A Quote by Susan Vreeland
Coming out of the Louvre for the first time in 1971, dizzy with new love, I stood on Pont Neuf and made a pledge to myself that the art of this newly discovered world in the Old World would be my life companion.
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I pledge to set out to live a thousand lives between printed pages. I pledge to use books as doors to other minds, old and young, girl and boy, man and animal. I pledge to use books to open windows to a thousand different worlds and to the thousand different faces of my own world. I pledge to use books to make my universe spread much wider than the world I live in every day. I pledge to treat my books like friends, visiting them all from time to time and keeping them close.
My father offered me a Super8 camera that he bought in some Brazilian airport. I was 16, and shot a reel with my best friend Juan Solanas jumping from the Pont Neuf bridge. It was my first psychological drama.
A new world is not made simply by trying to forget the old. A new world is made with a new spirit, with new values. Our world may have begun that way, but today it is caricature. Our world is a world of things. What we dread most, in the face of the impending debacle, is that we shall be obliged to give up our gewgaws, our gadgets, all the little comforts that have made us so uncomfortable. We are not peaceful souls; we are smug, timid, queasy and quaky.
I have a picture of the Pont Neuf on a wall in my apartment, but i know that Paris is really on the closet shelf, in the box next to the sleeping bag, with the rest of my diaries.
'Untitled' is a time machine that can transport you to 1992, an edgy moment when the art world was crumbling, money was scarce, and artists like Tiravanija were in the nascent stages of combining Happenings, performance art, John Cage, Joseph Beuys, and the do-it-yourself ethos of punk. Meanwhile, a new art world was coming into being.
I made up my mind when I was 15 years old that I would never smoke or drink. I have kept that pledge to myself, and it was one of the smartest decisions I ever made.
DiMaggio was never a rube. He was very smart and very urban. Coming out of the Great Depression, he was the immigrant boy who made it big. Coming back from World War II, he had all the wealth and power that New York aspired to. When New York saw itself as the center of the world, he was its paragon of class.
When I was at art school, a lot of art education is about art being a means of self-expression, and as an 18-year-old I didn't know if I had a huge amount I wanted to express. It was a big moment when I decided I wanted to shift the emphasis or the intention of my art from something I disgorged myself upon and something that actually fed me or made me see the world or understand the world.
I found that the camera was a comforting companion. It opened up new worlds, and gave me access to people's most intimate moments. I discovered the privilege of seeing life in all its complexity, the thrill of learning something new every day. When I was behind a camera, it was the only place in the world I wanted to be.
There was a kind of cultural life in New York that wasn't as solidified as it is now, it wasn't as money-driven. If you look at the size of the successful art galleries compared to the size of galleries now - there was no such thing as the Gagosian Gallery or Pace Gallery. But it was a time when magazines were a vital part of American life, and Esquire gave me a free pass to every world - I could get to the art world, the theater world, the movie world. It allowed you to roam through the cultural life of New York City.
We who have lived before railways were made belong to another world. It was only yesterday, but what a gulf between now and then! Then was the old world. Stage-coaches, more or less swift, riding-horses, pack-horses, highwaymen, knights in armor, Norman invaders, Roman legions, Druids, Ancient Britons painted blue, and so forth -- all these belong to the old period. But your railroad starts the new era, and we of a certain age belong to the new time and the old one. We who lived before railways, and survive out of the ancient world, are like Father Noah and his family out of the Ark.
The first time I watched a World Cup game was in 2002. That was the first time Senegal had ever qualified for the World Cup, and it was great moment that I will never forget in my life. I was ten years old at the time, and that experience of watching my country in a World Cup is what inspired me to become a footballer.
Out of these troubled times, our fifth objective - a New World Order - can emerge. . . Now, we can see a New World Order coming into view. A world in which there is a very real prospect for a New World Order. . .A world where the United Nations, freed from a Cold War stalemate, is poised to fulfill the historic vision of its founders.
Now the culture is made of old things, it's a collage. Art made out of art is not art. You're supposed to make art out of life.
And I know I’ve lost. Everything is lost. Everything is over. “As the newly appointed President of this fair planet of ours,” the Mayor says, holding out his hands as if to show me the world for the first time,” let me be the very first to welcome you to its new capital city.” “Todd?” Viola whispers, her eyes closed. I hold her tightly to me. “I’m sorry,” I whisper to her. “I’m so sorry.” We’ve run right into a trap. We’ve run right off the end of the world. “Welcome,” says the Mayor,” to the New Prentisstown.
After the discovery in 1918 of love letters revealing that Franklin was involved with Lucy Mercer: The bottom dropped out of my own particular world, I faced myself, my surroundings, my world, honestly for the first time.
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