Academics From Canada

"..when I see people making quote 'abstract' painting, I think it's just a dialogue and a dialogue isn't enough, that is to say, there is you painting and this canvas. I think there has to be a third thing, it has to be a trialogue. Whether that third thing - it must be, to reverberate and make trouble, you have to have trouble and contradictions, it has to become complex because life is complex, emotions are complex, - whether that third element is a still life of something, or an idea or a concept, in each case it has to be a trialogue and above all has to involve you.. ..The real thing that matters is how involved you are in that."

"To will a new form is inacceptable, because will builds distortion. Desire too, is incomplete and arbitrary. These strategies, however intimate they might become, must especially be removed to clear the way for something else – a condition somewhat unclear, but which in retrospect becomes a very precise act. This 'thing' is recognized only as it comes into existence. It resists analysis - and probably this is as it should be. Possibly the moral is that art cannot and should not be made."

"I mean that the things I felt and that I enjoyed about certain painters of the past that I liked, that inspired me, like Cézanne and Manet, that thing I enjoyed in their work, that complete losing of oneself in the work to such an extent that the work itself, even though it was a picture of a woman in front of a mirror or some dead fish on the table, the pictures of those men were no pictures to me. They felt as if a living organism was posited there on the canvas, on this surface. That's truly to me the act of creation."

"To answer your first question - most significantly the [ Federal Art Project ] project was my training ground in the real sense of the word. I feel very strongly about this. We were all poor, or most of us, and to have the time and opportunity to continue working - I was then in my twenties which is the important period - the crucial period for the young painter. This was most important and figures significantly in my own development. Although I feel that my personal image as a painter did not come about until I began my easel painting with personal imagery which was about 1941. The project kept me alive and working - it was my education."

"I have two thoughts [on the question of interviewer Joseph S. Trovato: 'Were the projects a good thing for American art?']. That practically all of the best painters of my generation developed on the projects such as Pollock, de Kooning, Brooks, Hague (sculptor), B. Greene, and Baziotes. I could go on and on. My second thought is that the reason it was good is that it had a broad base due to the economic situation we were in - the depression - and all kinds of art and styles, plus all degrees of talent were employed. Everybody was given an opportunity to prove himself. The many painters I mentioned above who have come such a long way is proof of this."

"[On the question: 'What was your main stylistic influence up to this time']: The Renaissance chiefly - Piero, Mantegna, Uccello - but I was attracted also by the modern idioms - Léger, Picasso - and was close to the abstract painters on the project such as Stuart Davis, Burgoyne Diller, Arshile Gorky, Balcomb Greene, etc. At the time I did the Queens project, there was already a marked change in my work - it was becoming more concerned with cubist concepts of treating space."

"There are so many things to paint in the world – in the cities – so much to see. Does art need to represent this variety and contribute to its proliferation? Can art be that free? The difficulties begin when you understand what it is that the soul will not permit the hand to make. To paint is always to start at the beginning again, yet being unable to avoid the familiar arguments about what you see yourself painting. The canvas you are working on modifies the previous ones in an unending, baffling chain which never seems to finish. (What sympathy is demanded of the viewer! He is asked to 'see' the future links)."

"But you begin to feel as you go on working that unless painting proves its right to exist by being critical and self-judging, it has no reason to exist at all - or is not even possible. The canvas is a court where the artist is prosecutor, defendant, jury and judge. Art without a trial disappears at a glance."

"It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one. Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear and I feel the drawing making itself, the image taking hold. This in turn moves me towards painting -anxious to get to the same place, with the actuality of paint and light."

"While I was still on the WPA I was submitting designs for the Section of Fine Arts competitions which I did on my own time. Burgoyne Diller gave me a mural to do in the Community Building of the Queensbridge Housing Project on Long Island. I worked on the design and cartoons for about a year. Everything was approved and the walls prepared - casein tempera painted on the wall... .[It was] about 1938. Holger Cahill asked me through Diller to do the outdoor facade mural of the WPA Building at the World's Fair. 1 stopped work on the Queens mural and began working on the Fair mural which was finished on schedule in time for the opening of the Fair."

"My wife [painter Musa McKim,] on her own, did several other murals for the Section of Fine Arts. Then in 1940 and 1941 we moved out of New York City and came to Woodstock [at the age of 54] where we did the Laconia murals and several murals for the Presidents Lines, which were later turned into troop ships. I then went to teach at the University of Iowa where I finished the mural for the Social Security Building in Washington, D.C., in 1942 or 1943, I'm not sure which. With the exception of some visual aid material for the navy flight program in Iowa - navigational maps, etc. - this marks the end of the mural period."

"Everything is possible, everything except dogma, of any kind.. ..That's what it's about. Freedom. That's the only possession an artist has — freedom to do whatever you can imagine."

"I should like to paint like an man who has never seen a painting, but this man – myself – lives in a museum."

"I went to New York in 1936 where I first worked as an assistant to Reginald Marsh as a non-relief artist since I had to await my residency requirement. This was the mural for the Customs House building in New York City. I didn't actually paint on this mural but Marsh asked me to design some lunettes between his panels. Next I went on the WPA mural division. I worked under Burgoyne Diller who was my supervisor, he was, I think, the supervisor of the New York City mural division."

"You use things; the idea is, of course, to eliminate things [in making a picture]. And just as fifteen or eighteen years ago [when Guston made whole figurative series of children's pictures: 'all sort of props and so on'] I stretched out to get that, - put it in and took it out - to get that look in that's kid's eye and the way his mouth was open or wasn't - I mean a very particular kind of look - I'd do the same now. In other words, I can't find any freedom in abstract painting [but Guston did abstract painting in 1960 - till in 1967 he moved to figuration]. I'am just as stuck with locations, a few areas of colour in relation to some kind of totality that I want, as I was before. And so the problem of figuration is somehow irrelevant to me. I think some of the best painting done in New York today is figuration, but it's not recognised as such.. .Well I think of my pictures as a kind of figuration.. .I think every good painter here in New York really paints a self-portrait.."

"Sylvester: What about figuration in a more literal sense?"

"Actually, one of the real problems that always bothers me [in creating a painting] is sustaining a feeling. I mean, when I look at Poussin now, well, I think that's the most incredible thing to maintain the feeling for a year, however long it took Poussin, I'm telling you, to paint this vast structure. Bur perhaps that is not given to us now. I don't know... .Actually all all modern art puzzles me. I don't understand it. II really don't. I don't know whether it is fragmentary [as David Sylvester the interviewer suggested]. I have a sickening nostalgia for this other state of sustaining a feeling for months, being able to construct and build a picture. Well Mondrian, I think, did that, of course. He was almost one of the last artists to do that. I wish I could get there."

"[Painting is..] a kind of war between the moment and the pull of memory.(quote in 1959)"

"There is something ridiculous and miserly in the myth we inherit from abstract art: That painting is autonomous, pure and for itself, and therefore we habitually analyze its ingredients and define its limits. But painting is 'impure'. It is the adjustment of 'impurities', which forces painting’s continuity. We are image-makers and image-ridden. There are no 'wiggly or straight lines' or any other elements. You work until you vanish. The picture isn’t finished if they are seen."

"What I really want to do, it seems, is to paint a single form in the middle of a canvas. ..That's all a painter is, an image maker, is he not? And one would be a fool, some kind of fool, to want to paint a picture. The most powerful instinct is to paint a single form in its continuity, which is after all what a face is. This happens constantly on a picture. I remember last year I became so nervous about what I was doing that I finally reduce it down to the can on the palette with brushes in it. Well, that's real, tat can with brushes. And I painted the an with brushes sticking in it, and I couldn't tolerate it. I couldn't face it. It was as if it didn't contain enough of my thoughts or feelings about it.. ..I became signs. Exactly.. ..It seemed to become signs and symbols and I don't like signs."

"O’Hara was in his most non-stop way of talking, saying that the pictures put him in mind of Tiepolo [Spanish wall-painter, c. 1750]. Certain cupola frescoes. Suddenly I was working in an ancient building, a warehouse facing the Giudecca. The loft over the firehouse was transformed. It was filled with light reflected from the canal. [quote in 1955]"

"I maintain that the frustration is an important, almost crucial, ingredient. I think that the best painting involves frustration. The point about the late Rembrandt [paintings] is not that it's satisfying but on the contrary that it is disturbing and frustrating. Because really, what he [Rembrandt] has done is to eliminate any plane - anything between that image and you. The Van Dyck [portrait] hasn't. It says [only] I'm a painting. The Rembrandt says: I am not a painting, I am a real man. But he is not a real man either. What is it then, that you are looking at?"

"What is seen and called the picture is what remains – an evidence. Even as one travels in painting towards a state of 'unfreedom' where only certain things can happen, unaccountably the unknown and free must appear. Usually I am on a work for a long stretch, until a moment arrives when the air of the arbitrary vanished and the paint falls into positions that feel destined. The very matter of painting – its pigment and space – is so resistant to the will, so disinclined to assert its plane and remain still. Painting seems like impossibility, with only a sign now and then of its own light. Which must be because of the narrow passage from a diagramming to that other state – corporeality. In this sense, to paint is a possessing rather than a picturing."

"I got sick and tired of all that Purity! Wanted to tell stories.. [Guston's quote in 1967, referring to his swift from Abstract expressionism to figurative painting]"

"So when the 1960's came along I was feeling split, schizophrenic. The war, what was happening to America, the brutality of the world. What kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything—and then going into my studio to adjust a red to a blue."

"The earth grows white with harvest; all day long The sickles gleam, until the darkness weaves Her web of silence o'er the thankful song Of reapers bringing home the golden sheaves. The wave tops whiten on the sea fields drear, And men go forth at haggard dawn to reap; But ever 'mid the gleaners' song we hear The half-hushed sobbing of the hearts that weep."

"Like restless birds, the breath of coming rain Creeps, lilac-laden, up the village street."

"Men pass my grave, and say, "'Twere well to sleep, Like such an one, amid the uncaring dead!" How should they know the vigils that I keep, The tears I shed?"

"In Flanders fields the poppies blow Between the crosses, row on row, That mark our place; and in the sky The larks, still bravely singing, fly Scarce heard amid the guns below.We are the Dead. Short days ago We lived, felt dawn, saw sunset glow, Loved and were loved, and now we lie In Flanders fields.Take up our quarrel with the foe: To you from failing hands we throw The torch; be yours to hold it high. If ye break faith with us who die We shall not sleep, though poppies grow In Flanders fields."

"That day of battle in the dusty heat We lay and heard the bullets swish and sing Like scythes amid the over-ripened wheat, And we the harvest of their garnering."

"Bid them be patient, and some day, anon, They shall feel earth enwrapt in silence deep; Shall greet, in wonderment, the quiet dawn, And in content may turn them to their sleep."

"Associative arrays are very very useful things and if you are only going to have one data structure that's the one to have. Because you could build everything else with it if you want."

"Mechanical rules are never a substitute for clarity of thought."

"Advice to students: Leap in and try things. If you succeed, you can have enormous influence. If you fail, you have still learned something, and your next attempt is sure to be better for it. Advice to graduates: Do something you really enjoy doing. If it isn’t fun to get up in the morning and do your job or your school program, you’re in the wrong field."

"C is a razor-sharp tool, with which one can create an elegant and efficient program or a bloody mess."

"The most effective debugging tool is still careful thought, coupled with judiciously placed print statements."

"Everyone knows that debugging is twice as hard as writing a program in the first place. So if you're as clever as you can be when you write it, how will you ever debug it?"

"Controlling complexity is the essence of computer programming."

"Do what you think is interesting, do something that you think is fun and worthwhile, because otherwise you won't do it well anyway."

"Far too large a section of the treatment of disease is to-day controlled by the big manufacturing pharmacists, who have enslaved us in a plausible pseudo-science."

"One special advantage of the skeptical attitude of mind is that a man is never vexed to find that after all he has been in the wrong."

"There are three classes of human beings: men, women and women physicians."

"The best preparation for tomorrow is to do today's work superbly well."

"In the history of medicine, there are few instances in which a disease has been more accurately, more graphically or more briefly described."

"In a true and perfect form, imperturbability is indissolubly associated with wide experience and an intimate knowledge of the varied aspects of disease. With such advantages he is so equipped that no eventuality can disturb the mental equilibrium of the physician; the possibilities are always manifest, and the course of action clear. From its very nature this precious quality is liable to be misinterpreted, and the general accusation of hardness, so often brought against the profession, has here its foundation. Now a certain measure of insensibility is not only an advantage, but a positive necessity in the exercise of a calm judgment, and in carrying out delicate operations. Keen sensibility is doubtless a virtue of high order, when it does not interfere with steadiness of hand or coolness of nerve; but for the practitioner in his working-day world, a callousness which thinks only of the good to be effected, and goes ahead regardless of smaller considerations, is the preferable quality. Cultivate, then, gentlemen, such a judicious measure of obtuseness as will enable you to meet the exigencies of practice with firmness and courage, without, at the same time, hardening "the human heart by which we live.""

"Shakespeare gets to the root of the alcohol question in his well-known statement—'Good wine is a good, familiar creature if it be well used.'"

"To study the phenomenon of disease without books is to sail an uncharted sea, while to study books without patients is not to go to sea at all."

"I have had three personal ideals: One to do the day's work well and not to bother about tomorrow. You may say that is not a satisfactory ideal. It is; and there is not one which the student can carry with him into practice with greater effect. To it more than anything else I owe whatever success I have had — to this power of settling down to the day's work and trying to do it well to the best of my ability, and letting the future take care of itself. The second ideal has been to act the Golden Rule, as far as in me lay, toward my professional brethren and toward the patients committed to my care. And the third has been to cultivate such a measure of equanimity as would enable me to bear success with humility, the affection of my friends without pride, and to be ready when the day of sorrow and grief came, to meet it with the courage befitting a man. What the future has in store for me, I cannot tell — you cannot tell. Nor do I care much, so long as I carry with me, as I shall, the memory of the past you have given me. Nothing can take that away."

"We can only instill principles, put the student in the right path, give him method, teach him how to study, and early to discern between essentials and non-essentials."

"The trained nurse has become one of the great blessings of humanity, taking a place beside the physician and the priest, and not inferior to either in her mission."