A Quote by Romare Bearden
What I've attempted to do is establish a world through art in which the validity of my Negro experience could live and make its own logic.
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Why one writes is a question I can answer easily, having so often asked it of myself. I believe one writes because one has to create a world in which one can live. I could not live in any of the worlds offered to me - the world of my parents, the world of war, the world of politics. I had to create a world of my own, like a climate, a country, an atmosphere in which I could breathe, reign, and recreate myself when destroyed by living. That, I believe, is the reason for every work of art.
Dream or nightmare, we have to live our experience as it is, and we have to live it awake. We live in a world which is penetrated through and through by science and which is both whole and real. We cannot turn it into a game simple by taking sides.
Dialectical logic undoes the abstractions of formal logic and of transcendental philosophy, but it also denies the concreteness of immediate experience. To the extent to which this experience comes to rest with the things as they appear and happen to be, it is a limited and even false experience. It attains its truth if it has freed itself from the deceptive objectivity which conceals the factors behind the facts - that is, if it understands its world as a historical universe, in which the established facts are the work of the historical practice of man.
I believe art is utterly important. It is one of the things that could save us. We don't have to rely totally on experience if we can do things in our imagination.... It's the only way in which you can live more lives than your own. You can escape your own time, your own sensibility, your own narrowness of vision.
I'm not belittling the art world. Not at all. I take it quite seriously, actually. But the logic of art is a vanguard logic that pressures art to incorporate the quotient of risk.
Certainly Christianity is an experience, but equally clearly the validity of ane experience has to be tested. There are people in lunatic asylums who have the experience of being the Emperor Napoleon or a poached egg. It is unquestionably an experience, and to them a real experience, but for all that it has no kind of universal validity. It is necessary to go far beyond simply saying that something comes from experience. Before any such thing can be evaluated at all, the source and character of the experience must clearly be investigated.
There is great fear expressed on all sides lest this war shall be made a war for the negro. I am willing that it shall be. It is awar to found an empire on the negro in slavery, and shame on us if we do not make it a war to establish the negro in freedom--against whom the whole nation, North and South, East and West, in one mighty conspiracy, has combined from the beginning.
With only one life to live we can't afford to live it only for itself. Somehow we must each for himself, find the way in which we can make our individual lives fit into the pattern of all the lives which surround it. We must establish our own relationships to the whole. And each must do it in his own way, using his own talents, relying on his own integrity and strength, climbing his own road to his own summit.
If I could find a white man who had the Negro sound and the Negro feel, I could make a billion dollars.
I'm afraid we get a great deal of our exposure to art through magazines and through slides and I think this is dreadful, this is anti-art because art is direct experience with something in the world and photography is just a rumor, a kind of pornography of art.
What Artistic and Scientific Experience Have in Common - Where the world ceases to be the scene of our personal hopes and wishes, where we face it as free beings admiring, asking, and observing, there we enter the realm of Art and Science. If what is seen and experienced is portrayed in the language of logic, we are engaged in science. If it is communicated through forms whose connections are not accessible to the conscious mind but are recognized intuitively as meaninful, then we are engaged in art. Common to both is the loving devotion to that which transcends personal concerns and volition.
These revelations expressed through Art work upon the soul with a force carrying its own conviction and permeate our sentient life with a sense of truth which logic and mere reason are powerless to combat.
Art is the lens through which I experience the world. Art is the medium to present the human condition... love, fear, bewilderment, pleasure, distaste, brotherhood and all the subtleties that we all know.
Men who no longer can make sure of the reality which they feel and experience through talking about it and sharing it with their fellow-men, live in the same nightmare of loneliness and uncertainty which, in a normal world, is the terrible fate of insanity.
The strongest wish of a vast number of earnest men and women to-day is for a basis of religious belief which shall rest, not upon tradition or external authority or historical evidence, but upon the ascertainable facts of human experience. The craving for immediacy, which we have seen to be characteristic of all mysticism, now takes the form of a desire to establish the validity of the God-consciousness as a normal part of the healthy inner life.
Experience is, for me, the highest authority. The touchstone of validity is my own experience. No other person's ideas, and none of my own ideas, are as authoritative as my experience. It is to experience that I must return again and again, to discover a closer approximation to truth as it is in the process of becoming me.
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