A Quote by Moses Mendelssohn
When Socrates was about 30, and his father was long dead, he was still pursuing the art of sculpture, but from necessity, and without much inclination.
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My father always wanted to be 'Col-bear.' He lived in the same town as his father, and his father didn't like the idea of the name with the French pronunciation. So my father said to us, 'Do what you want. You're not going to offend anybody.' And he was dead long before I made my decision.
The shortest way to arrive at glory should be to do that for conscience which we do for glory. And the virtue of Alexander appears to me with much less vigor in his theater than that of Socrates in his mean and obscure. I can easily conceive Socrates in the place of Alexander, but Alexander in that of Socrates I cannot.
Whatever a monk keeps pursuing with his thinking and pondering, that becomes the inclination of his awareness.
Socrates splits himself into two, so that there are two Socrates: the Socrates who knows in advance how the discussion is going to end, and the Socrates who travels the entire dialectical path along with his interlocutor.
And he arose and came to his father. But while he was still a long way off, his father saw him and felt compassion, and ran and embraced him and kissed him. And the son said to him, 'Father, I have sinned against heaven and before you. I am no longer worthy to be called your son. But the father said to his servants, 'Bring quickly the best robe, and put it on him, and put a ring on his hand, and shoes on his feet. And bring the fattened calf and kill it, and cet us eat and celebrate. For this my son was dead, and is alive again; he was lost, and is found.' And they began to celebrate.
I really have to think of myself as a painter first because sculpture came much, much later. As a student at the Art Institute in Chicago, I simply never became involved in sculpture. I did prints, and I did paintings.
Socrates, whose mother was a midwife, used to say that his art was like the art of the midwife. She does not herself give birth to the child, but she is there to help during its delivery. Similarly, Socrates saw his task as helping people to 'give birth' to correct insight, since real understanding must come from within. . . . Everybody can grasp philosophical truths if they just use their innate reason.
[S]uppose the mind of [a] friend of humanity were clouded over with his own grief, extinguishing all sympathetic participation in the fate of others; he still has the resources to be beneficent to those suffering distress, but the distress of others does not touch him because he is sufficiently busy with his own; and now, where no inclination any longer stimulates him to it, he tears himself out of his deadly insensibility and does the action without any inclination, solely from duty.
All cats die. Socrates is dead. Therefore Socrates is a cat.
And like no other sculpture in the history of art, the dead engine and dead airframe come to life at the touch of a human hand, and join their life with the pilot's own.
Art used to be painting, sculpture, music, etc, but now, all technology has become art. Of course, this form of art is still very primitive, but it is slowly replacing reality.
Man is really not freeing many aspects. He is dependent on his social circumstances, but he is free in his thinking, and here is the point of origin of sculpture. For me the formation of the thought is already sculpture. The thought is sculpture.
Pollock said several times that he couldn't separate himself from his art. Not knowing much about modern art when I began to read about him, I was much more his persona - his struggles as a human being - that was interesting to me.
The dust is old upon my "sandal-shoon,"
And still I am a pilgrim; I have roved
From wild America to Bosphor's waters,
And worshipp'd at innumerable shrines
Of beauty; and the painter's art, to me,
And sculpture, speak as with a living tongue,
And of dead kingdoms, I recall the soul,
Sitting amid their ruins.
For me, architecture is an art the same as painting is an art or sculpture is an art. Yet, architecture moves a step beyond painting and sculpture because it is more than using materials. Architecture responds to functional outputs and environmental factors. Yet, fundamentally, it is important for me to stress the art in architecture to bring harmony.
With Gnaw I was thinking about traditional sculpture, about carving. I was also interested in figurative sculpture. I put those two ideas together and decided that rather than describing the body, I would use the body, my body, as a tool for making art.
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