A Quote by Iliza Shlesinger
At a certain point, I had so much artwork that I decided to respect the art and present them in a nice way, not just on a dusty shelf.
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At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture.
When people are too present, too familiar or too in our face, something happens to us psychologically. We begin to tune them out, we begin to get sick of them, we begin to know them so well and become so familiar with who they are that we loose a bit of respect for them. You pass a certain threshold with the fact that you're too present in their lives, too much in their face and once that threshold is passed you're never going to repair it they have lost a certain respect for you.
I try to just put a blank stage in front of them, and say, "This is your space; you tell me where you're coming from and where you're going." At a certain point, it was interesting as the project started to become what it is now, The Source, which has a physical installation and also an online presence. As we started building the installation, I started thinking, "It's really strange that we're building this installation, this piece of architecture you can go into." It's almost strange because I suppose it's an artwork, but it's an artwork that's really constructed out of ideas.
Somehow, the whole idea of me writing art reviews was just too much of a complicated thought, but I liked art, and later on I just realized that it would be perhaps a pleasure, and so I decided to do it for 'Art in America' - a lot.
I've had some nice messages after games from players who I haven't spoken to before. I won't name people and drop them in it, but I've had messages from opposition strikers and defenders saying that they respect and love the way I play, telling me to keep doing it and not to change the way I am.
It is sometimes forgotten how much wit there is in certain works of abstract art. There is a certain point in undergoing anguish when one encounters the comic.
I really struggled with what I was going to do with fantasy suites, but I didn't really want to think too much about it until we got there. I had a lot of other things on my mind at that point... but really that was just a personal decision between me and whoever I decided to go into the fantasy suite with or decided not to.
The real art is in the street, is making the artwork, and for that you have to involve people. The action is actually the artwork.
I was really into artwork in high school and my art teacher made it clear to me that it's not really a career. She insisted that if I wanted to make a living this way, I would have to find a career that might actually reward me for the artwork.
In 1969, we decided we had to do certain things technically to win, and we decided to do them then, even though we knew some of the personnel couldn't do it. In other words, instead of adapting the system to the players, we just installed our system. Then we set out to fill our team through the draft.
Whenever I work on an album and the time comes to do all the artwork, the only thing I think of is the LP artwork. When we worked on the 'Electric Trim' artwork, we spent weeks and weeks making the LP artwork great, and then the CD artwork came together in a day or two. The LP is what's important to me.
I found at a certain point in my acting career that I was just bored. I had too much energy. I had too many ideas.
In Texas, you just learn just be nice to people and respect them, and respect where they're coming from. And understand people have different backgrounds and opinions, and there's nothing you could do about it. And that's what I've realized to shape, I guess, who I am.
I didn't have, like, any way to penetrate organized sports. So I decided at that point that I had to be rich. If I was rich I could just buy a team and run it.
I don't know about living on an automatic pilot, but I've had times where I've decided to just test myself and my mettle, and for no good reason other than it's what life is. Even before I was acting, I had, like, one day in high school I decided to just show them my pajamas, just for no good reason.
I could not fight the Nazis in the present, as they had the power to still my voice, so I decided to fight them in the future. I would give the coming generations a weapon against any resurgence of such evil. My eyewitness account would record the barbarous acts, and also show the way to stop them.
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