A Quote by Yayoi Kusama
Every time I have had a problem, I have confronted it with the ax of art.
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When we had no computers, we had no programming problem either. When we had a few computers, we had a mild programming problem. Confronted with machines a million times as powerful, we are faced with a gigantic programming problem.
Next you'd see a raft sliding by, away off yonder, and maybe a galoot on it chopping. . . you'd see the ax flash and come down-you don't hear nothing; you see the ax go up again, and by the time it's above the man's head then you hear the k'chunk!-it had took all that time to come over the water.
Every age cuts and pastes history to suit its own purposes; art always has an ax to grind.
In a sense, every tool is a machine--the hammer, the ax, and the chisel. And every machine is a tool. The real distinction is between one man using a tool with his hands and producing an object that shows at every stage the direction of his will and the impression of his personality; and a machine which is producing, without the intervention of a particular man, objects of a uniformity and precision that show no individual variation and have no personal charm. The problem is to decide whether the objects of machine production can possess the essential qualities of art.
The handling of a problem seems to be simply the increase of ability to confront the problem and when the problem can be totally confronted it no longer exists.
But, when I had this feeling and started painting sacred art, as I had this feeling to do, then it come to me: my problem is I'll get a lot of criticism and another problem is my work's not good enough to sell.
It was dramatic to watch my grandmother decapitate a turkey with an ax the day before Thanksgiving. Nowadays the expense of hiring grandmothers for the ax work would probably qualify all turkeys so honored with gourmet status.
I am a stickler for good manners, and I believe that treating other people well is a lost art. In the workplace, at the dinner table, and walking down the street--we are confronted with choices on how to treat people nearly every waking moment. Over time these choices define who we are and whether we have a lot of friends and allies or none.
Russia is probably one of the first countries to have been confronted with this problem of terrorism. It took some time before the international community realised the danger terrorism poses.
Whether you were talking about Pillsbury, Burger King, Godfather's, the National Restaurant Association, in each one of those situations, I had a daunting problem that I had to solve. And I used the same business principles to approach the problem and, more importantly, solve the problem in every one of the situations.
The newest computer can merely compound, at speed, the oldest problem in the relations between human beings, and in the end the communicator will be confronted with the old problem, of what to say and how to say it.
Every time we are confronted with a new revolution we take to the opium pipes of our own propaganda.
People really had a problem with my disinterest in submission. They had a problem with my intellect, and they had a problem with my choice of lovers. They had a problem with my choice of everything.
I had always drawn, every day as long as I had held a pencil, and just assumed everyone else had too…Art had saved me and helped me fit in…Art was always my saving grace…Comedy didn’t come until much later for me. I’ve always tried to combine the two things, art and comedy, and couldn’t make a choice between the two. It was always my ambition to make comedy with an art-school slant, and art that could be funny instead of po-faced.
I became an art major, took every art class my school had to offer. In college, I majored in Advertising Art and Design.
In the beginning I had a real work problem. Every time I had job I had to convince the immigration authorities I was the only man for that job and get a special work permit until I went under contract to MGM.
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