Stanford University Alumni

"When you're leaving your teenage kids alone, probably a good idea to let them know you're going to be checking in on them occasionally. I suspect Greenspan missed that part."

"In the last 21 months, if you've learnt anything, it's that the state is back. If the free market fails, it's not because it's been defeated by state capitalism; the only people that can defeat the free market is us, we're the only ones who can destroy it."

"It's not a third way between state capitalism and free markets, it is the free market way. Multi-national corporations should be the principal actors, but they should be properly regulated."

"Everyone's talked about Bank of America and Citigroup and the rest being too big to fail, but no, no, no. The most important point...is that the US must be perceived to be too big to fail."

"I believe that if you go and ask a chief executive of a Goldman Sachs or a BP, and they answer you honestly...they want monopolies, they want government subsidies, they want preferences – they're not interested in free markets.""

"It's very clear to me–you do not want corporations captured by states. Equally you do not want states captured by corporations."

"Authoritarian governments are now trying to ensure that the increasingly free flow of ideas and information through cyberspace fuels their economies without threatening their political power."

"Up until now Washington has worried that terrorists will become hackers. Perhaps we all should worry that hackers will become terrorists."

"The G-Zero isn't aspirational, it's analytic. Unfortunately, it's also where we are."

"In China, the state controls the corporations, whereas in the United States, the corporations control the state."

"Money talks: financing the periphery buys Berlin a leading role recasting the eurozone governance framework. The recent ‘six pack’ of legislative reforms hints at what’s to come: institutionalized fiscal discipline and an excessive imbalances procedure that protects against future moral hazard. The whole eurozone will tilt toward the German surplus model as we get more fiscal integration and more German leverage."

"The great thing about partisanship is you don't have to spend time understanding the issues to know what side you're on."

"Political scientists don't work at banks—which is a problem. As political issues become more important for the markets, analysts at banks are asked all sorts of questions they don't have the ability to answer. And if you're getting paid to answer questions—as analysts at banks are—you never want to be in the position of saying you don't know."

"An emerging market is a country where politics matters at least as much as economics to the market."

"The developed world should neither shelter nor militarily destabilize authoritarian regimes—unless those regimes represent an imminent threat to the national security of other states. Developed states should instead work to create the conditions most favorable for a closed regime’s safe passage through the least stable segment of the J curve—however and whenever the slide toward instability comes. And developed states should minimize the risk these states pose the rest of the world as their transition toward modernity begins."

"I believe that painter's judgments of painting are first ethical, then aesthetic, the aesthetic judgments flowing from an ethical context. Doubtless no painter systematically thinks this way; but it does seem to me to be basically what happens when modern painters judge any new manifestations of painting.. .An artist's 'art' is just his consciousness, developed slowly and painstakingly with many mistakes en route. How dare they collect those ugly early Van Gogh's like trophies..."

"Indeed, our society, which has seemed so freedom-giving and passive in its attitudes toward the artist really makes extraordinary demands upon him: on the one side, to be free in some vague spiritual sense, free to act only as an artist, and yet on the other side to be rigorously tested as to whether the freedom he has achieved is great enough to be more solidly dependable than a government's financial structure.. .No wonder that modern painters, in view of these curious relations to society, have taken art matters into their own hands, decides for themselves what art is, what its subjects are to be, and how they are to be treated. Art like love is an active process of growth and development."

"A modern painter may have many audiences or one or none; he paints in relation to none of them, though he longs for the audience of other modern painters."

"..for most painters nowadays [1954] examination is self-examination – this is all that we are accustomed to – while the relation to the audience is a social matter. And it is our pictures, not ourselves, that live the social life and meet the public."

"It would be very difficult to formulate a position in which there were no external relations. I cannot imagine any structure being defined as though it only has internal meaning."

"..a plastic weapon with which to invent new forms.. [remark in 1951 on the concept of automatism ]."

"..no true artist ends with the style that he expected to have when he began,. ..it is only by giving oneself up completely to the painting medium that one finds oneself and one's own style."

"The emergence of abstract art is a sign that there are still men of feeling in the world. Men who know how to respect and follow their inner feelings, no matter how irrational or absurd they may first appear. From their perspective, it is the social world that tends to appear irrational and absurd."

"Nothing as drastic an innovation as abstract art could have come in to existence, save as the consequence of a most profound, relentless, unquenchable need. The need is for felt experience - intense, immediate, direct, subtle, unified, warm, vivid, rhythmic."

"[the process of painting..] ..is conceived of as an adventure, without preconceived ideas on the part of persons of intelligence, sensibility, and passion. Fidelity to what occurs between oneself and the canvas, no matter how unexpected, becomes central.. ..the major decisions in the process of painting are on the grounds of truth, not taste..."

"Here we are at the antipode of automatism [invention from Surrealism] and mechanism, and no less distant from the cunning way of reason. In the action of the machine, in which everything is repeated and predetermined, accident is an abrupt negation.. .. [the] excess of ink flowing capriciously in thin black rivulets.. ..this line deflected by a sudden jar, this drop of water diluting a contour – all these are the sudden invasion of the unexpected in a world where it has a right to its proper place. [Motherwell is quoting here the comments of w:Henri Focillon on Japanese legends of 'accidentalism']"

"..there is a real Dada strain in the minds of the New York School of abstract painters that has emerged in the last decade."

"Don't underestimate the influence of the Surrealist state of mind on the young American painters [like his artist-friends William Baziotes and w:Roberto Matta in those days."

"Every intelligent modern painter carries the whole culture of modern painting in his head."

"Feeling must have a medium in order to function at all; in the same way, thought must have symbols. It is the medium, or the specific configuration of the medium that we call a work of art that brings feeling into being, just as do responses tot the objects of the external world.. .The medium of painting is such changing and ordering on an ideal plane, ideal in that the medium is more tractable, subtle, and capable of emphasis (abstraction is a kind of emphasis) than everyday life."

"It is Cezanne's feeling that determined the form of his pictorial structure. It is his pictorial structure that gives off his feeling. If all his pictorial structures were to disappear from the world, so would a certain feeling.."

"The activity of the artist makes him less socially conditioned and more humans. It is then that he is disposed to revolution. Society stands against anarchy; the artist stands for the human against society; society therefore threats him As an anarchist. Society's logic is faulty, but its intimation of an enemy is not. Still, the social conflict with society is an incidental obstacle in the artist's path."

"The passions are a kind of thirst, inexorable and intense, for certain feelings or felt states. To find or invent 'objects' (which are, more strictly speaking, relational structures) whose felt quality satisfies the passions,- that for me is the activity of the artist, an activity which does not cease even in sleep. No wonder the artist is constantly placing and displacing, relating and rupturing relations; his task is to find a complex of qualities whose feeling is just right – veering toward the unknown and chaos, yet ordered and related in order to be apprehended."

"The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition.. .We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist's task; and it is the qualities of this object that constitute its felt content."

"One cuts and chooses and shifts and pastes, and sometimes tears off and begins again."

"One is to know that art is not national, that to be merely an American or a French artist is to be nothing; to fail to overcome one's initial environment is never to reach the human.. .Thus when we say one of the ideals of modern art has been internationalism, it is.. ..as a natural consequence of dealing with reality on a certain level. [quote in 1946]"

"[modern art is the story of certain peoples'] desire to get rid of what is dead in human experience, to get rid of concepts, whether aesthetic or metaphysical or ethical or social, that, being garbed in the costumes of the past, get in the way of their enjoyment."

"Great art is never extreme. Criticism moves in a false direction, as does art, when it aspires to be a social science.. .In this world modern artists form a kind of spiritual underground."

"We must remember that ideas modify feelings. The anti-intellectualism of English and American artists has led them to the error of not perceiving the connection between the feeling of modern forms and modern ideas. By feeling is meant the response of the 'body-and-mind' as a whole to the events of reality."

"Plastic automatism.. ..as employed by modern masters, like Masson, Miro, [both artists of Surrealism] and Picasso, is actually very little a question of the unconsciousness. It is much more a plastic weapon with which to invent new forms. As such it is one of the twentieth century greatest formal inventions."

"Among champions of high culture, he [Motherwell] has kept to a policy of 'no compromise.' Not for him the contaminations of popular culture or the wish to get clear once and for all of criteria first formulated in Europe. In his writing, his teaching and his conversation, he has kept open a direct line to the European past, no matter whether the great spirits under discussion are Velazquez or Piero della Francesca, Mozart or Mallarme, Goya or Baudelaire. And if he seems to see himself not only as the admirer of these people, but also their peer, it is for the work to justify that idea, rather than for the artist to repress it - A Teacher And an Editor."

"Compared with Brancusi, Matisse, Miro, I'm a barbarian. If people would understand the barbaric force of my paintings, instead of always pointing out how well I understand Picasso. I'm a Viking who has read French literature."

"We [the American Abstract-expressionist artists of the 1940's] were formed by the Depression [1930's], when the American dream lay in pieces on the floor. The possibility of making money was inconceivable to us. America was innocent in relation to modern art, and no one cared. The reigning painters in America were very parochial in relation to the international tradition.. .What held us together was our ambition to use the standards of international modernism as a gauge, not those of Thomas Hart Benton or Grant Wood or Guy Pene du Bois. We did have a terrible struggle, but not for success. It was to make painting that would stand up under international scrutiny, and all the rest was a byproduct.""

"You let the brush take over and in a way follow its own head, and in the brush doing what it's doing, it will stumble on what one couldn't by oneself.. .It's essential to fracture influences in the same way that free association in psychoanalysis helps to fracture one's social self-deceptions."

"All my life I've been working on the work - every canvas a sentence or paragraph of it. Each picture is only an approximation of what you want. That's the beauty of being an artist; you can never make the absolute statement, but the desire to do so as an approximation keeps you going."

"I hung Baziote's [painting] show with him at Peggy's in 1944. After it was up and we had stood in silence looking at it for a while, I noticed he had turned white.. .Suddenly he [Baziotes] looked at me and said: 'You're the one I trust; if you tell me the show is no good, I'll take it right down and cancel it.'.. ..you see, at the opposite side of the coin of the abstract expressionist's ambition and of out not giving a damn, was also not knowing whether our pictures were even pictures, let alone whether they were any good..."

"Among other ends, modern art is related to the ideal of Internationalism."

"I take an elegy to be a funeral lamentation or funeral song for something one cared about. The 'Spanish Elegies' [his most famous series of paintings, related to the Spanish Civil War] are not 'political' but my private insistence that a terrible death happened that should not be forgot. They are as eloquent as I could make them. But the pictures are also general metaphors of the contrast between life and death and their interrelation."

"I begin a painting with a series of mistakes. The painting comes out of the correction of mistakes by feeling. I begin with shapes and colors which are not related internally nor to the external world; I work without images. Ultimate unifications come about through modulations of the surface by innumerable trials and efforts. The final picture is the process arrested at the moment when what I was looking for flashes into view."

"When I first saw the work of Matisse I knew that was for me."