A Quote by Michael Ayrton
Certainly, the history of my life and the works of art which have especially enriched it is precisely that: the depiction or incantation of a handful of metaphors whose spendour rests upon their intonation.
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It may be that universal history is the history of the different intonations given a handful of metaphors.
About the fearful sphere which we inhabit, whose centre may be calculated and whose circumference is physically established, there spin metaphors whose centre is everywhere and whose circumference shows itself only through holes in the dark.
A handful of works in history have had a direct impact on social policy: one or two works of Dickens, some of Zola, 'Uncle Tom's Cabin' and, in modern drama, Larry Kramer's 'The Normal Heart.'
If we talk about art in general... all the works of art, each one of them could reflect a moment in the history of mankind, the time in which it was created.
When you write, it’s like braiding your hair. Taking a handful of coarse unruly strands and attempting to bring them unity. Your fingers have still not perfected the task. Some of the braids are long, others are short. Some are thick, others are thin. Some are heavy. Others are light. Like the diverse women of your family. Those whose fables and metaphors, whose similes and soliloquies, whose diction and je ne sais quoi daily slip into your survival soup, by way of their fingers.
The central dynamism of Christianity, which rests precisely on a unity through variety.
All nature works, and then rests; works and rests. I caught its rhythm and worked and rested with it. When I felt that inertia stealing over me, I rested; and while resting my power recuperated - the tide rose in me.
Art is the suitcase of history, carrying the essentials. Art is the life buoy of history. Art is seed, art is memory, art is vaccine.
Literature makes history come to life. It is maybe the most accurate depiction of history, especially literature that was written in the time period depicted in the story.
More unsayable than all other things are works of art, those mysterious existences, whose life endures beside our own small, transitory life.
To a person uninstructed in natural history, his country or sea-side stroll is a walk through a gallery filled with wonderful works of art, nine-tenths of which have their faces turned to the wall. Teach him something of natural history, and you place in his hands a catalogue of those which are worth turning around. Surely our innocent pleasures are not so abundant in this life, that we can afford to despise this or any other source of them.
For it is a plain fact that, most certainly in the West, the writings, works of art, musical compositions which are of central reference, comport that which is "grave and constant" (Joyce's epithets) in the mystery of our condition.
Jonathan Meese is not interested in the history of reality. Everything radical and precisely graphic is sustainable. Human ideologies like religions and politics are based on the past and therefore irrelevant to art. Art always transforms radicalism of the past into the future. Art is always the total time machine. Jonathan Meese is interested in the history of the future. Art is never nostalgic.
Poetry offers works of art that are beautiful, like paintings, which are my second favorite work of the art, but there are also works of art that embody emotion and that are kind of school for feeling. They teach how to feel, and they do this by the means of their beauty of language.
'The Art of the Brick' is an exhibition I've done where I've taken some works of art from art history and replicated them all out of Lego bricks.
If you study the history of mankind, it seems to be a history of violence. Certainly the history of art, whether you look at paintings or movies or plays or whatever, is just a litany of murder and death.
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