The people from where I grew ...
The people from where I grew up have no appreciation for Paleolithic rocks or menstrual calendars. I'm a retriever of lost iconographies. But I had real training and have deep discipline, and I believe in it. Too much of the work I see today is just cultural junk. It's very superficial and has no rigor. It doesn't address the dynamic and real politics of an aesthetic structure.
We don't necessarily need so ...
We don't necessarily need so many artists. I recommend that many of the people who think they want to be artists should go into the American Friends Service Committee, or do government outreach to communities that don't have water, or that need seeds or ecological assistance. It would create a system in which people with engaged sensibilities and potential insight assist instead of imposing. I think it could leap right out of the art world into wonderful community action.
The way I understand composit...
The way I understand composition and form and my ability to enter into material all comes from my disciplines and my commitment as a painter - my energy, my arm, my eyes, my sense of space and form and time. It's a wonderful realm for me. I never leave it.
It's really hard to have a fa...
It's really hard to have a fair discussion when you're faced with militarism, aggression, and greed. The militarists do not want dialogue. They want what they want. They're psychotic. They're greedy, they're narcissistic, and they're dangerous.
How do we get utopian thinkin...
How do we get utopian thinking in a dystopian world? These days we aren't talking to each other - we're screaming and trying to hit each other over the head with rocks and sticks. A primitive fury has been unleashed by a president who has no culture, who cannot read, and who wants to determine power and aggression.
My teachers always said, "You...
My teachers always said, "You're very talented, but don't set your heart on art. You're only a girl." I was inspired by Virginia Woolf in 1960, but they wouldn't let me write about her. They said she was a trivializer. I also wanted to do a paper on Simone de Beauvoir, and my philosophy teacher said, "Why would you write about the mistress? Write about the master." That was Sartre.
I assume the senses crave sou...
I assume the senses crave sources of maximum information, that the eye benefits by exercise, stretch, and expansion towards materials of complexity and substance, . . . conditions which alert the total sensibility - cast it almost in stress - extend insight and response, the basic responsive range of empathetic-kinesthetic vitality.
I assume the senses crave sour...
I assume the senses crave sources of maximum information, that the eye benefits by exercise, stretch, and expansion towards materials of complexity and substance, . . . conditions which alert the total sensibility - cast it almost in stress - extend insight and response, the basic responsive range of empathetic-kinesthetic vitality.
I wouldn't want to be labelled...
I wouldn't want to be labelled unless it was something much broader and inclusive such as an ecological artist or a visionary artist, but there's a constraint in the definition of a feminist artist, you're an artist and you're a feminist.
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