A Quote by Hans-Ulrich Obrist
Numerous are the posthumous museums and memorials devoted exclusively to one artist, architect or author and designed to preserve or artificially reconstruct the namesake's original working or living conditions.
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One must be a living man and a posthumous artist.
I have designed the most buildings of any living American architect.
I was hesitant to approach people. I'm socially awkward. But I was working on a number of memorials, and finally it dawned on me: These are memorials to people who wrote, so I should use their writing. That's how I started to quit.
The real artist, who knew what he was imitating, would be interested in realities and not in imitations; and would desire to leave as memorials of himself works many and fair; and, instead of being the author of encomiums, he would prefer to be the theme of them.
Our Party maintains the improvement of the people's living conditions as the most important of the numerous state affairs.
No wonder so many sermons are devoted exclusively to "spiritual" subjects. If one is living by the tithes of history's most destructive economy, then the disembodiment of the soul becomes the chief of worldly conveniences.
Our society consists exclusively of free working people of cities and villages, workers, peasants, intelligentsia. Each of these strata may have its special interests and express them in numerous existing organizations.
The world is forever babbling of originality; but there never yet was an original man, in the sense intended by the world; the first man himself--who according to the Rabbins was also the first author--not being an original; the only original author being God.
Working a model liberated me from ever having to hold a day job. I transitioned from doing that to working full-time as an artist. If you're 19 and living cheap, being an artist model can sustain you. I dropped out of college at 21 and my illustration hadn't yet taken off. It is more than working in a store. It is a hard way to make a living but you earn more than in a similarly unskilled job.
I didn't expect to find much visible trace of the American war in Vietnam. The Vietnamese are too hard-bitten to dwell on it, and they've sanded away all but the outcroppings of history - the museums, the memorials.
Working as a model liberated me from ever having to hold a day job. I transitioned from doing that to working full-time as an artist. If you're 19 and living cheap, being an artist model can sustain you.
If we want to recruit and retain high-quality teachers, it starts with a fair wage, adequate working conditions, and the resources and support to succeed. Remember: teachers' working conditions are students' learning conditions.
Also one of my heroes is Syd Mead, who designed the vehicles for the first Tron. So, there are so many beautiful things happening here. And working with Joe was great. He's an architect, so I worked with other directors in between who were just about the action.
To be an artist it is not necessary to make a living from our creations. Nor is it necessary to have work hanging in fine museums or the praise of critics . . . To be an artist it is necessary to live with our eyes wide open, to breathe in the colors of mountain and sky, to know the sound of leaves rustling, the smell of snow, the texture of bark . . . To be an artist is to notice every beautiful and tragic thing, to cry freely, to collect experience and shape it into forms that others can share.
[On the socialites in New York in the Nineties who devoted themselves to politics, charities, and other volunteer work:] I never knew but one woman who devoted her life exclusively to the social game. She ended her days arranging dinner parties with paper dolls, a breakdown pitiful to watch.
Working in 'The Namesake' was a personally enriching experience.
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