A Quote by Jerry Saltz
Galleries needn't be exactly like White Columns purely because times are bad again. But the idea of this special space could - should - help shape what comes next.
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Can space break? I mean the space of art galleries. Over the past 100 years, art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors.
I could only relax when there was just one tiny white last spot left. I could see more clearly. I could grasp the shape of the picture again... The pictures are alive because of the white remnant, the almost concealment.
Women are not equal with men, that's sure. When the woman is in danger she always looks to the man for help. We are superior by nature. The black or white woman needn't worry in life because the world is ruled by the white man.
When I'm writing the text for a book like 'Little White Rabbit,' I read it aloud, alone, in my studio, again and again and again - because the rhythm has to be exactly right. After I get my manuscript to the point where I think it is perfect, I begin to think about what I want the art to look like.
Five times a week, I do two hours running and gym work. That's to help with things like blood circulation. Also, it is good to be in shape in case I need to go into hospital again.
I could've enjoyed a cigarette if I smoked back before everyone knew it was bad - say, like, 1923. Everybody smoked back then. There was no medical information against it; they had no idea - it was a paradise. It was a smoker's paradise: 'They're taking my lung out next week. I don't know why. Doctor thinks maybe I'm brushing my teeth too often, but I can't help it because, for some reason, my breath smells like I licked a monkey's ass.
One really important thing is to have good friends and family that will be there to help you when the hard times come. Because bad times do come, for everyone, at some point. The good part is, the bad times don't last forever.
Sometime when I was in my mid-twenties I noticed, "Hey, even I don't go into too many art galleries. Why? Because I don't like the vibe in them. If even I'm not going into galleries, then who goes into art galleries in the first place?" It's just a certain, very narrow percentage of the population.
Here in the U.S., culture is not that delicious panacea which we Europeans consume in a sacramental mental space and which has its own special columns in the newspapers - and in people's minds. Culture is space, speed, cinema, technology. This culture is authentic, if anything can be said to be authentic.
You could look at something a hundred times from space, but the next time you come around the world, suddenly it's very different and gorgeous-looking, just because of the change of weather or the angle of the sun.
The problem is there are people in this country - maybe 10%, I don't know what the number, maybe 20% on a bad day - who want this President to have an asterisk next to his name in the history books, that he really wasn't President....They can't stand the idea that he is President, and a piece of it is racism. Not that somebody in one racial group doesn't like somebody in another racial group. So what? It is the sense that the white race must rule. That's what racism is. And they can't stand the idea that a man who is not white is President.
Yes, I know,' interrupted Puddleglum. 'And few return to the sunlit lands. You needn't say it again. You are a chap of one idea, aren't you?
This year-in-space mission was a profound challenge for all involved, and it gave me a unique perspective and a lot of time to reflect on what my next step should be on our continued journey to help further our capabilities in space and on Earth.
My parents didn't want us on the streets or in trouble, so they thought the best thing was to have us work. I saw how we had to, during bad times, stretch the dollar. And during good times, we couldn't spend it, because you never knew when the bad times were going to happen again. It gave me a great respect for how hard it is to make money.
It's a strange experience watching your work emerge on screen, because at one time I know exactly what's gonna happened next and then I have no idea what's gonna happen next, so it's very exciting in that way.
The idea of, say, the compressed space between the floor and the object hanging over it and then the long space between the object and the ceiling was a kind of interesting idea for me - the idea of compressing and expanding. That was an idea that I worked with, which you could only do sculpturally. You can't really do with a painting on the wall.
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