art

I spent the two and one-half months between my meeting with the Art Commission and the beginning of my actual mural work in soaking up impressions of the productive activities of the city. I studied industrial scenes by night as well as by day, making literally thousands of sketches of towering blast furnaces, serpentine conveyor belts, impressive scientific laboratories, busy assembling rooms; also of precision instruments, some of them massive yet delicate; and of the men who worked them all. I walked for miles through the immense workshops of the Ford, Chrysler, Edison, Michigan Alkali, and Parke-Davis plants. I was afire with enthusiasm. My childhood passion for mechanical toys had been transmuted to a delight in machinery for its own sake and for its meaning to man -- his self-fulfillment and liberation from drudgery and poverty. That is why now I placed the collective hero, man-and-machine, higher than the old traditional heroes of art and legend. I felt that in the society of the future as already, to some extent, that of the present, man-and-machine would be as important as air, water, and the light of the sun.This was the "philosophy," the state of mind in which I undertook my Detroit frescoes.

If there is no point in the universe that we discover by the methods of science, there is a point that we can give the universe by the way we live, by loving each other, by discovering things about nature, by creating works of art. And that__n a way, although we are not the stars in a cosmic drama, if the only drama we're starring in is one that we are making up as we go along, it is not entirely ignoble that faced with this unloving, impersonal universe we make a little island of warmth and love and science and art for ourselves. That's not an entirely despicable role for us to play.

We can__ worry about meaning. Ari proposed to us that meaning is a consumer item. Some people manufacture it through religion, philosophy, nationhood, politics, and some people buy it. But an artist is not a manufacturer.

It does wonders for my own psyche to turn envy into inspiration. No matter how successful we become, we're never above that.

art is risk made visible

Often when she liked a picture she found that she was liking some part of herself, some part of her that was in accord with the picture

I want to make a difference, I want to make a change, inspire a revolution, to create, reinvent, and rearrange.

When you forget about the how, go back to the why.

Science, like nothing else among the institutions of mankind, grows like a weed every year. Art is subject to arbitrary fashion, religion is inwardly focused and driven only to sustain itself, law shuttles between freeing us and enslaving us.

I think that one's art is a growth inside one. I do not think one can explain growth. It is silent and subtle. One does not keep digging up a plant to see how it grows.

It is always necessary to acknowledge creative injuries and grieve them. Otherwise, they become creative scar tissue and block your growth.

Our bodies are simply our shells, the package for the spirit and the soul.

Of all the hardships and deprivations a people can suffer, I am not sure if the deprivations of art and culture are not the most devastating. As meat and rice are food for the body, art and culture are food for the soul. Starve the body and the person dies; starve the soul and the spirit dies.

If we want to know our God-given gifts, we must know the giver.

Art is the conscious making of numinous phenomena. Many objects are just objects - inert, merely utilitarian. Many events are inconsequential, too banal to add anything to our experience of life. This is unfortunate, as one cannot grow except by having one__ spirit greatly stirred; and the spirit cannot be greatly stirred by spiritless things. Much of our very life is dead. For primitive man, this was not so. He made his own possessions, and shaped and decorated them with the aim of making them not merely useful, but powerful. He tried to infuse his weapons with the nature of the tiger, his cooking pots with the life of growing things; and he succeeded. Appearance, material, history, context, rarity - perhaps rarity most of all - combine to create, magically, the quality of soul. But we modern demiurges are prolific copyists; we give few things souls of their own. Locomotives, with their close resemblance to beasts, may be the great exception; but in nearly all else with which today__ poor humans are filling the world, I see a quelling of the numinous, an ashening of the fire of life. We are making an inert world; we are building a cemetery. And on the tombs, to remind us of life, we lay wreaths of poetry and bouquets of painting. You expressed this very condition, when you said that art beautifies life. No longer integral, the numinous has become optional, a luxury - one of which you, my dear friend, are fond, however unconsciously. You adorn yourself with the same instincts as the primitive who puts a frightening mask of clay and feathers on his head, and you comport yourself in an uncommonly calculated way - as do I. We thus make numinous phenomena of ourselves. No mean trick - to make oneself a rarity, in this overpopulated age.

So age after age _ will it be soon, O Lord? __eneath the scalpel of nature and art,Our spirit screams, our flesh depletes itself,Giving birth to an organ for the sixth sense.("The Sixth Sense")

All of my works are steps on my journey, a struggle for truth that I have waged with pen, canvas, and materials. Overhead is a distant, radiant star, and the more I stretch to reach it, the further it recedes. But by the power of my spirit and my single-hearted pursuit of the path, I have clawed my way through the labyrinthine confusion of the world of people in an unstinting effort to approach even one step closer to the realm of the soul.

The mixture of the grotesque and the tragic is agreeable to the spirit, as are discords to the jaded ear.