A Quote by Max Beerbohm
There is much virtue in a window. It is to a human being as a frame is to a painting, as a proscenium to a play, as 'form' to literature. It strongly defines its content.
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I sometimes say to people, "I am a window frame - no more. The window frame is not that important. What is important is the light that comes through the window.
Plays are literature: the word, the idea. Film is much more like the form in which we dream - in action and images (Television is furniture). I think a great play can only be a play. It fits the stage better than it fits the screen. Some stories insist on being film, can't be contained on stage. In the end, all writing serves to answer the same question: Why are we alive? And the form the question takes - play, film, novel - is dictated, I suppose, by whether its story is driven by character or place.
The abstract expressionists had that thing of, subject matter becomes content, content becomes form. And I always thought there was no room for style. I felt with my painting, the style really is the content. The style holds everything together.
I deal with painting as I deal with things, I paint a window just as I look out of a window. If an open window looks wrong in a picture, I draw the curtain and shut it, just as I would in my own room. In painting, as in life, you must act directly.
Part of my methodological approach is made explicit when I discuss ways in which literature can have philosophical significance. Literature doesn't typically argue - and when it does, it's deadly dull. But literature can supply the frame within which we come to observe and reason, or it can change our frame in highly significant ways. That's one of the achievements I'd claim for Mann, and for Death in Venice.
...photography can lie as convincingly as literature or painting. The angle, the selected content, the assumed context.
Virtue is something you have to get good at, like playing the trombone or tolerating bores at parties. Being a virtuous human being takes practice; and those who are brilliant at being human (what Christians call the saints) are the virtuosi of the moral sphere - the Pavarottis and Maradonas of virtue.
I had never felt the allure of another human being this strongly, warmth and curiosity mixing to form an unspoken question in the air.
It's not that a literature for children of color doesn't exist; it's that so much of the extant literature is lacking in the essential quality that makes literature for children so extraordinary a form: imagination.
One of the reasons I love to come to Paris is because the decorative arts are so refined that I am always walking through one proscenium into another frame.
People align with movements they can believe in, and it is the human, intellectual, and financial investment in genuine content that defines experiences.
A human being becomes whole not in virtue of a relation to himself [only] but rather in virtue of an authentic relation to another human being(s).
If it is a virtue to love my neighbor as a human being, it must be a virtue - and not a vice - to love myself, since I am a human being too.
I came down successfully through Picasso and Braque, down through Pollock, I guess, but I began to stop at Franz Kline and the Abstractionists. I like their design, brilliant design, marvelous color layers. But I don't find any human content there. I'm from an old school, and painting has to have human content for me.
The idea of being close to where pigments were mined - that's the first thing in making a painting, getting the material. And what's the last thing you do in making a painting? You put a frame around it.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
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