A Quote by Ron Ben-Israel

My background is inseparable from my work. — © Ron Ben-Israel
My background is inseparable from my work.

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Physically you are identical with and inseparable from the cosmic material substance, and socially you are inseparable from the large mass of humanity.
If your educe sculpture to the flat plane of the temporal experience of the work. (...) the experience of the work is inseparable from the place in which the work resides. Apart from that condition, any experience of the work is a deception.
We're both very passionate about the arts. Mom, of course with her arts background. I have a theater background and work with children.
Orchestration is part of the very soul of the work. A work is thought out in terms of the orchestra, certain tone-colors being inseparable from it in the mind of its creator and native to it from the hour of its birth.
Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.
I have always believed the thesis that one's politics and the character of one's intellectual work are inseparable.
Light and subject is inseparable. But when it is well integrated, it becomes the work of a fine masterpiece.
There is in my work a very strong religious foreground and background. In the later work some of that tends to diminish, but it's certainly present in the early work.
We regard it as our duty to declare that Jewish Jerusalem is an organic and inseparable part of the State of Israel, as it is an inseparable part of the history of Israel, of the faith of Israel.
I really believe in the radical viewpoint. And I have always believed that one's politics and the character of his particular work are inseparable.
Practically everyone I know now is from a middle- or upper-middle-class background, and I no longer have the huge chip on my shoulder that I carried around for so many years. I'm not sure it comes out much in the work, but coming from this kind of background is absolutely central to my identity, to my sense of who I am.
I've often thought that my background in rock 'n' roll has gone to waste in film work. My background was that I was a rock 'n' roll drummer and I don't think I used drums in my first ten years of film scoring.
I have the background singers of Ray Charles, the background singers of Smokey Robinson, and the background singers of Barry White and I built a choir around that.
In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.
Long necks. The thrust of the head in a certain position. The way the fingers work, fabrics work. It's all part of my painting background.
I think we did our first session in 1958. There were no black background singers - there were only white singers. They weren't even called background singers; they were just called singers. I don't know who gave us the name 'background singers,' but I think that came about when The Blossoms started doing background.
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