A Quote by Mary Rakow

Maybe Cubism started this way. Memory re-arranging a face. — © Mary Rakow
Maybe Cubism started this way. Memory re-arranging a face.
When we discovered cubism, we did not have the aim of discovering cubism. We only wanted to express what was in us.
Cubism is ... a picture for its own sake. Literary Cubism does the same thing in literature, using reality merely as a means and not as an end.
Memory is like fiction; or else it's fiction that's like memory. This really came home to me once I started writing fiction, that memory seemd a kind of fiction, or vice versa. Either way, no matter how hard you try to put everything neatly into shape, the context wanders this way and that, until finally the context isn't even there anymore... Warm with life, hopeless unstable.
As a movement Cubism had consistently stopped short of complete abstraction. Heretics such as Delaunay had painted pure abstractions but in so doing had deserted Cubism.
When I made my first film, Basquiat, I think one of the criticisms was that the way I work is episodic. Later, as people started to look at the movies, they started to realize that maybe that's my style. If I could do it better or another way, I guess I would.
I've always been fascinated by memory and I remember Jonah, when we first started dating, was working on something involving memory. It was early on in our relationship and I was like, damn it, I wanted to do a movie on memory. That was 'Memento.'
When cubism began to take a social form, Metzinger was especially talked about. He explained cubism, while Picasso never explained anything. It took a few years to see that not talking was better than talking too much.
My photography changed from being more documentary-like to arranging things more, and that came into being partly because I started doing music videos, and I incorporated some things from the music videos into my photography again, by arranging things more.
I sort of thought acting was just about arranging your face into emotions. I didn't realise it was about actually allowing yourself to feel the feelings, then letting your face follow. That was a big learning curve.
It has always been on the written page that the world has come into focus for me. If I can piece all these bits of memory together with the diaries and letters and the scribbled thoughts that clutter my mind and bookshelves, then maybe I can explain what happened. Maybe the worlds I have inhabited for the past seven years will assume order and logic and wholeness on paper. Maybe I can tell my story in a way that is useful to someone else.
Telling our stories is what saves us. The story is enough... The very act of storytelling, of arranging memory and invention according to the structure of narrative is, by definition, holy.
Arranging is sort of the most exciting part of making music right now for me. I really enjoy the process of arranging because you're given all the time that you need to decide on every single note.
All this, all of this love we're talking about, it would just be a memory. Maybe not even a memory. Am I wrong? Am I way off base? Because I want you to set me straight if you think I'm wrong. I want to know. I mean, I don't know anything, and I'm the first one to admit it.
My work has made me tolerant of memory mistakes by family and friends. You don't have to call them lies. I think we could be generous and say maybe this is a false memory.
Some people say they use images to help them remember intricacies. Others say they just remember. If they are able to form an image of the face, it is because they remember how it was: it is not that an image guides memory, but that memory produces an image, or the sense of imaging. We have no agreed way to talk clearly about such things.
Cubism is an anatomical chart of a way of seeing external objects. But I want to confuse the meaning of the act of looking.
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