A Quote by Kara Walker
I don't think that my work is actually effectively dealing with history. I think of my work as subsumed by history or consumed by history.
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Most of us, I think, are conscious of history swirling around outside the door, but when we're in the house, we're usually not dealing with history. We're not thinking about history.
If, in schools, we keep teaching that history is divided into American history and Chinese history and Russian history and Australian history, we're teaching kids that they are divided into tribes. And we're failing to teach them that we also, as human beings, share problems that we need to work together with.
All other forms of history - economic history, social history, psychological history, above all sociology - seem to me history with the history left out.
I am opposing it with an idea of the history of philosophy as a history of philosophers, that is, a history of mortal, fragile and limited creatures like you and I. I am against the idea of clean, clearly distinct epochs in the history of philosophy or indeed in anything else. I think that history is always messy, contingent, plural and material. I am against the constant revenge of idealism in how we think about history.
I think where you're born brings a history with it - a cultural history, a mythical history, an ancestral history, a religious context - and certainly influences your perception of the world and how you interpret everyday reality.
When we approach history, we are dealing with a conglomeration of irrational continua. Those who deal with history by nonrational processes are the ones who make history, the actors in it.
I've always tried to write California history as American history. The paradox is that New England history is by definition national history, Mid-Atlantic history is national history. We're still suffering from that.
Won't it be wonderful when black history and native American history and Jewish history and all of U.S. history is taught from one book. Just U.S. history.
There has always been interest in certain phases and aspects of history - military history is a perennial bestseller, the Civil War, that sort of thing. But I think that there is a lot of interest in historical biography and what's generally called narrative history: history as story-telling.
I am interested in constitutional history, political history, the history of foreign affairs, but I think you can get at those subjects through the details of daily life.
The introduction of the Christian religion into the world has produced an incalculable change in history. There had previously been only a history of nations--there is now a history of mankind; and the idea of an education of human nature as a whole.--an education the work of Jesus Christ Himself--is become like a compass for the historian, the key of history, and the hope of nations.
I always thought that art that is produced somehow has to reflect the zeitgeist or the ambiance and the time and the history in which it is produced. I think it's inescapable. It's like we look back now, at work done savoring the thirties, and you can almost tell it was done during that period of time. Now maybe, that's a style of period or something, I don't know. I think my work, or the things that interest me, come out of my reaction to history.
It's the first time in the history of the world that creatives are also distributors. And that's very profound if you think that up until the recent history, permission was required for us to be able to share work at any sort of scale. We had to get permission from galleries, from ad agencies or photo editors to be able to have our work out there. And now anybody with access to a computer can show their work in 200 countries around the world.
I wrote a work of history, I looked at over 500 sources - I spent three-and-a-half years on the project. I think the most gratifying and wonderful thing about the reaction is that people are learning things from the history that feel relevant to today.
I think my parents were happy that I'd gone to university and gotten a degree in history so they thought, 'Well if acting doesn't work for him, he can always become a history teacher or something.' Fortunately, the acting worked out.
It is said that the history of peoples who have a history is the history of class struggle. It might be said with at least as much truthfulness, that the history of peoples without history is a history of their struggle against the state.
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