I have frequently noticed in myself a tendency to a diffuse style; a disposition to push my metaphors too far, employing a multitude of words to heighten the patness of the image, and so making of it a conceit rather than a metaphor, a fault copiously illustrated in the poetry of Cowley, Waller, Donne, and others of that ilk.
There is a spell in mediaeval Art which has had power to bewitch some people into trying, or wishing to try, or fancying that they wish to try or making believe to fancy that they wish to try, to bring back the Middle Ages.
We have gotten away from this double aspect of either putting the character back into historical events or of making a historical event of his very life.
I believe firmly that in making ethical decisions, man has the prerogative of true freedom of choice.
I took the vow of celibacy in 1906. I had not shared my thoughts with my wife until then, but only consulted her at the time of making the vow. She had no objection.
An eye for an eye only ends up making the whole world blind.
There is a slight problem with being a conceptual artist these days: You won’t get paid. But this levels the field and takes the art of money out of the field of serious art. The only conceptual artists who would conceive of making money on the Internet are a lowbrow species known as hustlers.
Thanks to iCloud and other services, the choice of a phone or tablet today may lock a consumer into a branded silo, making it hard for him or her to do what Apple long importuned potential customers to do: switch.
Socialism, on the contrary, extends its function to the description of society as it should be, and the discovery of the means of making it what it should be.
I tell my workshop students, ‘I want you to think of yourselves as artists. Then, when you’re writing, you’re painting, you’re crafting, you’re making a design, you’re sculpting, you’re creating choreography, sound, a sound script.’