A Quote by Harold Rosenberg
How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.
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In less than a century we experienced great movement. The youth movement! The labor movement! The civil rights movement! The peace movement! The solidarity movement! The women's movement! The disability movement! The disarmament movement! The gay rights movement! The environmental movement! Movement! Transformation! Is there any reason to believe we are done?
Feminism is a revolutionary movement which is different from the class struggle movement, the proletarian movement, but which is a movement which must be leftist. By that I mean at the extreme left, a movement working to overthrow the whole society.
There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which our eyes cannot catch although it can be felt. In art this state is called dynamic movement.
All soul is immortal. For that which is always in movement is immortal; that which moves something else, and is moved by something else, in ceasing from movement ceases from living. So only that which moves itself, because it does not abandon itself, never stops moving. But it is also source and first principle of movement for the other things which move.
Movement is the translation of life, and if art depicts life, movement should come into art, since we are only aware of living because it moves.
And then there is that one-man movement, Marcel Duchamp for me a truly modern movement because it implies that each artist can do what he thinks he ought to a movement for each person and open for everybody.
Any social movement that seeks to benefit only its own members I think is a shallow movement and probably doomed to failure.
A movement that we will to execute is never more than a represented movement, and appears in a different domain from that of the executed movement, which always takes place when the image is vivid enough.
To begin with, I hold that there is never an end; everything of which our life is composed, pictures and books as much as anything else, is a means only, in the sense that the work of art exists in the body of the movement of life. It may be a strong factor of progress and direction, but we cannot say that it is the end or reason of things, for it is so much implicated with them ; and when we are speaking of art we suddenly find that we are talking of life all the time.
Behind the visible movement there is another movement, one which cannot be seen, which is very strong, on which the outer movement depends. If this inner movement were not so strong, the outer one would not have any action.
I go to places and I see all these people working on peace education and on a culture of nonviolence and non-killing. You look at all these different movements going on: the environment movement, the interfaith movement, the human rights movement, the youth movement, and the arts movement.
Of course, people will call you an old artist or young artist, which is just a character of you. But personally, I don't think my work and my understanding of art is so much related to being Chinese, but the character of that. Maybe it's beyond my own consciousness.
The women's movement appeared at a very crucial moment in my life. There was a whole political movement asking such questions and others I had never asked. I began to feel heard in that movement. But it was because my voice was resonating with other voices.
I think what a lot of people don't realize is how much being the leader of this movement weighed upon him. After all, he [Dr. Martin Luter King] was only 39 years-old when he was assassinated, and only 36 during the Selma campaign. He always seemed older than he actually was, and I believe part of that had to do with just how much life he had to live in order to lead this movement.
The pictorial work was born of movement, is itself recorded movement, and is assimilated through movement (eye muscles).
The movement of search can only be from the known to the known, and all that the mind can do is to be aware that this movement will never uncover the unknown. Any movement on the part of the known is still within the field of the known.
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