A Quote by Dennis Prager
The problem for the Left, however, is that the moment it stops painting the Right as vile, it has to argue the issues.
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In a deep moment of love, thinking stops. The moment is so intriguing, the moment is so tremendously powerful, the moment is so intensely alive, that thinking stops. You are simply in awe, a great wonder surrounds you.
You do this, you do that You argue left, you argue right You come down, you go up This person says no, you say yes Back and forth You are happy You are really happy
People think you can get out your canvas and paint any time you have a free moment. You can't. Commercial art and painting are entirely different. Painting takes a different mental approach. You have to get the right attitude, the right mood.
I had a moment where I left journalism, and I started getting interested in this issue and writing about it, where I felt there was a right side and a wrong side around a lot of these issues relating to education.
Problems, however, are rarely solved on the spur of the moment. They must be organized and dissected, then key issues isolated and defined. A period of gestation then sets in, during which these issues are mulled over. You put them in your mind and consciously or unconsciously work at them at odd hours of the day or night - even at work. It is somewhat analogous to trying to place a name on the face of someone you've met before. Often the solution to a problem comes to you in much the same way you eventually recall the name.
You begin by engaging the left hemisphere of the brain with the overall shape, the basic structure of the painting, and then eventually you engage with the colour, with the mood of the painting and then you are entering the activities of the right hemisphere - and it is in the right hemisphere that ideas of space are born, the realization that you are seeing space.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
The problem is some of the populism on both the far left and the far right, it can make a Tweet but not make a policy. And, you know, when you are dealing with issues that are as important and serious as this, I understand why people search for simple solutions.
When you come up in the art world, whatevers in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.
What are the 10 major legacies that European colonization have left behind? Issues of illiteracy. Issues of ill health. Issues of poor infrastructure. Issues of backward agricultural economies. And it goes on.
There are no accounting issues, no trading issues, no reserve issues, no previously unknown problem issues.
Freedom of speech is about expressing your opinion, however bad or good, however right or wrong, and being able to defend it and argue it and be argued with about it in public forums. But that's not what academic freedom is about. That's not what the classroom is about.
However, you do need rules. Driving on the left (or the right or, in parts of Europe, on the left and the right as the mood takes you) is a rule which works, since following it means you're more likely to reach your intended rather than your final destination.
I'm fearful the Democratic Party is already moving too far to the left. I want to push the Democratic Party to be more in touch with mainstream America, and on some issues, that's more left, and on some issues it might be more right.
Once you've ruled out the impossible then whatever is left, however improbable, must be the truth. The problem lay in working out what was impossible, of course. That was the trick, all right. There was also the curious incident of the orangutan in the night-time.
Painters work from the ground up. The latest version of a painting overlays earlier versions, and obliterates them. Writers, on the other hand, work from left to right. The discardable chapters are on the left.
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