I confess that Roy [Stryker] was a little bit dictatorial in his editing and he ruined quite a number of my pictures, which he stopped doing later. He used to punch a hole through a negative. Some of them were incredibly valuable. He didn’t understand at the time.
BEN SHAHNWhat is it about conformity itself that causes us all to require it of our neighbors and of our artists and then, with consummate fickleness, to forget those who fall into line and eternally celebrate those who do not?
More Ben Shahn Quotes
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Art almost always has its ingredient of impudence, its flouting of established authority, so that it may substitute its own authority and its own enlightenment.
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It is not the how of painting but the why. To imitate a style would be a little like teaching a tone of voice or a personality.
BEN SHAHN -
Only an individual can imagine, invent, or create. The whole audience of art is an audience of individuals.
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I believe that if it were left to artists to choose their own labels, most would choose none.
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The time when I had desire to go to the United States I didn’t have a penny. It was in the middle of the depression, you know. I couldn’t get as far as Hoboken at that time.
BEN SHAHN -
It is the mission of art to remind man from time to time that he is human, and the time is ripe, just now, today, for such a reminder.
BEN SHAHN -
What is it about conformity itself that causes us all to require it of our neighbors and of our artists and then, with consummate fickleness, to forget those who fall into line and eternally celebrate those who do not?
BEN SHAHN -
Now, my knowledge of photography was terribly limited.
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If you’re going to be an artist, all life is your subject. And all your experience is part of your art.
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How do you paint yellow wheat against a yellow sky? You paint it jet black.
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I feel, having the choices I had, I felt I had more control over my own medium than I did over photography.
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I was primarily interested in people, and people in action, so that I did nothing photographically in the sense of doing buildings for their own sake or a still life or anything like that.
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I became interested in photography when I was sharing a studio with Walker Evans, and found my own sketching was inadequate.
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A work of art rests its merits in traditional qualities. It may constitute a remarkable feat in craftsmanship; it may be a searching study of psychological states; it may be a nostalgic glance backward.
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It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.
BEN SHAHN







