“Wood, plastic, ceramic, rubber, fabric. The components, mostly designed and cut to combine with counterparts sourced from school science lab suppliers for example, have a character that sits somewhere between board game bits, measurement tools, ambiguous accessories for clothing, for eating.”
"Doubt is such an essential in day-to-day work, so terms of expression need to match."
"The ideas themselves are often ill-disciplined in terms of synthesis and format. But they are published, which is better ventilation for the head; a better place for something to incubate."
"I think pictures of any kind in architecture have to bear relation to the fabric and proportion of the space, rather than an ephemeral tickling of the surface."
“I get down to the very basic forms that I really love, but they are still giving me information.”
“The minute you begin to understand what you’re doing it loses that searching quality. You have to forget about the little technical problems that don’t matter - you’ve overcome them long ago anyway. You finally reach a point where you’re no longer concerned with keeping this blob of clay centered on the wheel and up in the air. Your emotions take over and what happens just happens. Usually you don’t know it’s happened until after it’s done.”
""We are living in the era of mechanics. Already painted and the plaster figure no longer make sense."
"We are abandoning the use of known forms of art nd we are initiating the development of an art based on the unity of time and space."
"The discovery of new physical forces, the mastery of matter and space gradually impose on man conditions which have never existed heretofore in history. The application of these discoveries to all the forms of life produces a modification in the nature of man."
"Art is only thought in evolution - and if human thought should evolve into such dimensions - that art becomes in time superficial, then that is the end of art."
"It is harder to see than it is to express. The whole value of art rests in the artist’s ability to see well into what is before him." … "The model will serve equally for a Rembrandt drawing or for anybody’s magazine cover. A genius is one who can see. The others can often ‘draw’ remarkably well." … "Those who get their technique first, expecting sight to come to them later, get a technique of a very ready-made order."
"We are not here to do what has already been done." "I have little interest in teaching you what I know. I wish to stimulate you to tell me what you know." "Know what the old masters did. Know how they composed their pictures, but do not fall into the conventions they established. These conventions were right for them, and they are wonderful. They made their language. You make yours. All the past can help you."
"Color is only beautiful when it means something."
"There is no art without contemplation."
All quotes and images by Robert Henri (1865-1929), an artist and educator who taught at the Art Students League of New York.
"You know that first little piece…you can have the yellow without the black in it, or the yellow with the black in it. And at the moment it has the yellow with the black in it. And I thought that would push it forward, in the sense of things emerge or are born—they’re pushed forward. Because yellow is the color of natural ambiguity, it can recede or come forward. That’s why it was used in Italian primitive paintings with gold—it was gold in that case, but yellow and gold work the same way."
"In our culture there is a job for art, because we can’t experience reality anywhere else."
"In our culture, imitation-based experience dominates reality-based experience. I find this an awful thing. But there are artists who know from the bottom of their souls that art is about the experience of reality. The reason we have art is because you can’t get a real experience from the world."
"Time and time again, the intellect robs the creative."
"White has a tendency to make things visible. With white, you can see more of a nuance; you can see more. I’ve said before that if you spill coffee on a white shirt, you can see the coffee very clearly. If you spill it on a dark shirt, you don’t see it as well. So it wasn’t a matter of white, the color."
"You never know what a person is seeing when they look at a painting. It’s not a matter of seeing something in it… even something about it…it’s a matter of having an experience, a visual experience that is pleasing."
Miniaturized works by Andy Warhol, Claes Oldenburg, Robert Rauschenberg, David Novros, Forrest “Frosty” Myers, and John Chamberlain hitched a ride on a penny-sized ceramic chip aboard Apollo 12 in 1969, according to PBS’ History Detectives.