A Quote by Ellsworth Kelly
I don't labor over my drawings. I want to get freedom in the line.
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All my work begins with drawings. I don’t labor over my drawings. I want to get freedom in the line. I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.
In my mind, I see a line. And over that line, I see green fields and lovely flowers and beautiful, white women with their arms stretched out to me over that line, but I can't seem to get there no how. I can't seem to get over that line.
Before he did all those lovely line drawings, Matisse would make really detailed charcoal drawings and tear them up. He wouldn't leave them about... I understand what he was doing: discovering what's there... to make the line meaningful, to find a linear solution.
When we consider that labor is the producer of all wealth, is it not evident that the impoverishment and, dependence of labor are abnormal conditions resulting from restrictions and usurpations, and that instead of accepting protection, what labor should demand is freedom. That those who advocate any extension of freedom choose to go no further than suits their own special purpose is no reason why freedom itself should be distrusted.
We want freedom. We want freedom from the constraints of the cycles of the sun and the moon. We want freedom from drought and weather, freedom from the movement of game, the growth of plants, freedom from control from mendacious popes and kings, freedom from ideology, freedom from want. This idea of freeing ourselves has become the compass of the human journey.
All that serves labor serves the Nation. All ^ that harms labor is treason to America. No line can be drawn between these two. If any man tells you he loves America, yet hates labor, he is a liar. If any man tells you he trusts America, yet fears labor, he is a fool. There is no America without labor, and to fleece the one is to rob the other.
It is but a truism that labor is most productive where its wages are largest. Poorly paid labor is inefficient labor, the world over.
To my way of thinking, the concept drawings that Rembrandt did, the drawings he made that he used to model his artists, to work out the compositions of his paintings: those are cartoons. Look at his sketch for the return of the prodigal son. The expression on the angry younger brother's face. The head is down; the eyebrow is just one curved line over the eyes. It communicates in a very shorthand way. It's beautiful, expressive, and, in a peculiar way, it's more powerful than the kind of stilted, formalized expression in the final painting.
How can we live in freedom and maintain that we are entitled to *anything* that we can't get without the labor of others? Remember, if we are entitled to the labor of others, that makes slaves of those others.
I decided to sell my drawings. However, I didn't want people to buy my drawings because the professor of physics isn't supposed to be able to draw - isn't that wonderful - so I made up a false name.
I do everything by hand... Even if I'm doing really big letters and I spend a lot of time going over the line and over the line and trying to make it straight, I'll never be able to make it straight. From a distance it might look straight, but when you get close up, you can always see the line waver. And I think that's where the beauty is.
One finds fortunes built on slave labor, indentured labor, prison labor, immigrant labor, female labor, child labor, and scab labor - backed by the lethal force of gun thugs and militia. 'Old money' is often little more than dirty money laundered by several generations of possession.
I know that when I finish a drawing, my anxiety level decreases. The realistic drawings are a way of pinning down an idea. I don't want to loose it. With the abstract drawings, when I'm feeling loose, I can slip into the unconscious.
Hazel had read enough books to know that a line like this one is the line down which your life breaks in two. And you have to think very carefully about whether you want to cross it, because once you do it’s very hard to get back to the world you left behind. And sometimes you break a barrier that no one knew existed, and then everything you knew before crossing the line is gone. But sometimes you have a friend to rescue. And so you take a deep breath and then step over the line and into the darkness ahead.
Even when there's not a joke or a hook, the first line has to be good and snapem to attention. Songs ain't novels. You don't have 30 pages to slowly wrap somebody in. They're more like short stories or poems. If the first line hasn't grabbed them, you won't get to the second line. Once you've developed an audience, you may have some luxury and trust, so you don't have to knock 'em over the head with line one.
The image people have of comedians staring defiantly over a stationary line of good taste is simply inaccurate. We don't approach this line, put our toes over it arrogantly and then scamper back to safety. The line doesn't exist.
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