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i want to apologize to all the women

i have called pretty

before i've called them intelligent or brave

i am sorry i made it sound as though

something as simple as what you're born with

is the most you have to be proud of when your

spirit has crushed mountains

from now on i will say things like

you are resilient or you are extraordinary

not because i don't think you're pretty

but because you are so much more than that

- rupi kaur

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"...at once deliberately provocative and disarmingly pretty." - on Mithu Sen

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"Is it possible or useful to determine the specific functions of materiality, presence, and aura in the construction of meaning within any artwork, and, in particular, abstract artworks?" – Cadences: Icon and Abstraction in Context

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"I was always interested in the power of the body, both as an image and as an actual mechanism through which we exist and find out who we are. I was interested in what goes on inside, but also what people see you as. I was also looking at the history of the body, questioning issues of representation and perception. The body became the mechanism with which I was able to move my mind around all of these issues of otherness..." - Wangechi Mutu

http://bombmagazine.org/article/1000052/wangechi-mutu

A'gave You, 2008, Mixed media collage on Mylar, 93 x 54 inches. Private collection, New York.

A'gave You, 2008, Mixed media collage on Mylar, 93 x 54 inches. Private collection, New York.

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Most museums still maintain a commitment to an idea of the best, or quality, or genius. And I’m not saying I don’t agree with those as values. But I think those values have been created over hundreds of years to favour white men. One of the things you have to say as a curator is “We are not going to present the value that already exists; we are going to do the work to create value around these woman artists and artists of colour that would just come ‘naturally’ to the white male artist.”  - Helen Molesworth, Chief Curator of the Museum of Contemporary Art (MOCA), Los Angeles

http://theartnewspaper.com/news/museums/creating-value-around-women-artists-the-chief-curator-s-view/

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"For there are no new ideas. There are only new ways of making them felt, of examining what our ideas really mean (feel like) on Sunday morning at 7 AM, after brunch, during wild love, making war, giving birth; while we suffer the old longings, battle the old warnings and fears of being silent and impotent and alone, while tasting our new possibilities and strengths." - Audre Lorde

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"…to bring a feminist analysis of my own body experience, of political events, and of art history, to painting, using visual language not just to illustrate temporal political battles but also to offer an empowered, expanded example of what a feminist gaze would produce." - Mira Schor

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"Painting is our way of communicating. Like music or literature, it is a language where we can talk using colors, lines, and shapes instead of words. David Foster Wallace said, “Art at its best is a bridge across the abyss of human loneliness.” I think your work exemplifies this act of seeking to reveal things about oneself—to communicate." - Bradley Rubenstein on Brenda Goodman

Brenda Goodman, Not a Leg to Stand On, 2013, Oil on wood, 72 x 80 in. Courtesy of the artist and Life on Mars Gallery

Brenda Goodman, Not a Leg to Stand On, 2013, Oil on wood, 72 x 80 in. Courtesy of the artist and Life on Mars Gallery

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"Oh yes, I think there are certainly more women known to us who are making important and seminal work focused on the dynamic and complex lives of women. People like Mickalene Thomas, Cindy Sherman, and Lorna Simpson have come along, and all of us sort of stand in a line, marking a trajectory that’s deeply concerned with the constructed image and representation of the female subject." - Carrie Mae Weems

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"...and the thing that happens between intention and achievement is what you call artistic practice." - Albert Oehlen

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"You paint the way you have to in order to give. That's life itself, and someone will look and say it is the product of knowing, but it has nothing to do with knowing, it has to do with giving." franz kline

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 "In the process of making art, the mind wanders and gives way to instinct, which feeds off areas the intellect doesn’t. The process is one of distillation to the point where it’s just essence, just itself." –Chris Ofili

 

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"...two pieces ended up being one piece, attracting one another across the room. They were like bodies, in a way, but it really brought the spectator into the piece; that was the reason why they had to be opposite one another." – Alan Uglow

Photographs of work taken by James Powers. From Schlechthin Unvergleichlich, curated by Rachel Miller.

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"...the density of that blackness" - Kerry James Marshall

 

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"...forward-looking without being radical; post-racial but also race-conscious; in love with new, in touch with old."

Holland Cotter on Alma Thomas from Critic’s Notebook White House Art: Colors From a World of Black and White

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 "I want the desire to touch to be very much alive. I think that is important, the wanting: the desire to hold it in your hands, to befriend it, to see if it bites, or if it’s compatible to your existence, and in what way." - Sheila Hicks

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"Optical process must be bolstered by the sense of touch." - Mira Schor