A Quote by Domenico Gnoli
All I know is that mine was a completely new theory about art, a new approach that made the pictures appear just like life does.
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I'm amazed by how angry people get about new art, particularly new sculptures in their town. The people who hate new sculpture usually find their type of art on birthday cards, pictures of a vintage car going round a hairpin bend and suchlike.
In my view, art and the approach to life through art, using it as a vehicle for education and even for doing science is so vital that it is part of a great new revolution that is taking place. I believe we are entering a whole new epoch.
Anytime new insight replaces an old assumption or a fossilized perception is the spring. New understandings sprout, new tolerances appear, and new curiosity draws you to previously dark places. Just as the sun shines earlier and longer in the spring, changes that seemed impossible appear to be possible with each new insight into your own health.
The expectations of theory colour perception to such a degree that new notions seldom arise from facts collected under the influence of old pictures of the world. New pictures cast their influence before facts can be seen in a different perspective.
I have this theory that I hold on to, the theory that everything great in art and in life in general is jazz. It's just like all these things that just kind of seem to fall into place. You know, like mistakes that somehow turn into something beautiful.
When we talk about reviews, what we are really talking about is just a market report - it's like reading about the new Lexus. You have to know what the guy writing the review cares about to understand his take. Does he like sports cars, or does he like Bentleys?
If you think of global public goods like polio eradication, the kind of risk-taking new approach, philanthropy really does have a role to play there, because government doesn't do R&D about new things naturally as much as it probably should, and so philanthropy's there.
I'm keen to do as little or as much reading and watching as the director may advise, and often off that you kind of stem into other things that you find of influence, perhaps the things that you're watching. It's a good excuse to get to know a new profession, or a new approach, or a new era. It's about authenticity. It's about having the confidence to really feel that you're saturated and know the world you're about to step into and understand the person you're about to be.
Life is like a film screen: pictures come, make an impression, go, and then make a place for new pictures with new impressions which obscure the previous ones. Some of those old pictures fade, but the impressions they leave will never pass away. Such an impression is the image of Hein Sietsma -- a joyful Christian who loved life so much but was still willing to give it to the great, good, and holy cause.
I had just done what she does in the story just about a year earlier - I moved from New Jersey and came to New York and was working at a bar, and you know, trying to make it.
Throw your dreams into space like a kite, and you do not know what it will bring back, a new life, a new friend, a new love, a new country.
To be born again is, as it were, to enter upon a new existence, to have a new mind, a new heart, new views, new principles, new tastes, new affections, new likings, new dislikings, new fears, new joys, new sorrows, new love to things once hated, new hatred to things once loved, new thoughts of God, and ourselves, and the world, and the life to come, and salvation.
You never know about the art world because it's a matter of opinion. If you look at old art like Rembrandt and Vermeer, it's not completely a matter of opinion. The pictures confront you, and you see exactly what it is. In modern art, a lot of it is suggestive, and it becomes a matter of opinion.
Most people know the sheer wonder that goes with falling in love, how not only does everything in heaven and earth become new, but the lover himself becomes new. It is literally like the sap rising in the tree, putting forth new green shoots of life.
I do not like new things of any kind, not even a new gown, far less a new acquaintance, therefore make as few as possible; one can but have one's heart and hands full, and mine are. I have love and work enough to last me the rest of my life.
When I put my big retrospective together in '96 [for the Whitney Museum of American Art, New York], I saw that there were all these pictures of people inside looking out. All these pictures of women in water and mirrors. I don't know what it means.
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