There are five dangerous faults which may affect a general: recklessness, which leads to destruction; cowardice, which leads to capture; a hasty temper, which can be provoked by insults; a delicacy of honour, which is sensitive to shame; over-solicitude for his men, which exposes him to worry and trouble.
(Title: To the Moon) Art thou pale for weariness Of climbing heaven, and gazing on the earth, Wandering companionless Among the stars that have a different birth,-- And ever-changing, like a joyless eye That finds no object worth its constancy?
As a person, I was born to give out my opinions. By giving out my opinions, I realize who I am. As long as I can communicate, I'm not so lonely. If I cannot travel, or do art, or have company, if they take away all my belongings, it doesn't matter at all.
My work is always a ready-made... cultural, political, or social, and also it could be art - to make people re-look at what we have done, its original position, to create new possibilities.
One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.
When the enemy is at ease, be able to weary him; when well fed, to starve him; when at rest, to make him move. Appear at places to which he must hasten; move swiftly where he does not expect you.
REPLICA, n. A reproduction of a work of art, by the artist that made the original. It is so called to distinguish it from a "copy," which is made by another artist. When the two are mae with equal skill the replica is the more valuable, for it is suppose
Only recently serious research into the relationship between photography and art has taken place. Why has it been so long in coming ? In some respects historical research is analogous with that of science. The bringing to light of factual material and the development of ideas is to a large extent cumulative. But when artists themselves were, from about 1910, beginning to tear down the bastions protecting Art in its ivory tower, questioning the idea of Art with a capital 'A', photography was inevitably to assume a new stature both in the eyes of artists and the public, too.