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History always constitutes the relation between a present and its past. Consequently fear of the present leads to mystification of the past

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Always Constitute History Past Present Relation

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Marilyn Monroe Paulo Coelho Abraham Lincoln C. S. Lewis Khalil Gibran Charlie Chaplin Gautama Buddha Isaac Newton

Picasso drawings are like that… the Rembrandts are like that. The artist who most often did that was Van Gogh.
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A drawing is an autobiographical record of one’s discovery of an event – either seen, remembered or imagined. A ‘finished’ work is an attempt to construct an event in itself.
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The contradiction in perspective was that it structured all images of reality to address a single spectator who, unlike God, could only be in one place at a time.
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When we suffer anguish we return to early childhood because that is the period in which we first learnt to suffer the experience of total loss.
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The unsung, impersonal world remains outside, on the other surface of a placenta. All songs, even when their content or rendering is strongly masculine, operate maternally.
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All photographs are there to remind us of what we forget. In this – as in other ways – they are the opposite of paintings.
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Everything in life, is a question of drawing a life, John, and you have to decide for yourself where to draw it.
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I wanted to write about looking at the world, so it’s more about helping people, or persuading people, to see what is around us; both the marvellous and the terrible.
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We who draw do so not only to make something observed visible to others, but also to accompany something invisible to its incalculable destination
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Compassion has no place in the natural order of the world which operates on the basis of necessity.
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The extreme proposition on which Giacometti based all his mature work was that no reality… could ever be shared. This is why he believed it impossible for a work to be finished. This is why the content of any work is not the nature of the figure or head portrayed but the incomplete history of him staring at it.
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A photograph is a result of the photographer’s decision that it is worth recording that this particular event or this particular object has been seen. If everything that existed were continually being photographed, every photograph would become meaningless.
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Propaganda requires a permanent network of communication so that it can systematically stifle reflection with emotive or utopian slogans. Its pace is usually fast.
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Publicity is the life of this culture – in so far as without publicity capitalism could not survive – and at the same time publicity is its dream.
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