Academics From The United States

"Pollock was terrific. I think he freed himself of all kinds of worry about this world. Ran around and dripped, and then he managed to express ecstasy."

"Take beauty: it's a very mysterious thing, isn't it? I think it's a response in our minds to perfection.. .My paintings are certainly nonobjective. They're just horizontal lines. There's not any hint of nature. And still everybody responds, I think."

"In the middle of the work of art, an artist often feels that he is failing. And he starts interfering with his inspiration. That is a mistake. The mistake. It is best to push on through. Such works frequently turn out to be the best. To fail is a very ordinary experience for an artist. To fail and fail and still go on, marks his character. Most people cannot bear to fail, even once. They think of security."

"Everything is contemplated in the mind without meditation. We make a very complicated response. Just to look at a floating branch evokes very complicated objective and nonobjective responses. The artist must slow all this down, mentally. It is this mental experience that makes the representation of beauty possible."

"Although we are all different, we all respond to each other's suggestions of perfection. And we enjoy the same response as the artist. It is the inner contemplation, the wanting to respond to life, that opens our eyes to what is already in the mind."

"Beauty is very much broader than just to the eye. It is our whole, positive response to life. An artist is fortunate in that his work is the inner contemplation of beauty, of perfection in life. We cannot make anything perfectly, but with inner contemplation of perfection, we can suggest it."

"When I think of art, I think of beauty. Beauty is the mystery of life. It is in the mind, not in the eye. In our minds, we have an awareness of perfection that leads us on.. .The response to beauty is emotion. Sometimes very subtle emotions of which we are almost not aware, and sometimes our most powerful emotions.."

"Some things fail and others succeed. Well, then you get quite desperate, and you think: 'I am going to work and work and I'm not going to have any failures.' But then you find out that failures are inevitable; you can't even draw a straight line, you know that."

"You can't make a perfect painting. We can see perfection in our minds. But we can't make a perfect painting."

"When we realize that we can see life we gradually give up the things that stand in the way of our complete awareness. As we paint we move along step by step. We realize that we are guided in our work by awareness of life."

"When I first made a grid I happened to be thinking of the innocence of trees and then this grid came into my mind and I thought it represented innocence, and I still do, and so I painted it and then I was satisfied. I thought, this is my vision."

"When a beautiful rose dies beauty does not die because it is not really in the rose. Beauty is an awareness in the mind. It is a mental and emotional response that we make. We respond to life as though it were perfect. When we go into a forest we do not see the fallen rotting trees. We are inspired by a multitude of uprising trees.. .The goal of life is happiness and to respond to life as though it were perfect is the way to happiness. It is also the way to positive art work."

"It is commonly thought that everything that is can be put into words. But there is a wide range of emotional response that we make that cannot be put into words. We are so used to making these emotional responses that we are not consciously aware of them till they are represented in art work."

"To live truly and effectively the idea of achievement must be given up. Put unsentimental piety first, turn your back on the world, and get on with it."

"Inspiration comes from a clear mind. Right straight through. We have nothing to do with it."

"To neglect your own mind, that's like to neglect your consciousness. That’s like to give up all hope of joy and happiness, really. You're the only one that can discover for you the meaning of anything. What it means to you. By that, I don't mean intellectual meaning. I mean, what it means, how it makes you feel. You have to see whether you really are happy or not. Whether you really are sad or not. And you have to investigate what goes through your mind."

"It takes time, see. You finish painting the painting and then you turn it to the wall. I mean, you say, does it have it or doesn't it have it? If it doesn't have it, you throw it away, but if you think it has it, you turn it to the wall. And then when you have made some more work, then you turn them all over. And you, again, try to see exactly what it does mean and just exactly how effectively you have rendered this meaning."

"You can't be in an unconscious state and paint. Because whatever is in your mind, and not the subject matter, but the feelings that you have related to that subject matter, is what you're going to paint. So, the beginning is not actually painting, you know. The beginning of painting is not you put down green, and then you like pink, and you put down pink. Painting's not about that anymore than music is about this sound and that sound.. ..And it's something that drives you to expression. And it's irresistible."

"To be an artist, you look, you perceive, you recognize what is going through your mind. And it is not ideas. Everything you feel and everything you see and everything that your whole life goes through your mind, you know. But you have to recognize it and go with it and really feel it."

"Of course we know that an untroubled state of mind cannot last. So we say that inspiration comes and goes but really it is there all the time waiting for us to be untroubled again. We can therefore say that it is pervasive. Young children are more untroubled than adults and have many more inspirations."

"Inspiration is pervasive but not a power. It's a peaceful thing. It is a consolation even to plants and animals. Do not think that it is unique. If it were unique no one would be able to respond to your work."

"I used to look in my mind for the unwritten page if my mind was empty enough I could see it I didn't paint the plane I just drew this horizontal line Then I found out about all the other lines But I realized what I liked was the horizontal line Then I painted the two rectangles correct composition if they're just right"

"When I draw horizontals you see this big plane and you have certain feelings like you're expanding over the plane Anything can be painted without representation"

"I painted a painting called 'Milk River' [in 1963] Cows don't give milk if they don't have grass and water Tremendous meaning of that is that painters can't give anything to the observer People get what they need from a painting The painter need not die because of responsibility When you have inspiration and represent inspiration The observer makes the painting"

"My work is anti-nature The four-story mountain You will not think form, space, line, contour Just a suggestion of nature gives weight light and heavy light like a feather you get light enough and you levitate"

"People think that painting is about color It's mostly composition It's composition that's the whole thing The classic image- Two late Tang dishes, one with a flower image, one empty – the empty form goes all the way to heaven It is the classic form – lighter weight."

"On a Clear Day: Art work that is completely abstract - free from any expression of the environment is like music and can be responded to in the same way. Our response to line and tone and color is the same as our response to sounds.. .It holds meaning for us that is beyond expression in words. These prints [title, 'On a Clear Day'] express innocence of mind. If you can go with them and hold your mind as empty and tranquil as they are and recognize your feelings at the same time you will realize your full response to this work."

"Architect/arcetects/arcatects/arcetects/archetes"

"Bring ice, thanks, Agnes"

"..the function of art work is.. ..the renewal of memories of moments of perfection."

"My interest is in experience that is wordless and silent, and in the fact that this experience can be expressed for me in art work which is also wordless and silent."

"Nature is like parting a curtain, you go into it. I want to draw a certain response like this.. ..that quality of response from people when they leave themselves behind, often experienced in nature, an experience of simple joy.. .My paintings are about merging, about formlessness.. .A world without objects, without interruption."

"The adventurous state of / mind is a high house // To enjoy life the adventurous / state of mind must be / grasped and maintained // The essential feature of adventure is that it is a / going forward into / unknown territory // The joy of adventure is unaccountable // This is the attractiveness of / art work. It is adventurous, / strenuous and joyful."

"I am staying unsettled and trying not to talk for three years. I want to do it very much."

"My [artworks] have neither object nor space nor line nor anything – no forms. They are light, lightness, about merging, about formlessness, breaking down form. You wouldn’t think of form by the ocean. You can go in if you don’t encounter anything. A world without objects, without interruption, making a work without interruption or obstacle. It is to accept the necessity of this simple, direct going into a field of vision as you could cross and empty beach to look at the ocean."

"When I cover the square surface with rectangles, it lightens the weight of the square. Destroys its power."

"I am grateful for the [financial] assistance I received last year [1955] through the Helene Wurlitzer Foundation. It gave me the materials I needed and a certain amount of security and enabled me to make a very good try for my New York show. This did not succeed but Miss Betty Parsons whose gallery I will eventually show in assured me that in one more year she thought I could make it, which is not discouraging.. .I painted all together one hundred canvasses of which I had a good opinion and sold seven [in a year]."

"The tame, the domesticated, try to monopolize the word freedom; they'd like to apply it to their own condition. They apply the word "wild" to the free."

"Scientists are not known for the graces of courtesy and tact when commenting on the work of others."

"When I first read Junot Díaz’s short story collection Drown I felt seen for the first time."

"Junot Díaz, who is a big science fiction fan."

"I teach his work in my creative writing classes now, to give students a sense of voice and language and just fierce honesty in your writing."

"Writing fearlessly because, as my friend Junot Díaz has said, "a writer is a writer because even when there is no hope, even when nothing you do shows any sign of promise, you keep writing anyway.""

"Motherfuckers will read a book that’s one third elvish, but put two sentences in Spanish and they [white people] think we’re taking over."

"If you think learning salsa is your future, you’re going to be pretty insufferable in salsa classes."

"We live in a patriarchal imaginary where men cannot conceptualise women as fully human. What’s really important is how this shit resides in us, how this just lives in us, man, even if we’re the good guy – it should give a motherfucker pause."

"Our visions of an immigrant community and an immigrant experience are highly moralistic. I feel like our reality is William Gibson meets Toni Morrison, yet the way we’re interpreting the morality of immigrants is Chaucer.”"

"I grew up in a world, [a] very New Jersey, American, Dominican, immigrant, African-American, Latino world. And, you know, I went to school and it was basically the same. I went to college; it was basically the same, where largely I wasn't really encouraged to imagine women as fully human. I was in fact pretty much — by the larger culture, by the local culture, by people around me, by people on TV — encouraged to imagine women as something slightly inferior to men. And so I think that a lot of guys, part of our journey is wrestling with, coming to face, our limited imagina[tion] and growing in a way that allows us not only to imagine women as fully human, but to imagine the things that we do to women — that we often do blithely, without thinking, we just sort of shrug off — as actually deeply troubling and as hurting another human being. And this seems like the simplest thing. A lot of people are like, 'Really, that's like a huge leap of knowledge, of the imagination?' But for a lot of guys, that is."

"This life takes a lot more courage than I ever gave it credit for. When I was growing up around here I was always fantasizing heroic shit without realizing that what was shaping up was going to be the greatest heroic adventure of them all: trying to live and be a decent human being. That shit takes more courage than I ever had."

"Algebraic geometry has developed in waves, each with its own language and point of view. The late nineteenth century saw the function-theoretic approach of Riemann, the more geometric approach of Brill and Noether, and the purely algebraic approach of Kronecker, Dedekind, and Weber. The Italian school followed with Castelnuovo, Enriques, and Severi, culminating in the classification of algebraic surfaces. Then came the twentieth-century "American" school of Chow, Weil, and Zariski, which gave firm algebraic foundations to the Italian intuition. Most recently, Serre and Grothendieck initiated the French school, which has rewritten the foundations of algebraic geometry in terms of schemes and cohomology, and which has an impressive record of solving old problems with new techniques. Each of these schools has introduced new concepts and methods."