A Quote by Michel Seuphor
The 'Cercle et Carré' group owes its existence to my encounter with the Uruguayan painter Torrès-Gracia in 1929... However difficult our relationship, his obstinacy matching my patience, this unholy team of fire and water was bound to produce something. Towards the end of the year, after consulting sundry artists, including Arp, Mondrian, and Van Doesburg, we drew up the program for a new group and launched a magazine which was be called 'Cercle et Carré'.
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I was a very hard-edged geometric painter, strongly influenced by [Piet] Mondrian and [Theo] van Doesburg and that sort of thing.
In our island myth this was the prescribed end of marriages like mine: the wife goes off with someone from the Cercle Sportif, outside whose gates at night the willingly betrayed husband waits in his motorcar. The circumstances were slightly.
What le Carré is so good at is unpicking something very specific about Englishness. That is almost part of why I think he wrote the novel. You can feel le Carré's anger that someone who has had the benefits of an English education and an English upbringing is using that privilege to basically do the worst things imaginable. There is an anger in the book about that.
What drew me towards team sport were the camaraderie and friendship. The chance to celebrate victory and success with a group of other people is something I have enjoyed doing.
I was impressed by a program called New Roots, which helps women refugees from countries in conflict to start new lives in the U.S. by farming. They are trained in a four-year program, at the end of which New Roots helps them find their own land to farm and live on.
Unfortunately, sometimes our leaders, for their own political purposes, want us to think in terms of categories and groupings. Our group vs. this group vs. another group. This must end.
One association with the arts that I vividly remember was a magazine called Normal Instructor, a teachers' magazine, that Miss George would hold up with illustrations of great artworks like [Vincent] van Gogh and Rembrandt [van Rijn].
At least once a year, I meet with a group called the Giving Pledge. It's a group of billionaires - including me, Warren Buffett, Bill Gates, and Ted Turner - who have pledged to give away most of their money to charity. We meet for three days to talk about what we're doing to help make the planet a better place to live.
The work of black creatives seems to always get undermined in one way or another, and that's what this new generation is actively changing by speaking up. We aren't accepting group categorization and group classifications to describe our work anymore - it just leads to group dismissal.
Power corresponds to the human ability not just to act but to act in concert. Power is never the property of an individual; it belongs to a group and remains in existence only so long as the group keeps together. When we say of somebody that he is 'in power' we actually refer to his being empowered by a certain number of people to act in their name. The moment the group, from which the power originated to begin with ... disappears, 'his power' also vanishes.
To the best of my knowledge, every acute inpatient ward offers some inpatient group therapy experience. Indeed, the evidence supporting the efficacy of group therapy, and the prevailing sentiment of the mental health profession, are sufficiently strong that it would be difficult to defend the adequacy of the inpatient unit that attempted to operate without a small group program.
I grew up in repertory theaters, so it was comedy one night, drama the next. I'm used to going from one to the other. And I worked for years in television as well. So, I like the interrelationship of it and having a good relationship with a group of artists creating something really where the sum is greater than all of our individual contributions, our parts.
If a Jewish group sat down with a Christian conservative group, and there was a so-called Messianic Jew at the table, that would be the end of the meeting.
Those who formally rule take their signals and commands not from the electorate as a body, but from a small group of men. This group will be called the Establishment. It exists even though that existence is stoutly denied. It is one of the secrets of the American social order... A second secret is the fact that the existence of the Establishment - the ruling class - is not supposed to be discussed.
You will always see, if this group is a highly evolved group or on the way up, a movement towards oneness.
Group Material is itself collaborative, which is non-hierarchical and we don't use the corporate model which is along lines of expertise but we work together and take responsibility as a group for every aspect of the work. And then there's a collaboration or dialogue with those artists and non-artists we work with, in terms of participation in the various projects.
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