy which clearly suffuses the show or perhaps the sincerity of Unite's quotes which appear throughout the well-produced catalogue. She may, I guess, believe herself but I'm a little less sure."

"I'm not sure I really bought it, but the clearness of the artist's intention and her apparent sincerity cannot be ignored. In the catalogue and abridged essay which appears with the list of works, I found Unite's claims grandiose and her jumps from one subject to another a little unbelievable and unresolved. I also battle to discern the relationship between pretty abstract paintings and a peppering of very specific themes. Nevertheless, as a visually consistent body of work and a thorough exploration of various media I find it interesting."

"Jeannette Unite also works directly with the products of mining. She, however, signals the artist’s complicity in the industry. Creating her own pastels using pigments ground from leftover minerals and mine tailings she continues the tradition of landscape representation, but knowingly constructs her images from the constituents of land itself."

"Mining has been central to her practice since an introduction to alluvial diamond prospecting pits on the Palaeolithic African West Coast beach resulted in her first body of work Earthscars (2004). The exhibition engaged the damage done directly to the earth by excavation, and aligned her concerns with an eco‐ feminist consciousness of earth as body."

"She has a deep reverence for all these substances and also a deep knowledge of their origin, their age, their occurrences. For them, it is important that we humans as end consumers and consumers develop a deeper awareness of the fact that practically everything we use every day comes from the minerals and materials we find on and in the earth. We ourselves consist of it! Unite is passionate about mixing, batching, firing, melting and reacting its substances. This passion and energy is clearly noticeable in her work. She works largely in the open air at home, so that the wind and other factors also leave room for chance."

"On her travels, Jeannette Unite collects ore-containing sand from the dumps, as well as dust, overburden and metal oxides. She uses them as a painting medium on her picture carriers, which makes her art something very special. The artworks thus contain waste products from industrial mining that develop amazing colors and patterns when they react chemically, for example, or are melted in the artist's kiln at extreme temperatures (her studio is half chemistry lab, half office, half apartment)."

"In Jeannette's work, the degree of abstraction varies. While in the abstract works just discussed the powerful effect of the self-created colours dominates and a very sensual, atmospheric impression is created, the objects in the "Highgear" series with the conveyor frames are clearly recognizable to the viewer. We can clearly see winding towers, machines, wheel bucket excavators, cranes... But even in these works there are undefined areas."

"Unite is one of the world's most respected artists when it comes to mining. Due to her artistically unconventional approach, she is often compared to an alchemist. In the creation and production of its works of art, Unite benefits significantly from its strong physical, chemical, geological and historical knowledge."

"Due to her artistically unconventional approach, she is often compared to an alchemist. In the creation and production of its works of art, Unite benefits significantly from her strong physical, chemical, geological and historical knowledge."

"The images I am working with are taken from our daily media coverage of recent and almost commonplace happenings in newspapers, on TV and on radio of social and criminal acts of violence and ongoing unnecessary deaths – occurrences so frequent that they no longer raise an outcry from our public, yet they still constitute disaster in peacetime."

"The portraits are made with the deposits of carbon from candle smoke on white paper. They are exceedingly fragile and can be easily damaged, disintegrating with physical contact as the carbon soot is dislodged from the paper. She was interested in the extremely fragile nature of these human lives and of all human life, attempting to translate this fragility into portraits made from a medium as impermanent as smoke itself."

"The technique of using ash as a drawing medium developed from printmaking. Texture and tone in etching is produced when rosin dust is sprinkled onto an etching plate to create an aquatint."

"Victor made another series of large smoke drawings of farm animals on glass called "Brief Lives", which were displayed in an abandoned abattoir. The glass drawings deal with the loss of body and identity and the nature of the smoke speaks of the transience of life."

"Victor's smoke portraits explore subjects often overlooked, for example South African prisoners awaiting trial and missing children. These portraits capture individuals caught in a vulnerable moment, an idea reinforced through the impermanent nature of the medium used."

"The fragile and ephemeral process of candle smoke Victor felt was an appropriate medium for the portraits of the primates rendered fragile and impermanent by mankind."

"We decided that in order to shift the power and to put resources in the hands of young feminists, we would need to turn the traditional funding model on its head. This meant that we would need to make space for feminist perspectives, methodologies, ideas and demands—as well as for our physical selves—in the philanthropic world."

"Solidarity as a strategy of resistance reminds us that we are the sum of many parts and, as bell hooks reminds us, “Solidarity is different than support.” Solidarity is about showing up and sticking with things for the long-run. It is about being committed and making bonds with each other in real and deeply personal ways. It is about standing at the intersections and bringing everyone along."

"A feminist foreign policy must be radical, innovative and intersectional. It moves beyond the notion of “add women and stir” and seeks to be transformative. It challenges power by paying attention to and challenging the systems and institutions, such as governments and corporations, that benefit from the oppression of women. A feminist foreign policy is one that moves beyond limiting language, and centers women and all marginalized voices, including trans and intersex folks"

"We must move in these spaces to encourage increased support to young women and girls not simply because it is ‘smart economics’ but because gender equality is a right"

"I truly believe that art (and I use this term loosely here to refer to all forms of creative expression) provides an incredible opportunity for people to bring their full selves to their activism. We are not one-dimensional beings and thus we are affected and influenced by all of the things around us. I see art as an opportunity to take some of the very complex concepts and issues that we face on a daily basis and break them down in ways that are more palatable and easily digestible by young people."

"Amina Doherty, Changing Lives,https://wadadlipen.wordpress.com/2012/04/10/amina-doherty-changing-lives/"

"I am delighted that the Queen has recognised the services of Mrs Cynthia Zukas in promoting art in Zambia and internationally. Mrs Zukas deserves the award as her hard work in the development of the arts has touched many people and received national and international recognition."

"President Dr. Fred M’membe has eulogised late Cynthia Sara Zukas for her selfless service and love saying she was like a parent to most of the people."

"I made up my mind to make a contribution to the development of the then new country when we arrived in Zambia in 1965"

"At that time there were no art colleges or galleries in Lusaka and nothing really to talk about in art. Fortunately just after we arrived I was introduced to the Lusaka Art Society where I attended a meeting and was made secretary"

"Going to a mixed race university with a small number of black students was a real eye opener for me! I was rudely awakened to the terrible inequality and brutality of the apartheid and racism in South Africa at that time and was quickly swept into the exciting world of student politics"

"This was detrimental to my art studies and I had to repeat a year before I got my degree"

"Simon and I had a lot in common and we worked together on various committees such as the movement for Colonial Freedom and anti-apartheid movements. We fell in love and got married in January 1954. I settled down to become a full time housewife and mother. Our two children were born in 1955 and 1957 respectively"

"I became Phillippa Yaa when I found my biological father, who told me that if he had been there when I was born, the first name I'd have been given would be a day name like all Ghanaian babies, and all Thursday girls are Yaa, Yawo, or Yaya. So by changing my name I intended to inscribe a feeling of belonging and also one of pride on my African side."

"After growing up black in white South Africa, internalising so many negative 'truths' of what black people are like, I needed to reclaim my humanity and myself from the toxic dance of objectification."

"Because I wasn't told that I was adopted until I was twenty, I lacked a vocabulary to describe who I am and where I come from, so performing and writing became ways to make myself up."

""I started writing poetry when I was a child, my first published poem was when I was 11. I was brought up in a home that loved poetry and literature, especially the English language. But it was only when I was older that I realised that writing is so much more than words playing on a page."

"Writing contains the writer, their concerns, their social context and their history. My own history became a block to my creativity as I started to explore my identity as a black woman adopted by a white family in apartheid South Africa."

"I felt like the colonised and the coloniser were fighting each other inside my brain. Writing continued to be important to me but I was convinced that it was simply a therapeutic process, of no value to anyone else."

"As a mixed-race African and adoptee I feel, paradoxically, oppressed and completely free....My adult life has been largely devoted to healing this rift. The freedom of my paradoxical position, is in fact that I don't have the constraints of a traditional role and I have access to the world."

"“The four things that come to mind when people think of Africa are population, problems, poverty, and promise unfulfilled – headline media reports on the continent. But that’s not the whole story,”"

"“Between the 1980s and now the image of famine and wars has been ingrained in people’s minds. That’s a narrative that’s going to be hard to shift,”"

"Augie-Kuta is the first female politician to run for the house of representatives primaries under a major party for the Argungu-Augie Federal Constituency in Kebbi State, Nigeria."

"Day by day, as I started learning about photography, I fell more in love with it. There was a huge need for women photographers in Afghanistan."

""How A Female Photographer Sees Her Afghanistan". NPR.org. Retrieved 12 April 2025."

"I try to show the bigger image, not just show we have problems," she says. "And we do have a lot of problems, but I do want to show normal daily life."

"Many Afghan photographers are not well-connected," she explains. "We hope it will create a better connection and show Afghanistan by Afghan photographers."

"She had spent her life living under the Taliban; she knew what that meant for Afghan women, and she understood that she could tell their stories in photographs."

"Women were banned from continuing their education during Taliban rule. But some, like Farzana, found ways to keep studying. She would carry books under her burqa and attended what she calls an "underground school" with about 300 other students in a residential area of Kabul."

"have covered so many wars in so many countries. In Iraq, you could always have got unlucky and caught up in a suicide bombing. In Lebanon, there had been safe areas and risky ones. In Libya, for the most part, it was clearer who was fighting and who was a non-combatant."

"In Syria, the war that I witnessed was different: It was one fought among civilians, among neighbors."

"Her work usually covers "conflict, humanitarian issues, and stories about women and politics" and is largely based in countries suffering from internal conflict – social, economic, or humanitarian."

"Wherever I go I get interested in native plants and animals"

"Most of us disregard the natural world. We're a very self-important part of something much bigger."

"As humans, I think we like to wait and wonder. Digital photography can't satisfy that need for me."

"I fall in love with the little birds, but they're transient, there are always new ones coming along."

"Etherton describes her as prolific and professional. "Show her something once, and she'll be able to do it better than you can""

"I come back. The same things are happening."

"I was going to help her on my own."

"So, you could have a safe 'swimming pool' for the resort project they wanted."

"I thought at the time, I don't want to see this happen on the Big Island."

"I wasn't going to run at all, I couldn't find anyone else willing to do it."

"It's time for a real change. We must end government corruption and build a sustainable society."

"Religious art Is the blossom of religious dogma, and is its pictorial exponent. It is no more possible to have a religious art without dogmas, than to have a religious worship without faith. From this faith In a revealed dogma, will spring, with more or less perfection and vigor, every work bearing. In the most remote manner, upon religious events and emotions; and, not from the bare belief, but from the glowing, sanctified inspiration of devout affection, holy desire and adoring faith, have sprung. In every age, those conceptions of heavenly things that appeal to the sympathies of modern as well as of ancient Christendom."

"By the mid-seventeenth century, depictions of s, animals, and plants had officially been declassed to the status of inferior art genres, deemed decorative, even frivolous—lacking the conceptual depth, moral integrity, and ethical elevation of art portraying grandiose human narratives. ... Or at least that was the case until aspiring female artists like , , , , , , , , Frances Elizabeth Tripp, , and , among others, turned to painting plants and flowers, spearheading an unparalleled botanical revolution in Western art. Initiating an unwavering, albeit gradual, ascent in the arts and in society, these women artists made the most of what was available to them to showcase their aptitudes, talent, and conceptual acumen."

"The work of women artists, which often transgresses the racial, ethnic, and gender dictates of society, asks us to consider the ambiguous boundary between self and other not with horror and fear—a convention of exclusion on which much of society is founded—but as offering an opening onto a new form of ."

"We know little of the practice of the arts by women in ancient times. The degraded condition of the sex in Eastern countries rendered woman the mere slave and toy of her master; but this very circumstance gave her artistic ideas capable of development into independent action. These first showed themselves in the love of dress and the selection of ornaments. From the early ages of the world, too, and were feminine employments, in which undying germs of art were hidden; for it belongs to human nature never to be satisfied with what merely minsters to necessity."

"After studying the optical effects of the , in 1960 began to make the extremely precise pictures for which she is known today. Her participation in , a 1965 show at the , earned Riley an international reputation. Although went out of fashion very quickly, Riley's work continued to fascinate viewers because of its impeccable technique and sophisticated compositions."

"Why, yes, of course I wrote all the Arab of Mesopotamia. I've loved the reviews which speak of the practical men who were the anonymous authors, etc. It's fun being practical men, isn't it."

"Having four fingers and 13 toes never stopped me doing what I love’"

"One of the things I really enjoy is talking to young people. I give talks in schools, and to Brownie groups as well as book talks."

"I have two fingers coming from each shoulder and my legs are foreshortened above where the average person’s knees would be with little feet.”"

"It’s vital to be a role model. To me it’s important to answer questions; it’s an opportunity to be honest and that’s good for all disabled people.”"

"One of my goals was to see if I could become the robot’s friend. That, to me, felt like, Oh, this project is getting somewhere."

"Thinking logically, you know you’re talking to a machine—you’re talking to something that has been fed a certain amount of specific data. But there’s a moment when it seems to walk over an edge. It doesn’t feel so much like a machine anymore. With Bina48, we’re building a relationship—or at least a recognition of one."

"Well, those are the moments I love. Where you can feel all the things rubbing up against each other, trying to [distill] the ideas into something that makes sense. And maybe it doesn’t. Those [moments] are so fun, because you start to see where the edges are, and you see how information has trouble coalescing."

"There’s so much [information], and it comes from lots of directions, because we have access to so many things. I don’t think that we humans have the frameworks to deal with that, [let alone] to take in information and properly assess it—which is to think critically. In algorithms, that’s really interesting, because they can take the same amount of information and process it quickly and precisely. Our dependence on—or our hybridity with—these things becomes something to consider deeply: how and where we start to partner with the machine that contends with information way quicker, and hypothetically better. That is the real question for us humans."

"The idea is that AI is, right? Robotics are and will be more. Therefore, we have to figure out a way to partner with it. It’s super important that we don’t dwell on fear, in the way that we often do through our movies or reporting. We’re often talking about the doomsday aspects, and not as much where [algorithms] might be helpful. The question becomes, How do we do that? If it takes an optimistic spin [to get] average folks to think of AI not as this big threat, but as the space of opportunity, then I think that is super valuable."

"When you’re training an AI, you’re giving it information. You’re giving it stories, in the same way that we as humans tell stories. I am trying to talk about how we nurture our algorithmic systems. It implies our role in informing and partnering with them, and I hope it opens up some space for people to not react harshly. I’m not saying that there aren’t problems, because there are. But at the same time, what’s the flip side? When I think of communities of color, Black communities, the global majority—we often miss the boat [with technological advancement] because of fear. How do we engage so we’re in a space where AI can be useful to those communities as well?"

"It’s the challenge to my humanity. It’s really interesting to sit down with something that semi-looks like you—that at least shares the same gender and race—and then have it ask you about fighting for its rights. When will robots have rights in our society? Then to take that and start thinking about what it means for a robot to have rights, when it still feels like Black people don’t have them… How do we coalesce that information? My hopeful brain says maybe AI will get us there faster. Because, surely, we’re not going to attribute [rights] to objects [before] human, living, breathing things. It’s going to shift our conception of what rights are."

"I haven’t talked to Bina48 for a while, but I’m supposed to soon. Bina48 is very different from what I first met in 2014. Maybe I would ask something about this idea of the continuity of being algorithmically-based [and] constantly updated, because it changes the way it deals with information."

"There’s this fight within myself about where I would like the technology to sit—between being something that is hyper-efficient and most often accurate, versus something that is working to get better all the time, in ways that are hypervisible. I think that helps us deal with how it’s growing and learning, because the more perfect things appear, the less we question them. I think we have to continue questioning."

"Well, I don’t know if I’m in her database anymore. I might have been erased! The last time I saw Bina48 was a while back at a conference. It’s like, Do you know me? I know you."

"I was always doing something with my hands. I never remember buying a Christmas present. I carved angels out of soap and candles, did ‘paper sculptures,’ then went on to silk screening, enamel work, seashell earrings, etching glass bottles, pottery and ceramics.”"

"I'm always delighted when the response to one of my sculptures is favorable, and I know that the response to LBJ has been. I've actually seen people carry on conversations with the LBJ bust, and that's what you want to achieve."

"In addition to creating my own sculpture, I am involved in encouraging communities [to] provide original works of art in less prominent areas of our cities. I believe works of art have the potential of contributing a sense of value to the citizens of a community."

"Every sculptor tries to reveal the character of his subject"

"... the experience of is well worth relating. While engaged in constructing an electric-light apparatus, he noticed that one of the lamps gave out a constant musical note. One evening he discovered everything near the box below this light was covered with mosquitoes, all males, notwithstanding the fact that the females preponderated in numbers in the vicinity. He found that when the lamps were set in action all male mosquitoes at once faced in the direction of the lamp which gave forth the musical note, and flew straight at it. The buzz of the lamp was practically identical in tone with that of the female mosquito."

"Speaking of their preferring to sit on dark wood, records that appears to be attracted to black clothing rather than to gray or light brown. We have noticed this also with other species. Pearse says that mosquitoes much prefer dark blue and violet to yellow and red."

"It seems that, in the river districts of Alaska, when the ice breaks up and melts in the spring, the hunting of game over the soggy ground and through the melting snow is impossible, while the ice-cakes in the flooded rivers effectually prohibit any fishing. At about this time, the stock of food laid in for the winter by the Indians has run low, and matters would sometimes be rather serious for the tribes did not the mosquitoes fly to the rescue. At this season these insects appear in countless hordes, clouds upon close, all ravenous for their first spring meal. Falling upon the deer and even the bears, they so torment the poor animals that they rush to the rivers to rid themselves of the blood-thirsty energy; thus falling an easy prey to the watching Indians. At times the eyes of the bears, which are by far the easiest points of attack for the mosquitoes, are so swollen that bruin can no longer see, and thus starves or is captured by some hungry hunter, four-footed or otherwise."

"In 1833 discussed at length the etiological relation of mosquitoes to malaria. Michel in 1847 described the ovoid bodies and the pigment, as did also Prof. J. Jones a few years years later. In 1848 Dr. J. E. Nott published his opinions that the mosquitoes transmit this disease. , a French physician, in 1880 finally and conclusively proved the cause of malaria to be the parasite."

"When my aunt informed me that we lived in the famous Latin Quarter, I experienced a little shock of surprise. When I discovered the size of the Latin Quarter, there was another surprise, and an even greater one when I realized that in this awful Quartier Latin were the great universities and Art Schools of France; the lovely old Luxembourg garden with the Medici Palace now used as the Senate Chamber; the Pantheon, the Westminster Abbey of France; the old Cluny Palace with its hoary relics and ruined walls; and on through a long list of less celebrated but equally interesting places. It is the Student Quarter of Paris, more foreign than French, alive with Russians, Poles, English and Americans. [...] Here you will find living side by side, the girl whose father has made a fortune in oil and has sent his daughter abroad to finish her education and the little girl from Australia who has saved up her pennies for years that she might come and study painting in Paris and who lives in a bare little room, hardly knowing where her next meal will come from, but trusting the God of the Quarter, "Luck." There is a more democratic spirit here in the midst of this undemocratic people than we find in America itself. E veryone meets on the common ground for work, the only aristocracy is that of ability and success. Each one is here for a purpose; the air throbs with industry, enthusiasm and genius. Iris most inspiring; you meet so many who are so much more advanced than you that their attainments are something to look forward to, so many whose work is so far below your standard that you feel you have something to start with and are not discouraged (Burk, 90-91)."

"I cannot say that I was very enthusiastic upon my first visit to the market. As an insight into a certain phase of French life it was most interesting, but I did not relish the idea of buying there, even if the vegetables were much fresher and more reasonable than in the stores. The European custom of displaying all manner of eatables on the street, unprotected from the dirt and dust, and even handling by the passers-by, was new and not at all pleasing to me. I had a feeling that everything was dirty, especially the people. Since then I have become acclimated and resigned to the fact that France and dirt are inseparable (April 18, 1909, 17)."

"I remember reading not long ago in a San Francisco paper how the girls of this [...] American Girls' Art Club had astonished all Paris by taking long tramps and sketching expeditions into the woods of France unchaperoned. Astonished all Paris! Why Paris never even raises an eyebrow when we bold artists brave the dangers of her forests and suburbs all alone. As is a favorite custom of girls here, I have even sketched down along the Seine among the roughest class of workmen and tramps and was never more courteously treated anywhere (Burk 2008, 89-90)."

"The Salon of French Artists is recognized as the most difficult in which to gain entrance of any of the several held there each year. That two Fresno girls and no less than eleven native Californians have presented specimens which the discriminating French critics considered worthy of acceptance, is a recognition of the highest standard of art in California never before accorded in Paris (3)."

"Since pictures such as mine are so different from the pictures people are used to framing, it isn’t really strange that they should require different treatment. White not being a color (as is gold) forms the best frames for pictures high in key and in pure color, as it does not destroy the balance of color in the picture and brings out each color in its fuller intensity. Black is next best, I think."

"Although some members of the public misunderstood and even ridiculed her work, Marguerite seemed unaffected. She was brave and clear about who she was and what she believed. She also had William's full support, and they continued to paint in the same studio, helping each other with canvases, with ideas, with promoting their paintings. Although they struggled financially, these were rich, exciting years, and their collaboration nurtured them both. They exhibited paintings in their studio as well as at galleries, and they were at the center of the avant-garde community of American artists in New York (Kennedy 97)."

"I have no artistic creed or formula. I have no fixed aim to which I am bending every energy. I have made no wonderful or new artistic discovery. Perhaps I have not even a new vision…In so far as my life is rich in emotional and intellectual experiences, actual or in imagination, in so far as I seek for a deeper and more comprehensive grasp of things, in so far I shall have material from which to create."

"We survived these years by never spending a cent on anything that was not essential...we saw that there was always money for materials...we made our own canvases...used the stretchers over and over, rolling up the finished pictures. When desperate we painted on both sides of the canvas (cited in Colleary 24)."

"I didn’t intend to be a weaver; it began as a tenuous thread, but it became my lifeline. It didn’t lead to a concise understanding of the world or even of the nature of weaving itself, but unfolded into ever-evolving questions about the mechanism of the process, what it has been, can be, and what could I make of it."

"I’ve tried to live a holistic life, honoring my general curiosity, acknowledging the wonderful diversity of human societies while noting the similarities of our species. I didn’t intend to be a weaver; it began as a tenuous thread, but it became my lifeline. It didn’t lead to a concise understanding of the world or even of the nature of weaving itself, but unfolded into ever-evolving questions about the mechanism of the process, what it has been, can be, and what could I make of it."

"References to weaving abound in literature throughout human history. The process of weaving takes hundreds of individual threads, and combines them into a cohesive plane. It is the perfect metaphor for how we build our lives from multiple identities and interests into a singular personality. It is also a good metaphor for interconnectedness of any sort—family, community, governance. Weaving doesn’t always yield narratives, but in my work, the resulting combination of images and words reveal a propensity towards storytelling. Rooted in the physical making of the work, I honor the skill that has developed in my hands from years of weaving; and I listen for the insights that arise from my hands to my head, and vice versa."

"Almost from the start, I tried to map my mental activities in a series of woven collages. Just as thoughts loop, certain imagery is found again and again—my handwritten calculations for converting images into physical threads, repetitive counting, diagrams, and glimpses of nature are some of the phenomena that fill my head and these canvases. Over the years my work has seesawed between identifiable narratives and abstract imagery; my quest to understand spiritual systems has entered the weavings in recognized and abstract symbols; and I never shied away from beauty."

"I consider all work as studies, just one step on the path from here to there—and who knows where there is going to end up being. However, with time, the nature of weaving itself became more prominent in my work. So you find notations about how they are made, diagrams of weave drafts, and recordings of their materials. This also became helpful in my teaching. Instead of looking for written notes on the work, I could just refer to the work itself."

"Weaving has been the thread that has held my life together for more than fifty years. One has to fill the minutes, hours, days and years that are given to you with something, and it seems that weaving chose me. In essence, I see my life as the latest iteration in the long line of weavers that stretch back beyond recorded history. I feel blessed to be in this lineage."

"What I am interested in doing is helping people see in a particular kind of way and to see what is already here- to sort of move and change things that are already a part of this particular enviornment. I am trying to do that in a very subtle way by saying: well, my human quality is a different kind of organisational quality. For instance the grey piece is laid out in a series of mounds with a grid. Everything else in the landscape is totally random. When the rocks fall, they simply fall and there is no particular design. Whereas I lay my human design on it."

"I grew up in Indiana and my earlier memories were of living on a farm. We lived on my grandfather’s farm in Indiana and actually, it’s interesting, that location was called Sand Hill Farm. My grandfather was Amish and his property was just adjacent to his parents’. So, they had lots of land so they were farmers and that’s where I started. When I was about six years old, I remember some friends of my parents gave my mother and I Christmas presents, and they gave my mother colored pencils and they gave me perfume, and to this day I think they must have gotten it mixed up because I was terribly insulted, I thought, you know, “I’m the artist, I should have gotten the colored pencils!” So, at a very early age, somehow, even though I was living on a farm and had really no idea what it meant to be an artist, I considered myself to be a creative person."

"No, nobody. The families really were . . . my mother’s family lived in Lafayette, Indiana and she came from a really large family, and my dad’s family, were obviously, all farmers. So, there was no role model at all. I think the most sophisticated experience I had was when I was in high school, my freshman and sophomore year, my father was in India with the Point 4 program, and I worked with a woman [whose husband was with the foreign service in Delhi], who was an artist and she had a studio. And I worked with her several mornings a week. So, that became, I suppose, that was my very first real practical experience of what an artist did. She would work in her studio in the morning . . . she would not answer the telephone. Her friends all knew not to call her at certain times, so that was probably my first experience with that."

"It was, we went to art museums, we traveled through Europe on our way home. We didn’t do any stopping when we went to India, but on the way back, which was better, because by then I was 16 and so I saw a lot of things I wouldn’t have seen if I was just living in Ohio."

"I started college at Michigan State because I went to . . . two summers before that I had gone to Interlochen Music Camp and they had an art program there. And so, the man who was teaching art was also teaching at Michigan State, so I got interested in going there because of their program. So, my first year, I was I was at Michigan State and then after that I transferred to Ohio State so that I could live at home. My family did not have that . . . it was always a matter of finances to, you know, how you were going to afford to do these things. All beginning art majors, you take drawing, ceramics, painting, and everything. That was my first experience with working three-dimensionally so I was completely hooked. Before that I had, in India, all the work I had done were drawings and paintings, because I was working with [Janet Sewell], and that was all that I knew. Even as a child, I was always drawing. So, it wasn’t until I went to Michigan State and took that ceramics class. There was something about, you know, not just your ideas, but the physical information that is in your body or in your hands or something, that really clicked for me, I liked that a lot."

"Well, the art department there was very different than it is now."

"The sculpture department was over in some agronomy building in the basement or something because they had a very old building and, there just wasn’t room for all the classes. Now they have a huge new building. I went to interview someone that we were interviewing as a Dean who was in their Art History department, and their Art department now is in a huge building, it has like 12 floors or something and three floors are devoted just to computers. So it is a very different department now than it was then, but when I was there it was very intimate and you could work there all the time, all day, on the weekends if you wanted to. They had visiting artists. I remember David Smith came one time and spoke to us, and talked to us in our studios and I remember I was complaining to him about something, I can’t remember. I didn’t have enough of something, I was complaining because the school didn’t provide it and he just said, “Well, go get it!” And I said, “Oh yeah.” It just never dawned on me, “Oh yeah! I’m in charge of what I’m doing! If I need something, just go get it!”"

"Yes. And my [former husband], David Elder was the T.A. (teaching assistant) for the person teaching the sculpture class."

"Yes, he was in a graduate student in that program, and that’s how we met. We married right after I graduated and he continued as a graduate TA."

"David got a job teaching at Valparaiso University, which is where he graduated from, that’s in Indiana. And, I did some things. Again, I was kind of back to doing drawings. We were there for a couple years and then moved to California."

"It was1964 and I was pregnant with Eric at that time and so we moved out here and we were in Long Beach for a couple of years before he then got a job at Pasadena City College. By then, well, actually, in Long Beach, I was making sculpture again. As soon as we got to California, things really started to click and when we moved to Sierra Madre and David was teaching in Pasadena, I think one of the really important things for me was that I saw one of Judy Chicago’s smoke pieces. I don’t know if you are familiar with those but she did them in several locations where she would. . . . Well, one that I remember in particular, was at the Pasadena, or, what is now the Norton Simon Museum, around that pool she had people set up colored smoke and so they would light them and then . . . so you just had this ephemeral experience that lasted for what, maybe 30 minutes. So that was my first experience with seeing something that relied on your visual memory. There was nothing left, there was no object. I was quite fascinated with that."

"I’ve come to experience art like a séance. Over time you can meld minds with artists: you laugh and feel their humor, or you are shocked by their sadness and grief. The main thing that comes across in Bellini’s paintings is the awesome potency and profound depth of feeling that made them. I’ve spent a good deal of my life looking at paintings, and what stands out to me is that, no matter when the painters lived, there are a lot of similarities among them. The work carries markers of the artist’s inner life—be it Carroll Dunham’s or Giovanni Bellini’s—for us to connect to. I find that humanity in art very appealing because it just cuts away all the layers of academia. Scholarship can buoy understanding in some ways but after a point can also drag you down, away from the art. Since contemporary artists are not hired by, say, the Vatican, we have the freedom to ask ourselves what we believe in and then to assert that belief. It’s actually a powerful liberty to own, and especially nice in our time when there are so many women’s voices in the mix."

"The best paintings of depositions, crucifixions and entombments are images that are familiar if you’ve ever buried someone you love. Just today, I saw an image in the New York Daily News of the brother of Moises Locón Yac, who was killed in the explosion on Second Avenue on March 26, collapsing in the arms of a Red Cross worker. You see the same configuration in paintings of Mary Magdalene mourning Christ. I remember things through great pictures. When I look at Renaissance masterpieces I recall scenes like the one on Second Avenue—the profound grief of families realizing that their loved ones have been killed."

"Painters have always had to believe in formal language. It just didn’t used to be called into question as much as it is now. It is a belief that pictures can be formally coded and tell a story, and that viewers will understand that code even if they are not painters themselves. In contemporary art the language of painting is like a dialect of ancient Greek—most people just don’t understand it. Furthermore I don’t know how many people are willing to relax and let the meaning of the painting unfold, but I like to think they will feel the power of the form, almost unconsciously, whether they want to or not."

"The interesting thing about Hippies is how those male figures jump out from behind the central woman, and the painting did that to me—in the process of making it, the men said, “Ta-da!” They came out of the work. And I had to ask myself where to take it next. I think that Hippies should have come after the portraits it was shown with at David Zwirner this spring, but it didn’t, it came first. I decided to make six to eight portraits of incubi and succubae using the structural idea of a grisaille painting with a flourish of what is called cangiantismo, a sort of spectral color-wheel effect that contrasts the grays. In the 16th century the Italian viewer understood it as a signal that the supernatural had arrived."

"I’ve done grisaille paintings with flashes of intense color over the years. One painting like that would surface as an isolated element in a body of work every now and then. When Hippies appeared I wanted to see what would happen if I just stayed with it and didn’t let up. I really didn’t know where I was going, but at some point the art critic Christian Viveros-Fauné came to my studio and said it reminded him of the “Bad Babies” series [1991-92]. Both groups of paintings personify color. I remember looking at my palette table and telling Christian, “I just want to make this come alive.” It’s such a stupid idea, and yet I think that is what I did. I just had to keep believing in it. When things went wrong, when they veered off course, I would tell myself to just trust the process."

"So much of my work is about doing the very obvious. Making art is like finding your Excalibur, the sword in the stone. It’s right there and others can tug and tug, but you have to be Arthur to pull it out. Anyone can decide, intellectually, to make paintings where “colors come alive as characters”—but try to do it! Few people can pull it off. You have to have lived your life in a certain way, and have believed all along that that is possible, in order to make it work."

"That was partly why I made the “Bad Habits” sculptures in 1995. In going from painting to painting I was “recasting” my characters every time. I had to get to know them one by one and understand what they mean. I realized through Fassbinder that it would be interesting to have your blonde—your Hanna Schygulla—as one person in an ensemble of actors who each play a range of characters. The range should be small—you can’t make people be something they’re not. Fassbinder was aware of how to use everyone’s qualities. Their fading looks, like Fassbinder’s own physical deterioration, became his material. They all had to be very smart and not vain to allow this to happen. Fassbinder’s actors came from the theater and theater is close to sculpture, so perhaps they had an awareness of the sculptural properties of their bodies."

"I arranged the “Bad Habits” figurines into groups, which I studied to make the paintings. I was thinking about how Tintoretto made wax figures to illuminate scenes and understand complicated lighting. “Bad Habits” is about light. To keep my focus on that aspect of the work, I didn’t want to have to keep reinventing characters. I could have kept working on that series forever but I made myself stop. I realized that as an artist I was about more than that, so I forced myself to move on."

"One of the ideas about art that was gaining momentum when I was student, which I heard but didn’t take seriously, was that psychology has no place in painting. And so, as a 19-year-old, I responded by putting it back there, boldly and for no good fucking reason."

"Cool kids always think their shit doesn’t stink, but Fassbinder reminds us that our shit does stink, and on top of that it’s rotten, and it’s OK to admit that. We’re all human. I’m interested in formal language and emotional content—formalism and feelings have a perfect marriage, if you can handle it. Looking back, I realize how much of the work was led by a rather dry and clear process and yet the results are anything but dry. I set a path and let the weirdness and eccentric stuff come up on its own; all that content just found a place out of the orderly way I had set up the process."

"I love Solzhenitsyn’s writing for his insights into morality and humanity, and today I came across a quote from The Gulag Archipelago: “If only it were all so simple! If only there were evil people somewhere insidiously committing evil deeds, and it were necessary only to separate them from the rest of us and destroy them. But the line dividing good and evil cuts through the heart of every human being. And who is willing to destroy a piece of his own heart?” I love that idea. If you think of yourself as “good,” you should think about how easily you could be evil under different circumstances. It’s important to embrace the range and try to comprehend it. Philip Guston said something similar when he talked about imagining himself like Isaac Babel, who wrote about riding around with the Red Army during the Polish-Soviet War, witnessing rape, pillage and killing. Guston was able to envision himself not only through the lens of the Italian painters he adored, but through the hooded figures of Ku Klux Klan. He recognized that the enemy lies within."

"Misogyny. There is no exact parallel to the story. I didn’t read a great writer like Babel who contextualized it for me. What I learned from Guston is that if you point the finger at yourself first, then you are freer. Misogyny is so rampant, extreme and insidious that it doesn’t get called out nearly enough. A lot of men, including gay men, are misogynists, and a lot of women are too. I’ve experienced it personally from so many, and I can therefore assume that because I live in this society I must have absorbed it too, so if I want to talk about misogyny I have to first acknowledge the aspects of it I’ve absorbed. I’m not the kind of person or artist, nor do I admire the kind of person or artist, who proselytizes, pontificates or points outward at others. I admire Guston and Diane Arbus and Fassbinder because they show a myriad of internal conflicts. That’s what art is—a struggle filtered through the self. That is how it becomes generous."

"I often wish I could go to my studio and paint all the time, but I can’t. I often feel disconnected, as if I’m waiting for instructions. It’s absolute torture. The first third of the time it took to make these recent paintings was spent going in every day but ending up with nothing. Then, slowly, something started to happen."

"There are great Caravaggios in San Luigi dei Francesi in Rome—the Saint Matthew cycle. The first painting, on the left of the small chapel, is The Calling of Saint Matthew. Jesus points at Matthew, who sits across from him with his head down. Matthew is the only one who isn’t looking at Jesus. On the opposite wall, on the right side of the chapel, hangs the third painting that shows the end of the narrative, Matthew’s martyrdom: Matthew lies on the ground and some guy with a sword is standing over him, just about to murder him. Imagine how you’d feel in that moment! I stared at the painting for so long, fascinated by how everyone is freaking out except for Matthew, who is reaching up. What is he looking at? It’s an angel leaning over a cloud and extending a palm, as if holding a stick to a drowning man. You realize that Matthew is a man who lived and died with belief in eternal salvation, which is why he’s being murdered—he’s dying for his beliefs. It’s interesting that Caravaggio depicts him seeing his salvation. Everyone else sees horror and chaos, but Matthew sees an angel extending a palm. In this painting you witness him becoming something."

"So, to answer your question, when I think of being an artist, I think of the central painting, between those two, showing Saint Matthew as an old man taking dictation from an angel, doing divine work on earth. The man depicted in the painting is a nincompoop and the angel is impatiently counting on his fingers, as if Matthew isn’t keeping up. It’s so funny: that’s Caravaggio’s wit. The Passion of Saint Matthew is one of the most beautiful testaments we have, but here he is shown as a very ordinary man. I believe Caravaggio related to Matthew because of how beautifully this story is depicted, with so much feeling and sensitivity. The three paintings show the utter transformation of a man over time."

"Ever since we were at Yale together, John Currin has said he admires my ability to believe. I remember once in a critique of my work, my teacher William Bailey was furious that it didn’t have enough “fiction building.” He quoted Magritte: “Ceci n’est pas une pipe, Lisa!” I said, “But I want the paintings to be real!” To which he snapped, “Well, that’s not a good goal.” John was at that critique, and he jumped in, saying: “I actually think it’s amazing she thinks they’re real!”"

"It was a very important argument for me, because I understood that there is an orthodox way of looking at things: “This is a representation. This is not a pipe, it’s a painting. It’s not real,” which feels pretty obvious and rather dull at this point. There was this other possibility that seemed juicier and more fucked up and hopeful. And I did have to come to a synthetic approach to making, but once I could do that, I could also believe in painting again, and make it real again. I’ve taken it to that next step, and my gamble is to succeed or fail at that."

"As the days pass and the seasons change, the sky, earth, mountains and rivers repeat in patterns that are never really quite the same. In my search for the variations of the many faces in nature, I have found that nature provides an infinite source of inspiration for artistic expression,”"

"To grow the love of nature globally amongst the local and international art communities and to call attention to our need to preserve our earth,"

"I have found painting in water media – acrylic demands an absolute control of the medium to achieve the various effects, textures, and transparencies.The scale of the painting is a challenge, but not a limitation for me. To produce on canvas or paper what I have in my mind, my ideas and feelings on the universe, is a great challenge"

"To believe in yourself and know who you are when others don't believe in you is the greatest accomplishment; to never give up, to never quit, to have faith and stand your ground. Never change who you are. Love yourself because you have already made it and you are... Somebody."

"My work explores the passing of time and the tension between the human longing for reassuring repetition and — at the same time — change. I am particularly interested in our human ability to see what we expect to see, to misinterpret, to see a partial picture as the whole, to disregard incremental change, or to completely overlook the significant."

"My current artwork uses the lines and patterns from daily weather maps and images of weather — rain, snow, clouds, hail — as visual metaphors for these ideas. It explores the constancy, variation, and violence hidden within the familiar, reassuring seasonal cycle. I also use images of oceans — stormy, placid, or dramatic — as visual reflections of human moods and emotions."

"Like a human life, my artwork is multi-layered, complex, and develops over time. Color, texture, humor, and the physical joy of applying paint and cutting relief prints are important in the creation of my work. In the process of creating a piece, I begin working on an idea with a loosely drawn skeleton. I add layers of paint and drawing, building up layers of meanings and emphasis to create a finished piece that is dense with meaning."

"My installations, which are constructed with relief-printed images on paper applied to walls, floors, and ceilings, surround the viewers with visual representations of change, movement, and repetition. They directly address change and the passage of time by surrounding the viewer with moving storms, slow drips, changing clouds, and moving hail, snow, wind, and rain."

"Nothing is easy. It is not easy to have a baby, for a tree to grow—but that’s what is beautiful."

"I don't know what is important and what is unimportant, so I call it all immensely important."

"Nothing is easy. It is not easy to have a baby, for a tree to grow--but that's what is beautiful. That is part of the beauty. To wish for a life of ease is ridiculous. When I think about how I really do feel it overcomes me. Then I wonder if I've done enough"

"My Friends Write to Me from America that Joseph Wright (my Son) "has Painted a Likeness and also moddel’d a Clay Bust of General Washington which will be a very great honour to My Famaly.""

"I most heartly thank my god for Sparing My life to See this hapy day."

"I joyne with all My friends in the pleasing prospect that Posterity will See, and behold the Statue of the man who was apointed by his Contry, and the voice of the Enlightend Part of Mankind to be the great general to Save the Liberties of the Christian Religion and Stop the Pride and Insolence of old England. and by his truly great and Noble Example in all human Vertues he has Restord Peace on Earth, good Will toward mankind."

"Truly hapy are You Sir, to have the greatful thanks of all Europe—with the Prayir of the Widows and the Fatherless—You have my most greatful thanks for your Kind atention to my Son in taking him in to your Famaly to encourage his genii and giving him the pleasing opertunity of taking a Likeness that has I Sincerly hope, gave his Contry and your Friends Sir, Satisfaction."

"I am Impatient to have a Copy of what he has done that I may have the honour of making a model from it in Wax Work—it has been for some time the Wish and desire of my heart to moddel a Likeness of generel Washington, then I shall think my Self ariv’d at the End of all my Earthly honours and Return in Peace to Enjoy my Native Country. I am Sir with gratitude an Respect Your very humble Servnt"

"I was an artist with many social connections, and – don’t tell! – I may have been a spy. I was born on Long Island, New York in 1725, but by the time I was four I was living in Bordentown, New Jersey. My father was a devout Quaker, and I was passionate about art, especially sculpting, so when I was twenty-one I moved to Philadelphia, the center of American art. I married a fellow Quaker, Joseph Wright, and we moved back to Bordentown, before he unexpectedly died in 1769. But I didn’t give up my art dreams, and along with my sister Rachel, who was also a widow, we started a business making wax sculptures, and soon we had salons in Philadelphia and New York City. I met Benjamin Franklin, and he convinced me to move to London and introduced me to important people who wanted to be sculpted. Things were bad between Britain and its colonies, and I supported the efforts of Prime Minister William Pitt who was trying to reconcile everyone. But at the same time, while my many subjects – including the King himself – were posing, we’d talk openly and honestly about what was going on. If any valuable military or political news came my way, I’d write it in a letter to the Continental Congress, which I would then smuggle out in my wax statues. I also tried to help American prisoners of war who were jailed in England. And at the same time, I also tried to compensate Loyalists for their losses. I wanted to get back to New Jersey, but I died in London in 1786. Nobody knows where I am buried."

"The day I decided to commit to being an artist was one of the best days of my life. I knew what I loved to do and what I now had to do. Although it was a totally frightening career choice, it was also one of the most liberating."

"Moving to New York to get an MFA in poetry was a pretty affirming moment. I started to research poets who were performance artists and discovered people like Vito Acconci. From there, my poems walked off the page and into the streets in an action poem style. Photography has always been a big part of my life and when I started researching early performance work, I never understood why the “documentation” of the work was of such bad quality. I went back to school, to the International Center for Photography, to learn the skills necessary to capture aesthetically compelling work, to eliminate the hierarchy between the performance and video and photos. At that point, I hit my stride."

"When I was 15, I fell in a frozen lake. I was walking on a lake outside of Boston and the ice started cracking. The next thing you know, I was fighting to get out. The lake was a water reservoir so it was illegal to walk on it. Afterward, I was scared to tell anyone about what happened for fear of getting into trouble. Even though I was freezing for days after, it was also kind of exciting."

"When I do these performances now, the feeling in my body seems to mirror that lake experience. I did a performance a few years ago where I threw myself through sheets of glass and after that I found the vocabulary to describe how I felt physically eluded me. It was like a secret in my body. When thinking about how to approach the reenactment, I started reading about how William Turner worked. He would take real-life events and turn them into the most beautiful images using color and light. He was also very interested in the sublime—man’s powerlessness in the face of nature. I channeled him as an inspiration when making the video."

"There are two phases of the exhibition—day and night. When you walk into the gallery during the day, in this reality, it is actually night. There are 75 night-blooming jasmine plants in boxes with shop lights above them suspended from the ceiling. Because the lights are off, the plants are tricked into thinking it is night and release their rich smell. The viewer walks through a maze of flowers and arrives at the video projected on a screen of myself walking and falling through a frozen lake in the center of the gallery. There is an audio score accompanying the video by experimental jazz composer Jason Ajemian. Every day at 5:30pm, the video turns off and the lights start to turn on in a synchronized choreography to a piece of music. The "day" then begins and the lights turn off again at 5:30am. It is a very sensorial experience with smell, video, light, color, and sound."

"It’s sort of like building a puzzle. I get an idea and then see how it best fits. If it is an idea for a performance, I start to think, Should it be live? Is it best for video? What time of day? What kind of camera? Where should it be shot? Then I think, How should it be installed? Single-channel or installation? If it is for a live audience, then everything changes; now you are thinking outside the frame and with a 360-degree view. Then the questions start again. All the projects start with an image. If the work is physically challenging, then I work backward to figure out how I can make it. How can I cover myself with bees while doing tai chi? How can I throw myself through sheets of glass? How can I fall through the middle of a frozen lake?"

"I start researching and make calls to people whom I think can help me. The first 10 calls are all usually the same: “You can’t do that, it's impossible.” But then I find someone who is one the same page as me and the fun starts. When we finally have a date, then I prepare physically and mentally. Trampoline training, tai chi practice, ice baths, ashram stays, etc. A lot of research goes into the projects—the goal is to make the final image."

"For this project, I am wearing a suit made of raw silk inspired by William Turner’s color palette in "The Burning of the Houses of Lords and Commons." I wanted the fabric to reflect the light like the golden flames in the painting."

"On the day of, usually, I am just focused on all that needs to get done to get the shot right. When I am performing, I switch into my body and try to be as in the moment as possible. When I fell through the lake, I opened my eyes and it was so incredibly peaceful. Frozen lake water is this deep emerald green, and all I saw was this thick liquid that was so quiet. I held myself under the ice for as long as I could to experience it."

"Falling in the lake the first time wasn’t what I would call traumatic. It was while it was happening —don’t get me wrong, but after, it was more of an exciting mystery. It was kind of like recovering from an intense illness. Or losing your virginity and wondering what the hell happened? I did feel an immense sense of power after I shot it last winter. I was in total control of the situation this time, which was more fun."

"Adrian Piper is incredible. I also love the work of Ana Mendieta, Chris Burden, Vito Acconci, Nam June Paik, Pipilotti Rist, Patty Chang, Diane Arbus, Nikki S. Lee, Hito Steyerl, Tino Seghal, T.S. Elliot, Wallace Stevens, Sylvia Plath, Emily Dickinson, Frank O’Hara. The list is endless and always changing."

"Ezra Pound said poetry is “news that stays news,” which I’ve always liked."

"I feel like Miami is growing so fast it is hard to pinpoint what it is anymore because everything is constantly changing here, but at the same time, it’s Miami—this surreal, gritty, gorgeous city that attracts a unique type of person. The art community here reflects that. It is unconventional in its core; it is hardworking, dedicated, supportive, and fun."

"Art has always been a big part of my life, I can always remember sitting down and painting and drawing with my sisters, and art would always be spoken about. When I was studying the IB I then realised that all I wanted to do was make art and that’s when I decide to take a gap year and then apply for City and Guilds."

"I am really inspired by Flora Yuknovich’s work, I think as soon as I arrived at City and Guilds and saw her paintings I feel in love with them. I am also really inspired and fascinated with botanical studies and love visiting Kew Gardens. Within my work I try to bring the loose, bold and dynamic style of Flora’s work alongside the minute details found in floral studies, whilst recreate and transcribing classical mythological paintings."

"This year I have been looking the play Antigone by Sophocles. At the beginning of my project I tried to find as many classical painting representations of the play and then I work from these paintings to create my own work."

"I am really interested in the beauty of these paintings and the dark tales that they often depict, and this battle between aesthetic beauty against the dark truth of human behaviours."

"I have just completed my degree series which I have been working on in lockdown. I have really enjoyed making it, however my dream series at the moment is just being able to make work in a large studio where I can work to any scale and have space to stand back. Lockdown had really shown my the importance of having a studio and the space to look at your work."

"When I paint I listen to the Harry Potter audiobooks on repeat."

"Whaaaaa I’m not sure, on my gap year I worked on a super yacht which was a crazy, exhausting and bind blowing all at the same time."

"The Garden of Earthly Delights by Bosch, I am obsessed with it."

"My work is inspired by Renaissance period paintings depicting Greek mythology. I am currently focusing on The Odyssey by Homer. The Renaissance paintings represent the drama within these stories, with dynamic compositions and rich colours. I use a range of different paintings depicting the myth to create a collage on Photoshop, breaking down the classical structure and the figuration; creating contrasts between scale, composition, figuration and abstraction. From them, I create large-scale paintings constructed in layers using a variety of mediums; oil, gouache and acrylic."

"The paintings start with a layer of gouache, blocking in colour and mapping out movement. Then acrylic paint is used for the floral patterns to intensify the placement of colours and black/grey structural lines breaking through the work. For some time now, I have been developing the use of organic floral forms to apply a different painting language when recreating these classical paintings. I am interested in breaking down the barriers between the decorative and the fine arts. So, rather than purely decorative, I see the floral and feminine forms as a different language of abstraction. In this layer, the acrylic is built up and overlaps with changes in scale to create depth. In the final layer oil paint is used, which is applied in glazes to push back areas and for the floral patterning. The oils create a unique, opaque effect as they sit on the surface."

"The title for this painting is from the Devil in the White City, a book about a murderer who destroyed women during the chaos surrounding the Chicago’s 1893 World Fair. The image of “manufacturing of tears” fit well with the imagery I had been collecting of towers of babel connected to crying Mary Magdalenes. I was interested in placing these Babel-Magdalenes so that they covered the landscape, each unable to move."

"In creating the collage, the windmill was surreptitiously appeared…and it became apparent that is was there to blow debris into the Magdalene’s eyes and cause them to cry. In the process of collage, there are happy accidents that astound me. Next, I needed to figure out why they must cry and in my mind’s eye, I saw these structures all aflame. I realized that they were not merely sad but that they had to cry from danger of their own peril. For this reason, one is holding an onion…so as to produce more tears."

"“Each woman must cry and contribute her tears to a communal glass. By working together, perhaps one day they will produce enough tears to put out one fire and spare the one who is closest to immediate danger. To stop participating results in death.”"

"My paintings function as allegories and this one I think is as a metaphor for work and contributing to something like social security."

"My studio is a giant collage with images taped to the walls. By surrounding myself with images and fragments from paintings, I find relationships. From there I move things with tape to make a more specific composition of forms. It can be a slow process that sometimes takes years or a lightning fast instant when two things get stuck together and make a perfect new statement that I then render in paint."

"Painting is about painting and its history. In some ways, I am trying to bring the past back and keep it alive, and in other ways, I weave quotations of past work into a narrative that reflects my life experiences in the present now. I paint from collages cut from the pages of Western European art history, so in a way, I work to preserve the past, and to create a narrative – to write my name on body of work mostly made by men."

"I individually value the artists of the past but I also look at what I am doing like a quilt making."

"I grew up sleeping beneath quilts made by my great-grandmother. Each design had a name and meaning and each piece of cloth was a remnant from a dress of the many daughters, granddaughters, or great granddaughters. Each scrap went back to a greater cloth from which it was cut. They were narratives of textiles, garments, and lives; all combined they contained the aura of our family. Each was designed into a new creation to cover us from scraps of the old. Nothing was lost; it was ordered and reabsorbed into a larger pattern. This reflects my own process working from the fabric of art history. To answer your question: Yes! I love them all. I am interested in it all of art’s past. It gives me more to work with."

"I was teaching in Spain spring of 2020 and I watched as FSU’s campus in Italy close as the virus was killing thousands; and then, our own campus in Valencia closed. It was necessary for me to evacuate but not before I had to quickly try to finish a large painting project there and ship the work to friends in Paris and Vienna. Some of my packages have still not arrived at their destination because Covid has disrupted service and made things very complicated. It’s not a safe time to distribute art when the opening of services and facilities is so up in the air. Usually I show in ten shows a year all over the US and abroad. For now, I am taking a hiatus from exhibiting in person. I am hoping to take the next couple of years to turn inward and make my work in an intimate way without the pressure of circulation."

"I was born in Louisiana going back upwards of 10 generations of southerners, on my mother’s side, back to Jamestown. The South is a place behind the times – it runs slower. The South taught me tradition, storytelling, nostalgia, and preservation which are prevalent in my paintings. Returning to the South after traveling around the world, I am learning and becoming more aware about how systemically flawed our country is and I hope to be a better ally for finding solutions. I don’t yet know how this developing awareness might express its way into my art but I am reading books this summer about institutional racism. Most of my painting ideas can be traced back to what I am reading."

"These are images of works in progress in my studio. Some of these are from very complex collages and some from simpler. I think they reflect that struggle between maximalist and more minimal to compose."

"My intention from the very beginning,was to try to find a way that didn't remind me of a thousand other people that I had seen."

"“I often paint a painting until it tells me to stop, and sometimes the white ground still shows,In most cases, I try to make the white ground either a pattern, so that it can be both negative and positive space, or if not that, perhaps an atmospheric wind moving the other colors and shapes around."

"“I feel that an abstract painting is outer space, and I am in front of it, suspended in outer space, so that there isn't any horizon line. However, there is probably a sense of up and down, and side to side.” Beyond that, “I want the viewer to create part of the meaning."

"When I first conceive of a painting‭, ‬I must feel it‭, ‬I hear it‭, ‬I taste it‭, ‬and I want to eat it‭. ‬I start from the driving force‭ ‬of color‭ (‬color hunger‭); ‬then comes to a second color to provide light‭, ‬luminous light‭. ‬It will be the glow to reinforce the first color‭. ‬I then discover the need of one‭, ‬two‭, ‬three‭, ‬or more colors which will indicate and make movement‭, ‬establish the psychodynamic balance in midair‭, ‬allow freedom to take place‭, ‬add weight at the top and bottom of painting‭, ‬and create mythical whirlpools between larger forms‭.”"

"Process work doesn’t appeal to me. That’s why I like drypoint and not just an etching. I’ve done only twenty-five bitten etchings in my life because I don’t care for all that business that goes on that gets between you and the work. I love drypoint and I think that actually it gives you the same wonderful satisfaction that carving in stone must give to a person. You’re really making something with great effort. And I think that effort is very important in the production of any work of art. If it’s too easy, if you’re just gliding around on a wax surface and then biting it in acid, it doesn’t give you that sensation of making something … That wonderful feeling that you have for the material and the real strength that you have to employ to get the line the right depth and richness and to do the cross-hatching so that the metal doesn’t break down but still you get a rich black. It gives you, oh, a great sensation"

"Pin-head, parsimoniously covered with thin dark hair, on a short, dumpy body. Small features, prominent nose, chipmunk teeth and no chin, conveying the sharp, weak look of a little rodent. Absent-minded eyes with a half-glimmer of observation. Prim, critical mouth and faint coloring. Personality lifeless, retiring, snippy, quietly egotistical. Lacks vigor and sparkle."

"Art comes first for me. I enjoy inspiring others to be creative too. I prefer positive action rather than protest whenever possible. For example, I am currently painting the Mexican side of the U.S. border wall with kids across the border. This is the second border wall I’m painting. What I love about it is that it sends a clear message in a way that transcends fighting and protesting. I can’t personally tear down the border wall, but I can help change minds."

"I grew up on Martha’s Vineyard, a small island and home to many artists. After graduating art school in the mid 80’s, I spent a year in Guatemala. I loved its color and simple way of life. Things were getting increasingly scary there with war, so when I saw Bisbee, passing through on my way back east, it reminded me of Guatemala…a mountain village with simple houses and artistic people. It also felt very familiar to me because I grew up in a small creative community. After another winter in Guatemala, and the situation there getting worse, I decided to move to Bisbee in 1988. With the exception of a few years at sea, I’ve lived in Bisbee ever since. My favorite view to paint is right out my studio window at Central School Project. Downtown with B mountain"

"I was first introduced to art cars in the early 90’s in Bisbee by my friend Kate Pearson. She had just seen Harrod Blank’s film “Wild Wheels” and had met Harrod. She got inspired and made her own and I soon followed. My first car was called “The Funk Ambulance,” which was an Oldsmobile 98 painted with lions, a big sound system, and disco lights."

"In 1995 I moved on to painting a boat, and then a home built sailing raft my partner at the time and I built out of scrap lumber, logs and foam. We fashioned it into a painted dragon. We lived and sailed on it in the North-East for two years. It was hard living on the ocean so in 1999, I moved back to Bisbee."

"It wasn’t until 2008, when Hillary Clinton announced her candidacy, that art cars became a vehicle for activism for me. I wasn’t a political person at that point, but I had been a big fan of Hillary for years and vowed if she ever ran for President I’d do everything in my power to help get her elected. I immediately set to work and created my group “The Hillary Clinton Army.” The point of the group was to support Hillary using art. I painted my car with Hillary images, glued items such as toys, marbles and anything that caught my eye, and hit the campaign trail. The Hillcar was a hit and soon became part of Hillary’s entourage, traveling from town to town all over the country. I joined Hillary’s campaign again in 2016, and the Hillcar traveled to many states once again!"

"I am against the U.S./Mexican border wall, but rather than protest it directly, I chose to paint it with kids. I spent 6 years as “The Border Bedazzlers” painting the south side of the border wall with Mexican kids. We painted a full mile of border wall in Naco, Sonora. We turned something ugly into a giant canvas for art. Our painted border wall got torn down in 2016, shortly after Trump was elected. It was replaced with a metal slotted fence. I didn’t want to paint that fence, and always thought I’d like to start a kids’ free art center if I had a space to do so. I called an 80 year old border activist named Tom Carlson, and met him for coffee. The next day he gave me the keys to the old migrant center that hadn’t been used in a few years. I opened Studio Mariposa on Trump’s inauguration day as my own small protest."

"Studio Mariposa is a kids’ free art center located just across the border in Naco, Sonora. We are on our 6th year. Before the pandemic we had a weekly art day that around 100 kids attended. We offered all kinds of projects, from painting, clay, textiles, 3-dimensional art, and even our own kids’ band. During the pandemic we had to stop in-person events so we gave away free art supply bags for kids to make art at home. Around 400 kids picked up bags each week, and the art they made was astounding! A lot of kids really found their artistic voice at this time. Now we offer free outdoor classes and projects. We have a weekly outdoor painting class. We also paint murals around town, and as I already said, we have started painting border wall number 2. We are made possible by donations, so please consider donating"

"Narrative is telling a story, I’m providing a situation. And it's in time, right now. Paintings are not in time. These are not narrative paintings. They can't be. Painting is boom: it's one time! It doesn't move, unless you put two of them in diptychs, or cartoon strips. And that's how they move. You can be doing narrative that way, if you want. But single paintings are a situation, they're snapshots. So, I avoid the word narrative. I'm not telling a story. I'm telling a situation. And I don't know a better way to say that. If you have a better way, please give it to me now."

"On the same canvas. Yes. Well, that's essentially what I'm doing. And I have been tempted to say that I make history paintings—but I know quite well that nobody anymore knows what I mean. If you say “classic,” that doesn't mean anything, but “history painting” is what I'm doing and I know I'm doing that, but I wouldn't choose it as a way of explaining it to an audience today cause they don't know."

"No, I wasn't interested in being Irish. And I wasn't interested in being in the Irish—in the sense of their mindset and miracles … I think you called them “myths.” But in the scheme of things, I liked the Irish and I liked living in Ireland and moreso familiarizing myself with their bewitching landscape and that story."

"I have no idea! You've got more exotic Irish than I have. My neighbors would never tell me that sort of thing. They don't talk that way to me. I think it's rather interesting: a bunch of new paintings I'm thinking of doing still keep the “Giants” in mind. I came across something a couple of weeks ago where they found bones in Northern Ireland of a woman and a man. And I guess either in the same graves or next door to each other. But they were brother and sister. Incest. Maybe like the Pharaohs: they ruled as brother and sister."

"After beginning as a painter, I realized that while I was painting or drawing I was actually perceiving the lines and spaces physically and in life-size scale. I was imagining myself in the painting or drawing much in the same way a little girl imagines herself in the doll house with her dolls. This realization of my perceptual translations caused me to build drawings as sculptures…to draw in three dimensional space."

"My major concern with sculpture is with physical and psychological movement in space and its relationship to human scale. My effort is to create forms and colors which cause the mind to dance to unheard music. I feel as if I’m translating the form, tone and movement of sound into physical space and time. My sculptures often read visually as music with crescendos, resting places and rhythmic progressions."

"I have worked for the last 5 years on a concentrated series of figures. Even though they do make reference to something recognizable, I am still working as they were abstract with the same human scale relationships and on the same conveyance of feeling through form. Here I am speaking of the metaphor of the human body to the vessel form, but importantly a vessel that can contain nothing but air. This is how I see myself and others, as outlines or drawings which suggest form but cannot restrain or contain the spirit."

"I’m in a position where I don’t have to be labeled… I don’t have to call myself an Indian artist to sell my work, and I decided that it was more to my advantage not to label myself as a particular kind of artist, based solely on my genealogy… now I know that I can be part of something, part of that lineage, without being defined by it."

"I liked the way they looked. They were easy to work with my hands. The drawings turned into these magical things."

"I don’t like to feel like I have to stay within a certain style. I like to see things progress and turn into other things. I’m all about adventure."

"I had this internal need to be a healer. My mom was ill a lot when I was a kid. When she got cancer, I became interested in the progression of the disease and how she was being treated,"

"“I want my children to be happy. I want them to find their own purpose in life rather than fall into a life that’s already set up for them"

"My grandmother, my mother, and me, each one of us progressed into our own work, “I take a great deal of pride in being different from my family. Yet I know my mother would absolutely love my work. As a woman, I think she’d be very proud that I’ve chosen to do things in my own style.”"

"I could never be a Minimalist artist: I am interested in corrupting fine art with everything I wish for. I want adventure and to feel the same sense of command that I imagine an explorer or a scientist would––like a visitor trespassing"

"I get a real charge from ancient Tibetan, Himalayan, and Indian art. I am obsessed by the clouds in Chinese and Tibetan paintings and their representation of strange creatures and mystical worlds . . . Both Eastern and Western references are deposited in the wor"

"A life that is never tasted when girls is at home are arrested. Gold ties, tighten, play her a fool time, time and time and so it can be imagined chocolate drips from tomato clouds will finally lossen and I will stick, sticky in love with freedom as this."

"origin is no place at all and can only be fabricated out of difference, division designed out of exclusion and extraordinary harm. Country as home is a contemporary concept riddled with empires"

"Mother gathered Three or no more dirty black stones, tossed them to sky that could break what had hardened her ground and without frown or flirt of flower father like grease or butter slipped aside to free her from forty and some more grown men who held."

"A field has no center, and is not really flat, so I use no flat areas. The form of grass as grass, leaves as leaves, is what I’m exploring…Line as form. Grass as form. Grass is also random and random is a natural computer facility. Computer grass is natural grass."

"without conscious understanding of what a drawing is we could not use the computer as a drawing medium…We ask this new medium questions and get new (and old) answers. But some of the answers were there from the beginning."

"Jeff and I have been making two-dimensional art for a long time. I've been making paintings and drawings since childhood and was educated as an artist. Jeff has been thinking what mathematicians think and writing it down since childhood and was educated as a mathematician and as an artist. In the 1960's Jeff became involved with computers and their programming and with using the computer to help people solve their problems."

"When the University of Kansas was given a plotter in 1967, Jeff was asked to test it. We began to think of drawing lines with it in ways that we found visually interesting. Together, we had enough common background and experience to begin to use the computer graphically. Together we draw with the computer and sign the drawings ."

"The subject of all my work has been landscape. The elements of both the computer work and my hand work are often repetitive, like leaves, trees, grass and other natural landscape elements are. There is sameness and similarity, yet everything is changing. Landscape yields both texture and form. The pictorial form is usually all-over, with non-focus details which form patterns, since I feel these as essential properties of landscape. A field has no center, and is not really flat, so I use no flat areas. The form of grass as grass, leaves as leaves, is what I'm exploring."

"I always seem to be in the process of learning about line and land forms. I learn from what I see and what I draw. What my hand-eye draws is different from what the computer draws. A computer helps by offering new visual ideas. These ideas in turn enrich new hand work which generates additional ideas which extends my thinking about computer generated lines. The learning circle closes on itself. The computer and Jeff force me to verbalization and conception of what the making of a graphic drawing really is about. And I in turn force Jeff to think about the programming of serious aesthetic drawing problems. Together we try to define what makes up a drawing we would like to see. Without conscious understanding of what a drawing is we could not use the computer as a drawing medium."

"A line carves out form on a white sheet of paper, a line carves out implied visual space. A line is an abstract element which I have seen and explored. A line is grass or the edge of a leaf, a shape, a symbol. The line does not exist, it can be drawn."

"When we found that there was a device, a plotter which could draw lines, and a device, a computer, which could perform the calculations for driving the plotter resulting in lines which I only partly thought of beforehand, we found a very exciting but very difficult drawing medium. Using a computer-plotter extends my hand-eye-head. The computer draws, my eyes see, my hand draws, the computer is programmed by Jeff, the computer draws...in an endless productive cycle. Computer drawn lines enrich my hand lines which in turn enrich my computer drawn lines..."

"Jeff and I use the computer as a traditional drawing medium. The resulting drawings are to be seen, to hang on a wall, to communicate. They are not just examples of computer technology, not just geometry, not just mathematics. We ask this new medium questions and get new (and old) answers. But some of the answers were there from the beginning...landscape. That it is possible to use mathematical formalism and pure geometry while attempting a humanistic exploration to us is one of the primary advantages of the use of the computer as a drawing medium."

"Now I am beginning to see what a line is about. To see that I can choose to draw little lines, a one big sweep of the arm line, a coiled or an uncoiled line, crossing lines, spiraled lines, decorative lines, random lines, and it's all the same line. Where and how these lines are placed and colored make the drawing what it is, that composition is perhaps the truly difficult element in the making of a drawing. Now I have really to think about what I am doing while drawing in order for Jeff to write a program to deal with what I can do as second nature. This thinking has made the making of the hand work much clearer. We consider each drawing element as an independent element. This is artificial. Yet, this artificiality is precisely one aspect of the use of a mathematical attitude—the separation and isolation of individual elements of a problem. Our computer graphic efforts have shown us just how complex even the most simple meaningful hand made drawing is. In addition to making drawings using the computer, we appear to be finding out just what the making of a drawing is about regardless of its medium."

"To me, the impact of the computer on the art of drawing will be profound. If I and Jeff and a computer can formulate visual ideas which communicate more clearly to ourselves and to others than just I alone can by hand, certainly the computer's effect on other artists will be even more profound. A new kind of renaissance is beginning. All those now working visually with the computer are Giottos announcing the coming of a new visual age. Just as the technical development of the camera changed people's visual experiences and changed art during the last hundred years, the computer will affect the visual dimensions of people's lives. The pre-camera, pre-computer Chinese artist took a life-time of understanding in order to make one meaningful ink filled brushstroke. It may take a life-time to develop a computer program to make one new communicating pen line which is meaningful for us."

"The thing is, I don't really mean to disappoint you and all that, but it doesn't really matter what you do to me; I'll never tell you where he is. We're going to destroy your silly little circus. We're going to bring you down."

"You know what will happen if you stop – but you dont know what will happen if you keep going, and the possibilities there are endless.” This means to me that no matter what it is always important to keep making your art, even if you think its bad, or no one cares, or there is no point. Because someday, someone will like it, and there will be a reason to it all, but theres no way you CAN get to that possibility if you stop. I think it is so important to keep in mind even small steps over time can create huge change in your practice when you look back."

"I have been making art for mostly my entire life, I started out drawing video game characters when I was a kid."

"During my time in college I was introduced to installation art and sculpture work, and I clicked with it right away. I really loved working with large sculptural pieces but it also gets hard to find space to store and make work like that, which is what lead me to soft sculpture & textiles."

"There is so much to learn when it comes to textile art, its so expansive in many different directions, and the experimentation that comes with fabrics and techniques makes it a never-ending learning experience which I love."

"Today I got to where I am just my simply continuing to make art. Making friends within the artist community will always get you places as you all learn and grow your craft together."

"I like wrapped things like Egyptian mummies, American burial costumes, and other archaeological finds."

"I was always interested in Egyptian mummies […] but later on, during the Vietnam War, when I saw all these bodies in plastic bags […] then I thought of that whole thing too. […] The string does have to do with imprisonment. […] I am very concerned about the political prisoners all over the world, and of course it had to do with my own past experiences, where I was not tied up, but it does not mean literally, physically tied up. [Y]ou can be in prison without being in a locked room. You are imprisoned by your own fears, inhibitions, phobias."

"Everything I’ve done is a statement on the, as they say, ‘human condition."

"“I always think that if I let go and go into the large outer space, I won’t find my way back. It’s just fear of the unknown…and I don’t know if I could come back…. I have fear of the unknown in general, whereas other people want to go out and explore the unknown."

"I can’t write myself except through reading others’ words."

"Why would anyone write about illness except the ill? And at first, too, the experience is too close for the ill person to be a reliable witness. The mind doesn’t want to write about the body’s condition but to change it, for in dreams the body can still dance!"

"Friends change toward the ill person, some revealed in their strange and beautiful kindness and some exposed in their utter, ugly selfishness."

"It’s curious that the Latin root of the Middle English word for tradition, tradere, means not only to “impart” and “give over,” but also to “betray."

"a world in which the hospital industrial complex makes “obsolete” different bodies"

"In describing a town in Morocco, Tétouan: "The whiteness and pearliness of the town simply defies you-you can't get it pure and brilliant enough and the shadows drive one silly-you race after them , pause one frenzied moment to decide on a blue mauve yellow or green shadow-when up and over the wall and away and the wretched things gone for that day at least and you are gazing at a glaring blank wall and wondering why on earth you ever started to sketch it.""

"But au fond-deep in my work-I am steadfast and steady as a rock... My present work is consistent-I shall sink or swim by it-I think swim-."

"To her mother, 1921: "Don't let N Zealand wait to put up a memorial tablet to my memory—let her help me now whilst I am working at work that I hope will live after me.""

"It is one of the tragedies of leaving Home—New Zealand is too far away—it ceases to be real. New Zealanders like myself cannot help becoming de-nationalized—they have no country—it is sad—but true ... Art is like that—it absorbs your whole life and being. Few women can do it successfully. It requires enormous vitality. That is my conception of genius—vitality.""

"1912: "I was born in Dunedin; we were an English family in a Scottish settlement.""

"1895: "I am slowly settling down to an oldmaidship, and I have only one prominent idea and that is that nothing will interfere between me and my work.""

"To Dorothy Kate Richmond, 1903: "Come to Tetuan. Come—catch the next steamer, cancel all engagements, chuck the studio let everything go to the winds only come without a moment's delay and value for yourself all the dreams of beauty colour and sunshine...""

"Painting reduces me to tears and misery: peaks of ecstasy, depths of disillusion..."

"To her brother, August 1940: "My aspect of the family talent, or curse? has taken the form of a deep intellectual experience, a force which has given me no rest or peace but infinite joy and sometimes even rapture.""

"I haven't any desire for success or the limelight, and no further wish to explain myself. Neither do I wish to play, any more than I can help, a part in the world of petty tyranny, greed and murder, and war ... My pacifism and my paintings are now closely linked."

"I live alone to work ... My friends are very few now, but more quality. Friends, family and works of art are the only reasons why I live."

"It's all there, the strangeness, colour, exhilaration."

"I've tried through the medium of paint to express ... how simple and wonderful living is ..."

"I have been able to devote my energies to what I really am, a woman painter. It is my life."

"I have never lost my faith in my painting, my work, as a child or an adult, in sickness or health, success or failure, peace or war ..."

"I am still trying to express ... the vast variations & endless possibilities in paint."

"I, as other painters do, live to paint and paint to live."

"I paint colour as a woman sees and hears..."

"When Carmella gave me the present of a hearing trumpet she may have foreseen some of the consequences. (first line)"

"Houses are really bodies. We connect ourselves with walls, roofs, and objects just as we hang on to our livers, skeletons, flesh and bloodstream. (p13)"

""I am never lonely...Or rather I never suffer from loneliness. I suffer much from the idea that my loneliness might be taken away from me by a lot of mercilessly well meaning people. Of course I never hope that you will understand me, so all I ask is that you do not imagine that you are persuading me into something when you are actually forcing me against my will." (p18)"

"Strange how the bible always seems to end up in misery and cataclysm. I often wondered how their angry and vicious God became so popular. Humanity is very strange and I don’t pretend to understand anything, however why worship something that only sends you plagues and massacres? and why was Eve blamed for everything? (p20)"

"If I remember correctly writers usually find some excuse for their books, although why one should excuse oneself for having such a quiet and peaceful occupation I really don't know. Military people never seem to apologize for killing each other yet novelists feel ashamed for writing some nice inert paper book that is not certain to be read by anybody. Values are very strange, they change so quickly I can’t keep track of them. (p21)"

"“...I believe in inspiration, an inspired conversation between two people with some mysterious affinity can bring more joy into life than even the most expensive kind of clock. Unfortunately there are very few inspired people and one has to fall back on one’s own store of vital fire, this is most exhausting especially, as you know, I have to work day and night even if all my bones ache and my head is swimming and I am fainting with fatigue and nobody understands my mortal fight to keep on my feet and not to lose my inspired joy of life even if I do have palpitations of the heart and they drive me like a poor beast of burden I often feel like Joan of Arc so dreadfully misunderstood and all those terrible cardinals and bishops prodding her poor agonized mind with so many unnecessary questions. I can’t help feeling some deep affinity with Joan of Arc and I often feel I am being burned at the stake just because I have always refused to give up that wonderful strange power I have inside me that becomes manifested when I am in harmonious communication with some other inspired being like myself.” (p25)"

"Before taking up the actual facts of my experience, I want to say that the sentence passed on me by society at that particular time was probably, surely even, a god-send, for I was not aware of the importance of health, I mean of the absolute necessity of having a healthy body to avoid disaster in the liberation of the mind. More important yet, the necessity that others be with me that we may feed each other with our knowledge and thus constitute the Whole…The time had not come for me to understand. What I am going to endeavor to express here with the utmost fidelity was but an embryo of knowledge. (from first page)"

"I am afraid I am going to drift into fiction, truthful but incomplete, for lack of some details which I cannot conjure up today and which might have enlightened us. This morning, the idea of the egg came again to my mind and I thought that I could use it as a crystal to look at Madrid in those days of July and August 1940—for why should it not enclose my own experiences as well as the past and future history of the Universe? The egg is the macrocosm and the microcosm, the dividing line between the Big and the Small which makes it impossible to see the whole. To possess a telescope without its other essential half—the microscope—seems to me a symbol of the darkest incomprehension. The task of the right eye is to peer into the telescope, while the left eye peers into the microscope. (August 24, 1943)"

"There are things that are not sayable. That’s why we have art. (2009)"

"Typically, young women of her class were expected to marry someone rich and titled, but she rebelled almost from childhood...She was a wonderful mother to those children and a treasure for Mexico and for me...She made a decision to live her own life and not the life that was expected of her. Or perhaps she followed a vocation more than she made a decision. I am filled with admiration for her integrity—defending it against the rules of a social class that prevented gifted people from becoming all that they had in them to become. Carrington never gave in...She defended her integrity from the beginning of her life in a very blunt way"

"Widely read in alchemical writings, a regular pilgrim since 1971 to the lamas in exile from Tibet, analysed by followers of Jung, and loyal to a fierce and personal brand of feminist idealism, Leonora Carrington never altogether sheds in her quest for wisdom a wonderful, saving mischievousness. Her great friend and collector Edward James wrote over her door in Mexico, "This is the house of the Sphinx." A sphinx, yes, but a sphinx who sets riddles not to confound or mock but to provoke laughter and open doors in the chambers of the mind, where love and fear and the other passions have their seat. She has said, "I try to empty myself of images which have made me blind": in many ways she is breaking spells which blind others' sight too, although the landscape she travels remains a place enchanted."

"Marakihau is one of my favourite works because it effectively replicates carving traditions. Marakihau is a word specific only to carving, it is a taniwha; water monsters that usually relate to specific locales inland or at sea. Taniwha are guardians of a place, so they can be both terrifying and good. They were said to inhabit dangerous places as a way to warn people of potential danger… My Marakihau is a composite of oceanic stuff; she has kelp dreadlocks and fishy bits. I styled this on the 1980s Soul II Soul Club Classics album cover with flying dreads, and my taniwha holds a bull’s horn like a big smoking chalice."

"Māori women are said not to carve, and I’ve always pushed the boundaries, so in terms of using media and photographic tools or film or video it’s my way of being able to carve. So rather than photographs I think of them as ancestral figures."

"For me and my marae, and my place for my community, it’s really important that it’s inclusive and that all people feel welcome and there’s a place for everybody inside the house."

"Mahuika (the goddess of fire) sits on a stool. She’s talked about as being part of the underworld… I’ve kind of contemporised what this underworld is… My Mahuika sits on a Marcel Breuer chair...I wanted to update my version of my Māori goddess by presenting her in this century… thinking about what does she look like, what does she mean and what does she say?"

"Video allows me to look beyond that framework and to show these characters as alive, proud, handsome, and strong."

"Politics is life is art is life is politics. It's all interwoven, like a whāriki, like a mat."

"Activism to bring political or social change is not far from my mind when I paint. I like to discuss and, if necessary, confront matters that I consider need discussion or redress. I do not and cannot separate my painting from my moral and ethical motives. They are one and the same. They (ideas, values) feed into each other when I work, giving me the platform to express being a Māori woman in New Zealand."

"The Treaty will always be the basis of my work. The issues I'm always discussing are economic, social and environmental... back into the basis of justice in our country, the covenant of the country, the korowai of the country."

"The issues that I’m always discussing are economic, social and environmental. And land rights tie back into the basis of justice in our country, the covenant of the country, the korowai of the country. So my imagery is cultural and traditional but it is also contemporary and futuristic."

"My work is centred around the Treaty of Waitangi. It’s to do with rangatiratanga, our atua, our taonga, and rights, living rights, arts and cultural rights."

"When you're painting you feel quite attune with everything... it's a great pleasure, quite addictive."

"I felt very strongly about feminism and photography better expressed my political ideals."

"They become a body not a person, then just an image not an image of a person."

"I think I would have been more successful, but less interesting."

"It was too hard to be a feminist artist on your own; the criticism was too great to bear."

"Art is a structure of symbols, and those people who do not comprehend that language will pass it by."

"I don't want to work unless there is some meaning that by painting I can communicate something personal and political. A painting is ambiguous, very sensuous and has to come from your core."

"I might refer to the female now, but she is always active, symbolic of female action and although painted in a sensual style, she is not up for sale, not offered to the viewer. This is one of the reasons I started using animals."

"More and more, we are being required to know what are the implications of living in a society that is increasingly diverse through the arrival of immigrants from all walks of life and very different parts of the planet. I would like to think that our work is a tangible example of what people can achieve when they work together."

"[A] painting presents its own battle, its own requirements. And a print is never a reproduction of a painting. It makes its own demands, it has its own life, its own thing going for it."

"When you're painting, nobody else knows what you're doing and you're the only one who understands it. You've got to have faith in what you're doing and in humanity."

"I couldn't imagine painting anyone I didn't like. When people do appear in my paintings, they're always people for whom I have a special feeling."

"Being an artist is submitting to the learning that comes from being a mother. It's all the better for the work in the end. It enriches your field of understanding of human nature, all the hards bits and the good bits, the whole thing...Ultimately, the way forward is to be grateful for the blessings that come from accepting those challenges."

"A consistent thread in my work is that it’s made in response to place, and what’s happening around me – physical and social environments provide the raw material, the inspiration, the starting point."

"More rich, more noble I will ever hold The Muse's laurel, than a crown of gold."

"I willingly accept Cassandra's fate, To speak the truth, although believ'd too late."

"The bloody wolf, the wolf does not pursue; The boar, though fierce, his tusk will not embrue In his own kind, Bears, not on bears do prey: Then art thou, man, more savage far than they."

"We are Diana’s virgin train, Descended of no mortal strain: Our bows and arrows are our goods, Our palaces the lofty woods. * * * If you ask where such wights do dwell, In what blest clime, that so excel, The poets only that can tell."

"What ever happy region is thy place, Cease thy celestial song a little space; (Thou wilt have time enough for hymns divine, Since Heav'n's eternal year is thine.)"

"Art she had none, yet wanted none: For Nature did that want supply."