A Quote by Michel Foucault
Why should the lamp or the house be an art object but not our life?
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What strikes me is the fact that in our society, art has become something which is related only to objects and not to individuals, or to life. That art is something which is specialized or which is done by experts who are artists. But couldn't everyone's life become a work of art? Why should the lamp or the house be an art object, but not our life?
?We have a lamp inside us. The oil of that lamp is our breathing, our steps, and our peaceful smile. Our practice is to light up the lamp.
Every decently-made object, from a house to a lamp post to a bridge, spoon or egg cup, is not just a piece of 'stuff' but a physical embodiment of human energy, testimony to the magical ability of our species to take raw materials and turn them into things of use, value and beauty.
I try to rediscover why that object exists at all, and why one should take the trouble to reconsider It. I don't consider the technical or commercial parameters so much as the desire for a dream that humans have attempted to project onto an object.
Holding onto and manipulating physical objects is one of the things we learn earliest and do the most. It should not be surprising that object control is the basis of one of the five most fundamental metaphors for our inner life. To control objects, we must learn to control our bodies. We learn both forms of control together. Self-control and object control are inseparable experiences from earliest childhood. It is no surprise that we should have as a metaphor-a primary metaphor-Self Control is Object Control.
This is really what the White House is all about. It’s the “People’s House.” It’s a place that is steeped in history, but it’s also a place where everyone should feel welcome. And that's why my husband and I have made it our mission to open up the house to as many people as we can.
Why should anyone be interested in my life? It's the prurience I find so extraordinary. Why, why, oh why should my private life be of any interest to the public? The only people who should be interested are my friends.
Our house is a constant mayhem of music, noise, socializing and business. It vibrates life, as a house should.
We need to make sure that there's art in the school. Why? Why should art be in the school? Because if art isn't in a school, then a guy like Steve Jobs doesn't get a chance to really express himself because in order for art to meet technology, you need art.
There are five dark matters and five lamps. Love of this world is darkness, and the fear of Allaah is its lamp. Sin is darkness, and its lamp is repentance. The grave is darkness, and its lamp is 'none has the right to be worshipped but Allaah, and Muhammad is the messenger of Allaah.' The hereafter is darkness, and its lamp is the good deed. The Siraat is darkness, and its lamp is certainty of faith.
The thing that is incredible is life itself. Why should we be here in this sun-illuminated universe? Why should there be green earth under our feet?
The lamp of genius burns quicker than the lamp of life.
What does purpose mean? It means the deepest desire for our short lives to mean something. . . . To speak a language of purpose is to return to first principles and to be able to answer, in plain English, the plain questions of Why? Why should we chip in to help someone else? Why should we defer gratification? Why should we care about the long term? Why should we trust anyone who seems to be limiting our ability to do what we want?
Home is, I suppose just a child's idea. A house at night, and a lamp in the house. A place to feel safe.
Art should walk a tightrope. That's what art should be. Art should be dangerous. You can't be scared to say something with it. People love to talk about how comics are real art and real literature, so why not use these characters to talk about real things, even if it is dangerous?
A saboteur in the house of art and a comedienne in the house of art theory, Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit, she has photographed pictures and objects in collectors' homes, in galleries, on the walls of auction houses, and off the walls, in museum storage.
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