A Quote by Leonard Cohen
I feel that this is a vocabulary that I grew up with. This biblical landscape is very familiar to me, and it's natural that I use those landmarks as references. Once they were universal references and everybody understood and knew them and located them. That's no longer the case today, but it is still my landscape.
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American culture is kind of a universal culture, I guess. It's things Greeks grew up with, common references you can use. It's very interesting.
The political and social processes by which the Western European societies were put in order are not very apparent, have been forgotten, or have become habitual. They are part of our most familiar landscape, and we don't perceive them anymore. But most of them once scandalized people.
The pleasure a man gets from a landscape would [not] last long if he were convinced a priori that the forms and colors he sees are just forms and colors, that all structures in which they play a role are purely subjective and have no relation whatsoever to any meaningful order or totality, that they simply and necessarily express nothing....No walk through the landscape is necessary any longer; and thus the very concept of landscape as experienced by a pedestrian becomes meaningless and arbitrary. Landscape deteriorates altogether into landscaping.
I grew up in a time where there were no queer digital references.
I remember I grew up in Pasadena in a very, kind of, homogeneous, kind of, suburban existence and then I went to college at Wesleyan University in Connecticut. And there were all these, kind of, hipster New York kids who were so-called 'cultured' and had so much, you know, like knew all the references and, like, already had their look down.
To myself, mountains are the beginning and the end of all natural scenery; in them, and in the forms of inferior landscape that lead to them, my affections are wholly bound up.
One ends up with a landscape one has never seen before but it is presumably the landscape you were feeling as you started the painting.
I think that children's books should be censored not for references to sex but for references to diseases. I mean, who didn't think after reading 'Madeline' that they were going to get appendicitis?
Biblical references about knowledge and good and evil often get tangled up.
All aspects of photography interest me and I feel for the female body the same curiosity and the same love as for a landscape, a face or anything else which interests me. In any case, the nude is a form of landscape. There are no reasons for my photographs, nor any rules; all depends on the mood of the moment, on the mood of the model.
Scholars have found that references to Christ in Josephus were deliberately planted in the translation long after it was written, and the Latin references to Christ are not to a person of that name. In the Dead Sea Scrolls there was mention of a particular "teacher of righteousness" who had characteristics somewhat like those attributed to Christ, but it might easily have been someone else.
If, on the other hand, conservationists are willing to insist on having the best food, produced in the best way, as close to their homes as possible, and if they are willing to learn to judge the quality of food and food production, then they are going to give economic support to an entirely different kind of land use in an entirely different landscape. This landscape will have a higher ratio of caretakers to acres, of care to use. It will be at once more domestic and more wild than the industrial landscape.
There were those emotions down there, and though she couldn't quite feel them, they were strong and she feared them. It was like watching a thunderhead from high up in a plane, and though you weren't under it, you knew how it would feel if you were. You knew you'd have to land eventually.
I see some recurring themes: things that feel threaded together, some symbolic references, and songs about some of the big questions, like death. There are a lot of references to weather, too!
Landscapes can be deceptive. Sometimes a landscape seems to be less a setting for the life of its inhabitants than a curtain behind which their struggles, achievements and accidents takes place. For those who are behind the curtain, landmarks are no longer only geographic but also biographical and personal
I grew up in a haunting postindustrial landscape where prehistoric ferns grew among tens of railway tracks surmounted by brilliant arc lights where birds nested and sang in the dead of night, because for them, it was day.
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