A Quote by Jerry Saltz
The alchemy of good curating amounts to this: Sometimes, placing one work of art near another makes one plus one equal three. Two artworks arranged alchemically leave each intact, transform both, and create a third thing.
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In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.
We know the seductive alchemy of art. To transform private anguish into a narrative of truth, if not beauty; to make sense where there was none; to bring order out of chaos - these are the promises art makes.
For me, the idea of curating can be expanded. Curating science, curating art, music and theater and performance and not only bring those things into art but bring art into those areas.
Mr. Russell is a great believer in versatility in all creative work. In any physical work he believes one can work many hours at a time, but in mental, creative work he believes one can do his best only for two hours at a time on any one subject, but he can work another two hours on another subject with equal freshness. He therefore sometimes works two hours a day on each of five different creations, and in that way can live five lives at a time.
Alchemy is the art of far and near, and I think poetry is alchemy in that way. It's delightful to distort size, to see something that's tiny as though it were vast.
According to the celestial multiplication table, once one is three, and three times one is one, and according to heavenly subtraction if we take two from three, three are left. The addition is equally peculiar, if we add two to one we have but one. Each one is equal to himself and the other two.
One thing is sure - we have to transform the three-dimensional world of objects into the two-dimensional world of the canvas.. ..To transform three into two dimensions is for me an experience full of magic in which I glimpse for a moment that fourth dimension which my whole being is seeking.
There are times as an actor when you don't work for two months, sometimes three or sometimes six, and the only thing that's going to keep you sane is if you give back and live your life. I've definitely gone through that. It's like, 'Okay, I'm out of work for two months.' That's two months I can paint.
Landscape pictures can offer us, I think, three verities: geography, autobiography, and metaphor. Geography is, if taken alone, sometimes boring, autobiography is frequently trivial, and metaphor can be dubious. But taken together, as in the best work of people like Alfred Stieglitz and Edward Weston, the three kinds of information strengthen each other and reinforce what we all work to keep intact - the affection for life.
We aren't lazy, overweight models. We work out and must maintain proportionate bodies for work. Plus models are curvy and fit. Don't let the scale fool you. Plus doesn't always equal unhealthy, just like skinny doesn't always equal healthy.
The existence of another, competing translation is a good thing, in general, and only immediately discouraging to one person - the translator who, after one, two, or three years of more or less careful work, sees another, and perhaps superior, version appear as if overnight.
It was really executed well, from the art direction to the wardrobe to everyone else. And I have to say, two really exceptional directors who did three each. Roxann [Dawson] did the first three and Jeremy [Webb] did the second three. And I think they really were very meticulous in getting the right tone because it is both. It isn't dour and it isn't grim, but it's not a romp either. It's truthful and it has room for both of those things.
The man who has learned that three plus one are four doesn't have to go through a proof of that assertion with coins, or dice, or chess pieces, or pencils. He knows it, and that's that. He cannot conceive a different sum. There are mathematicians who say that three plus one is a tautology for four, a different way of saying "four" ... If three plus one can be two, or fourteen, then reason is madness.
You create a work of art. You do not know whether it will get public sanction. Sometimes outstanding films do no business, and sometimes films which are not so good work.
Sometimes one's very angry and preaches, but I know that to clinch a point is to close it. To leave the reader free to decide what your work means, that's the real art; it makes the work inexhaustible.
Presently, my understanding of the fundamental principles of the theory of high-intensity training is thorough and complete - not two plus two equals three-and-a-half, but two plus two equals four! Heretofore, I would only occasionally have clients gain 10 to 20 pounds in a month or 30 to 40 pounds in three to four months. Now such is no longer the exception , but the rule!
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