A Quote by Margaret MacMillan
The cubism of Braque or Picasso, the dissonant compositions of Schoenberg or Stravinsky, the free-flowing and often erotic choreography of Isadora Duncan and Nijinsky - these were acts of rebellion against the certainties and traditions of the old world.
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A little Isadora Duncan and a little Butoh this was choreography and performing that was simultaneously both lush and spare.
If a boxer ever went as crazy as Nijinsky all the wowsers in the world would be screaming 'punch-drunk.' Well, who hit Nijinsky? And why isn't there a campaign against ballet? It gives girls thick legs
If we had never met Picasso, would Cubism have been what it is? I think not. The meeting with Picasso was a circumstance in our lives.
N.W.A had something in common with the Rolling Stones and MC5 and groups like that: the voice of rebellion. It's rebellion against your parents. It's rebellion against the system. It's rebellion against society.
Picasso and Matisse were the guys I wanted to get away from, and cubism is all still lifes. Their paintings are all closed drawings. And still life is a perfect form for that. By the mid-'50s, I sort of dropped the still life. The large picture was a way of getting around them, too. The abstract expressionists were also into the large form because it was a way of getting around Matisse and Picasso. Picasso can't paint big paintings. Matisse didn't bother after a certain point.
The early giants of modern dance - Isadora Duncan, Ruth St. Denis - barely left traces of their art.
While other girls swooned over The Beatles and the Rolling Stones, I worshipped Rudolf Nureyev and Isadora Duncan.
When cubism began to take a social form, Metzinger was especially talked about. He explained cubism, while Picasso never explained anything. It took a few years to see that not talking was better than talking too much.
Well, there are always those who cannot distinguish between glitter and glamour . . . the glamour of Isadora Duncan came from her great, torn, bewildered, foolhardy soul.
Every so often, a painter has to destroy painting. Cezanne did it, Picasso did it with Cubism. Then Pollock did it. He busted our idea of a picture all to hell. Then there could be new paintings again.
Picasso had nicknamed Georges Braque "Wilbur," thereby becoming "Orville" in their Wright Brothers-like ambition to get painting off the ground of conventional representation.
Most people don't do something seminal. I've done it twice: with my tent and my bed. Picasso did it with Cubism.
I came down successfully through Picasso and Braque, down through Pollock, I guess, but I began to stop at Franz Kline and the Abstractionists. I like their design, brilliant design, marvelous color layers. But I don't find any human content there. I'm from an old school, and painting has to have human content for me.
The deliberate and deadly attacks which were carried out yesterday against our country were more than acts of terror. They were acts of war.
The battleground has been moderates of all faith traditions in all the countries of the world against the radicals of all faith traditions in all parts of the world.
The Band was rebelling against the rebellion. The rebellion went to a place where it became too obvious, too trendy, like you were just following the pack. So it was our choice to get off the bandwagon - no pun intended - and do things that were in our background and what was the most honest thing to do.
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