Women Artists

"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."

"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)."

"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 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."

"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)."

"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."

"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."

"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."

"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."

"... 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."

"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"

"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."

"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.”"

"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."

"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."

"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."

"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."

"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."

"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."

"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."

"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."

"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.”"

"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."

"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."

"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 ."

"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."

"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."

"I was going to help her on my own."

"I come back. The same things are happening."

"It's time for a real change. We must end government corruption and build a sustainable society."

"Etherton describes her as prolific and professional. "Show her something once, and she'll be able to do it better than you can""

"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."

"In Syria, the war that I witnessed was different: It was one fought among civilians, among neighbors."

"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."