Women Born In The 1930s

"My husband is already suffering because of the fate that befell him. We are asking for no special treatment from the government; we are just pleading for some humanity, for some respects for the human right to seek the best treatment to cure his ailment."

"There was once a word that I am proud of and that is part of my childhood: proletariat. Unfortunately, no one uses it anymore. [...] It is the proletariat that has always sustained the nation. There should be more respect. If this social class stops, the nation falls. Today, however, everyone has turned against the tram drivers, but they only noticed them when they stopped working."

"I danced in marquees, churches and squares. I was a pioneer of decentralisation. I didn't want my work to be elitist, relegated to the golden boxes of opera theatres. And even when I was busy on the world's most important stages, I always came back to Italy to perform in the most forgotten and unimaginable places. Rudolf Nureyev would scold me: why are you doing this, you're getting too tired, you come from New York and you have to go to, I don't know, Budrio... But I liked it that way, and the audience always rewarded me."

"When Alicia Markova came to dance at La Scala, she must have been 45 years old. The other girls called her the old lady. To me, she was fantastic. Such nobility, such enchanting little feet."

"Dance is poetry because its ultimate goal is to express feelings, even if through a rigid technique. Our task is to convey words through movement."

"I had extraordinary encounters, such as Visconti, gruff and very sweet. Like Herbert Ross, for whom I played Karsavina in the film Nijinsky. Or like Peter Ustinov, with whom I filmed Le ballerine (The Ballerinas). And Cederna, and Manzù. And the magnificent Eduardo. At a gala in his honour in Viareggio, I played Filumena Marturano, Titina's role, and he sent me a note saying, “Now I can call you sister”. I remember the charm and irony of Vittorio De Sica. He wanted to give me the role in La vacanza that Bolkan ended up playing. And I remember the summers with Montale in Forte dei Marmi. Every day we would meet people like Henry Moore, Marino Marini, Guttuso. Montale was always drawing: the sea, the Apuan Alps... He used everything, from wine to lipstick. He dedicated a beautiful poem to me: La danzatrice stanca (The Tired Dancer). No, at seventy I don't feel tired at all. And I am who I am thanks to them."

"Whatever they had abroad, chances were, we had it here, too.” Call it globalization."

"Always be thankful to those who have helped you along the way."

"There’s always a beginning to every success. “As I say, work hard. If you really love what you’re doing, strive."

"The most important thing is to pursue whatever you want to do in life and don't give up."

"Pursue your dreams, and be patient because not everything will be given to you."

"It's a waste of time to be insecure or envious of others-just focus on your own work."

"Integrity is essential. It's the inner voice, the source of self-control, the basis for the trust that is imperative in today's military. It's doing the right thing when nobody's looking."

"If women don't belong in engineering, then engineering, as a profession, is irrelevant to the needs of our society. If engineering doesn't make welcome space for them, then engineering will become marginalized as other fields expand their turf to seek out and make a place for women."

"Aircraft trailing vortices have little waves that are generated and then break up....If another aircraft intercepts that trailing vortex, someone can be killed, because it’s a swirling flow....People now know that if you land airplanes three minutes apart, that’s going to be safer."

"It's not easy being a pioneer. It's not easy having to prove every day that you belong. It's not easy being invisible or having your ideas credited to someone else."

"I enjoy words that sparkle, whether they be in Māori, my mother tongue, or English. What a privilege it is to inherit and to appreciate a language, and to enjoy another equally."

"My biggest fear has always been that someone would be trapped back here and couldn't get help. No ambulance or police would be able to get through. It's good to know that after all of these years, my family will be safe. I've been stuck many times from the outside and couldn't get home and I've been stuck on the inside and couldn't get out."

"He's been in the Coast Guard his entire life, and one of the things he does and does well is what the Coast Guard motto is, be always prepared. He takes every new event and gets down and starts working and sees it to its end."

"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."

"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."

"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."

"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."

"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."

"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."

"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."

"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..."

"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"

"My suffragist grandmother feels close to me today because her portrait still hangs in my apartment. The poster from the first “Afro-American Women and the Vote” conference also hangs on my wall, a testament to Adella and others like her."

"It's exactly at the moment that they want you most – at the end of the day when it's bathtime, storytime, bedtime – that's when you're walking out the door. I couldn't bear that brave little look as he said, 'Goodbye'. So I thought Josh is more important than a play."

"I stepped back from acting because I was bringing up a child. You can't do both."

"I often think of the women, my grandmother among them, who wore white dresses to protest the denial of their political empowerment. There were echoes of that symbolic garb during the campaigns of Shirley Chisholm, and in the glorious display of white pantsuits worn by the record number of multiracial, multicultural women who went to Congress as result of the 2018 election. I smiled when I saw them!"

"Can I add something about time? Clearly this year’s centennial is a significant landmark, but it’s not the only date we should be thinking of. The federal Voting Rights Act, which became law in 1965, was incredibly important too, because the passage of that legislation supposedly guaranteed the franchise to African-American women — since even after ratification of the 19th Amendment, stifling Jim Crow regulations throughout the South had kept the vote from women, as much as they did for Black men."

"The whole purpose of an actor's life is to find great writing, and when it comes along you leap on it like a puppy on a slipper. You're avid – greedy – hungry – for great gobbets of good writing. That's all we live for."

"To me, there is an emotional connection to it. I have a visceral memory of the first time I went into a voting booth with my mother. I couldn’t have been more than 3, because the muscle memory says I was reaching up for her hand. We went down into the bowels of the Washington Heights Library, in Upper Manhattan, and there was the voting booth with its old-fashioned pull curtain. This was long before anybody ever said the word “suffrage” to me. But nearly 50 years later, when I started studying this stuff seriously in graduate school, I thought, “Yes, that’s what I remember.” Both of my grandmothers were Black Southern suffragists in the early 1900s, and their beliefs and activities remained important family legacies through several generations"

"Life and art get mixed up sometimes – it's what actors draw on."

"Theatre is a white invention, a European invention, and white people go to it. It's in their DNA. It starts with Shakespeare."

"The only times I saw black people were once in Adelaide and once at the other end of the continent, in both cases looking desperate on the street, sitting in huddles drinking beer. I realised what Australians had done to their indigenous population, to their other: they'd disappeared them."

"In South Africa we were criminal, beastly, vile and disgusting, but we didn't commit genocide."

"Nature has a way of dealing with your brain when you have a child – it turns it to porridge."

"You realise retrospectively mother nature has made you absolutely focused and cow-like. Then you realise your child is infinitely cleverer than you will ever be, and wittier and funnier, and you like being in its company and so you think, 'I haven't done a bad job, really."

"My sensitivity to prejudice is high because I was brought up in South Africa. My awareness of all this crap came earlier, and it's stayed with me, and it's why I'm militantly liberal."

"Any government would be really embarrassed to ban Shakespeare."

"The apartheid government was frightened of ridicule. Everyone is frightened of laughter."

"I remember being absolutely shocked in Australia at the absence of black people."