A Quote by Theaster Gates
The reality in the neighborhood that I live in is: if I don't constantly reconcile what I have against what other people don't, either I need to leave and be around other people who have what I have, or I'm constantly engaged in this kind of dynamic flow of opportunity and sharing.
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When Muslims live and grow up in a separate neighborhood in London, they are surrounded only by their culture. They don't need to integrate with other cultures, they don't need to mix with other people... When we don't live together, we start hating each other.
You know we're constantly taking. We don't make most of the food we eat, we don't grow it, anyway. We wear clothes other people make, we speak a language other people developed, we use a mathematics other people evolved and spent their lives building. I mean we're constantly taking things. It's a wonderful ecstatic feeling to create something and put it into the pool of human experience and knowledge.
With me sharing everything that I'm doing on social media, people might think that I'm constantly comparing myself to other people, but I'm really trying not to do that.
You have the right to not have to constantly manage how you look for other people's sake. You aren't here to decorate the world for other people. You're here to live in it for yourself, no matter what that looks like.
The economic philosophy of black nationalism only means that our people need to be re-educated into the importance of controlling the economy of the community in which we live, which means that we won't have to constantly be involved in picketing and boycotting other people in other communities in order to get jobs.
The flow of people in a setting, their changing relationships to each other and their environment, and their constantly changing expressions and movements - all combine to create dynamic situations that provide the photographer with limitless choices of when to push the button. By choosing a precise intersection between subject and time, he may transform the ordinary into the extraordinary and the real into the surreal.
We live in a culture where people are constantly telling us how to get what we want, and within that message is, 'You need to be something other than you are.'
What writers do is they tell their own story constantly through other people's stories. They imagine other people, and those other people are carrying the burden of their struggles, their questions about themselves.
I'm constantly dodging people in L.A. There are some people I don't ever wanna see again, but if you live where you grew up, you're running into people constantly.
On a film, I was always acting. I was either changing my clothes really quickly and wiping off the lipstick and putting on the other lipstick and then working constantly, constantly.
When you meet people that you know from other films - as often happens to me, and as tends to happens to you when you're an actor, you constantly meet people that you've seen in other films. But when it's people who've kind of had a seismic effect on your life, it's quite extraordinary.
I get irritated with the world. I get irritated with politicians. I get very irritated with governments and with corporations, but in terms of imagination - my imagination is always fertile. I'm either thinking of my own things or constantly engaged by the things that other people do.
I didn't know how to check other people's feeds. When I started Instagram, it was just me posting! But then at some point, like eight months ago, I realized I could see what other people were sharing. It was so exciting and so fun, but it was like I'd already gotten into the rhythm of sharing and not worrying about what it was like compared to other accounts. I think that was kind of protective, in a way.
I think Trump has made it really hard for people to read, period. He's made it hard for me anyway. Part of his evil is the way it constantly distracts us, constantly upends our horizon. To leave your computer for three hours now is to miss a year's worth of drama. This is programmatic and common to other autocratic regimes of our times.
You know, in Los Angeles, you're constantly in your car, you're sealed up, you're not walking around. Whereas in New York, after a while, all your stuff is kind of public, in one way or the other. I'm not saying either one of those is bad; they're both great for a very specific kind of comedian. And I'm glad that they both exist.
We are constantly being surprised that people did things well before we were born. We are constantly remarking on the fact that things are done well by people other than ourselves. "The Japanese are a remarkable little people," we say, as if we were doing them a favor. "He is an Arab, but you ought to hear him play the zither." Why "but"?
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