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we're saved not by god, but by love. that's the most we can hope for.
- ingmar bergman
If you ask me what I came into this life to do, I will tell you: I came to live out loud.
Emile Zola
learn from the past, think of the present, dream of the future massimo vignelli
any advice for the young !
it's a tough business,
you have to be ama"ingly consistent and persistent.
you have to work like hell.
you cannot become an e#cellent practioneer without constantly
working hard all your life. it is not an easy way to earn your money.
and... you have to be well trained and you have not to be narrow to
references, because everybody else is doing that at the same time.
the richness of understanding comes from the deep historical,
philosophical idea. - milton glaser
describe your style, like a good friend of yours would describe it.
its most striking character is its randomness, its range,
very often you could not say that the $ob was done by me,
because there are $obs that re%uire the absence of style,
as well as those that re%uire the presence of style.
as a graphic designer my work is characteri"ed more by drawings.
more than many of my contemporaries I love to draw, love to
illustrate, make pictures. for us who came out of the history of
modernism, it might not be the appropriate way to work.
perhaps it is $ust not a comfortable way to work.
what I want to say is that it would be hard for somebody
looking at the range of things that I do to see a persistent pattern
in them, e#cept in the realm of drawing and illustration...
where the choice of colors and forms are more obviously personal.
I have the idea that there isn't any truth in style.
it's very temporal, bound to the moment that we live in and the
way we see things. if it's useful to you, fine, if not you move on to
something else. - milton glaser
from &hillipe 'tark...
%uestion: you once said that it is your dream to make the world
a better place... is it beauty you are looking for!
'tark: no, not for beauty. we have to replace beauty, which is a cultural concept,
with goodness, which is a humanist concept.
%uestion: the beauty of intelligence!
'tark: yes. of intelligence. the elegance of intelligence and the beauty of happiness.
(oss )ovegrove
can you describe an evolution in your work!
one grows up, one has a series of influences and
those influences bear down on how you design ob$ects.
some of my early work was e#perimental. I was e#ploring
and trying to see where I would fit in. a defining moment was a
camera that I did at the royal college of art. at the time memphis
was all the rage, I doubted that whole scene, all the colour and form
didn't feel very natural to me. I designed this camera, that to
me defined restraint, which I still have in me. something like the
staircase in my studio, a self made ob$ect, which has everything
that I'm looking for - in terms of calming it down, elegance of form,
minimum material, appropriate technology and succinct function -.
if I were to do a camera now though.
I have this feeling that I should do it in a weird sort-of cartolage
material, somewhere between nylon and silicon.
I'm currently looking at systems called netification,
corali"ation and reduction of mass through perforation and
so on, not necessarily in terms of products but cars and
architectural pro$ects, that I am working on.
*rom +roadcast:
I repeat myself. I believe that through this unconscious repitition, I have been leaking
messages to myself for years. ,wo words have come up again and again for me. ,hese two
words feature in a number of my songs and I have not reali"ed it until now. ,he words are 'let
go.' I have been telling myself to let go for years. 'o much so I am claiming ownership of
them. ,hey are my words. I refuse to let go of them. ,hey are going to be my reminders to let
go. &erhaps my epitaph.
,he lyrics of ',ender +uttons' were generated through automatic writing. ,hey are my free
falling thoughts. I believe that words have their own life. ,hat if you throw words together
randomly, they naturally make sense. )anguage $ust wants to be understood.
-what we have as a constant thread in our work is trying to boil
things down to being strong and very simple and looking as
though they happened very fast - which they may not have.. - Ivan /hermayeff
0I,'' /(1/I2) ,3 425E 26 2/,I5E *26,2'7 )I*E0
-8enny 4ol"er
describe your style, like a good friend of yours would describe it.
my $ob isn't about shape.
I am most interested in working on the typology of things,
on the relationship between the various components of an ob$ect
while paying attention to the whole, afterwards the form comes,
following the tension which I put into all of my designs. - 9atali /rasset
: E;&(E'': 'o the design language is your own.
: &(I6/E-(291': I'll take issue with the way you said that. <e believe in a truly
communal, shared authorship. In fact, a step beyond that = not being so focused on
authorship. <e were always much more concerned with criti%ue than with who's generating
an idea.
: E;&(E'': 7ou've described your approach to architecture as 0hyperrational0 and 0almost
: &(I6/E-(291': If you focus on a pro$ect's problems, constraints and the desires of the
client and try for really tailored one-off solutions, you'll get something much more interesting
than if you set out to do a certain thing. ,hat's not in competition with being formal. *orm
functions, so as you're trying to ma#imi"e the performance, sometimes the form is the most
important thing to achieve that. 4istorically, there has been form versus function. Either form
follows function or it's function be damned. <e think it's kind of bunk, a false dialectic. ,here
are moments when a pro$ect's single most important functional issue is its form.
: E;&(E'': <hat is the role of emotion!
: &(I6/E-(291': It's huge, but it's also the part that we don't talk about. If you don't talk
about the emotional side of it but say, 0<e need to do this for a programmatic or political
reason,0 you build up the argument and generate something unusual and new, and the client
will embrace it.
+(1/E: <ell, now you seem to be in a great relationship.
2'I2: 7es, the only person I want to spend time with is my boyfriend, 9arco. 4e>s very
peaceful and calm. 4e plays the piano, and I read, and he>s never intrusive. 4e>s a great
person. It>s a miracle to me, because I>ve never even had friends that I would want to hang
around with for longer than twenty-four hours.
Edwards and ?ornfeld try to unlock that pu""le, invoking along the way = among others =
9arcel &roust, Immanuel ?ant, +laise &ascal, and 8ohn (uskin @%uoted on 0the mysterious
sense of accountable life in things themselves0A. ,hey take pains to point out that they're not
interested in identifying the best: 0'+est' is a $udgment based on statistics, not taste or instinctB
and in a world of constant technological innovation and furious competition, being the best of
anything is usually a short term occupation.0
-/hildren are the ideal public: they know what they want, they have no pre$udices, and if they
don>t like something they say so straightaway. If other people were like that, many
relationships would be much simpler.. - +runo 9unari
Cinsberg claimed throughout his life that his biggest inspiration was ?erouac's concept of
'pontaneous &rose. 4e believed literature should come from the soul without conscious
restrictions. 4owever, Cinsberg was much more prone to revise than ?erouac. *or e#ample,
when ?erouac saw the first draft of 04owl0 he disliked the fact that Cinsberg had made
editorial changes in pencil @transposing 0negro0 and 0angry0 in the first line, for e#ampleA.
?erouac only wrote out his concepts of 'pontaneous &rose at Cinsberg's insistence because
Cinsberg wanted to learn how to apply the techni%ue to his poetry.
0,he trouble with people is not that they dont know, but that they know so much that aint so.0
- 4enry <heeler 'haw
0,he only interesting venture is the liberation of everyday life, not only in a historical
perspective, but for us, right now. ,his pro$ect implies the withering away of all the alienated
forms of communication.0 - Cuy Debord
0&)266I6C *3( ,4E *1,1(E I' E'/2&I'90
-8enny 4ol"er
0)35E is the e#tremely difficult reali"ation that something other than one self is real.0 - Iris
<hat were the most influential pieces of instruction and advice given by your faculty!
+oth came from 9r. ?eedy. *irst, he taught us the methodology to use concepts as devices,
not as end goals. If a concept drives the form-making, it should lead not to an avoidance of
form as in so much -generic. design, but to innovative form. It>s also not worth a lot if the
concept is visible = all it does is make its designer look smart. <hat>s cooler is if new form
seems to come out of nowhere, and one way of achieving this is to use an invisible concept. I
got this insight from 9r. ?eedy, but also from +rian Eno>s scenarios for the making of
+owie>s -3utside..
2nother %uote by 9r. ?eedy has become my mantra, especially when fighting the revivalist
tendencies of the last ten years. 4e said something like -Don>t imitate the present. Invent the
future.. It is as important for students who at first only try to make work as good as the stuff
out there on the streets as it is for mature designers, who might have given up searching for
new visual languages and essentially reiterate what they>ve done before. 3f course,
conveniently, the idea of newness also happens to be the driving economic force behind
capitalism. - 8ens Cehlhaar @+rand 6ew 'choolA
0*or years, they were telling me to play commercial, be commercial. I'm not commercial. I
say, play your own way. 7ou play what you want, and let the public pick up on what you were
doing, even if it takes EF, GH years.0
,helonious 9onk
0'ometimes making nothing leads to something.0 - *rancis 2ly
Do you think there's a Cod!
@)ong pause...almost a minuteA
4ow long are you prepared to wait for the answer to these %uestions! ,hese are complicated
%uestions. I don't hesitate because I haven't got ideas about them, I hesitate because I have a
responsibility to you to answer them carefully. In a funny way I do believe in fate. ,here's a
6orth 2frican word--it it 9oroccan! 7es it is--which is baraka. +araka means something
between karma and fate. /ertain people accrue baraka. ,hey accrue the ability to attract
interesting things to themselves, interesting and pleasant things. 6ow this seems to be
manifestly true. ,hat definitely happens, you know. 7ou see people, you meet people to whom
interesting things continuously happen. <hy does this happen to them and not to others! <hy
is it happening to me! I think that some people are very good at being opportunistic in a good
way, and in a large scale way. - +rian Eno
/age: &eople ask what the avant-garde is and whether it's finished. It isn't. ,here will always
be one. ,he avantgarde is fle#ibility of mind. 2nd it follows like day, the night from not
falling prey to government and education. <ithout the avant-garde nothing would get
invented. If your head is in the clouds, keep your feet on the ground. If your feet are on the
ground, keep your head in the clouds.
/age: <ell the most important piece is my silent piece, I'JJ0.
9ontague: ,hat's very interesting. <hy!
/age: +ecause you don't need it in order to hear it.
9ontague: 8ust a minute, let me think about that a moment.
/age: 7ou have it all the time. 2nd it can change your mind, making it open to things outside
it. It is continually changing. It's never the same twice. In fact, and ,horeau knew this, and it's
been known traditionally in India, it is the statement that music is continuous. In India they
say: 09usic is continuous, it is we who turn away.0 'o whenever you feel in need of a little
music, all you have to do is to pay close attention to the sounds around you. I always think of
my silent piece before I write the ne#t piece.
...'/ause people often talk about being scared of change
+ut for me I'm more afraid of things staying the same
'/ause the game is never won
+y standing in any one place
*or too long...
-6ick /ave -8esus is the 9oon.
0,4E *1,1(E I' ',1&ID0
-8enny 4ol"er
,he process = an improvisatory, counterintuitive way of doing things = was always what
mattered most to him. -'crewing things up is a virtue,. he said when he was KI. -+eing
correct is never the point. I have an almost fanatically correct assistant, and by the time she re-
spells my words and corrects my punctuation, I can>t read what I wrote. +eing right can stop
all the momentum of a very interesting idea..
,his attitude also inclined him, as the painter 8ack ,workov once said, -to see beyond what
others have decided should be the limits of art..
-I usually work in a direction until I know how to do it, then I stop,. he said in an interview
there. -2t the time that I am bored or understand = I use those words interchangeably =
another appetite has formed. 2 lot of people try to think up ideas. I>m not one. I>d rather
accept the irresistible possibilities of what I can>t ignore..
4e added: -2nything you do will be an abuse of somebody else>s aesthetics. I think you>re
born an artist or not. I couldn>t have learned it. 2nd I hope I never do because knowing more
only encourages your limitations..
-(3+E(, (21'/4E6+E(C
)osers are winners with a new attitude...(ay 9athew 'pencer III
4e finally surrendered to the police. In the film he remembers that the only moment he
actually feared for his safety was when he was being hustled down the <,/ stairs. +ack on
earth, he was mobbed by reporters, all with the same %uestion: why!
0,here is no why, 0 he said. 0<hen I see three oranges, I $uggleB when I see two towers, I
walk.0 - &hilippe &etit from the film -9an on <ire.
2s I watched @or rather, witnessedA this documentary, I felt the sense of absolute purity in the
idea alone. ,he idea becomes an une#plainable e#perience. 1ltimately, powerful ideas are
sentient and self-sufficient.
,here's a mountain. )et's climb itL - Design 3bserver /omment to &etit
0It was all so senselessly brave and beautiful.0
,he thought of something being senselessly brave. 'enslessly beautiful. -Design 3bserver
/omment to &etit
02s far as consistency of thought goes, I prefer inconsistency.0 --8ohn /age
-,he highest purpose is to have no purpose at all. ,his puts one in accord with nature, in her
manner of operation..
8ohn /age
-I can't understand why people are frightened of new ideas. I'm frightened of the old ones..
8ohn /age
0&1'4 731('E)* ,3 ,4E )I9I, 2' 3*,E6 2' &3''I+)E0
-8enny 4ol"er
0&ainting is a physical thinking process to continue an interior dialogue,. 2my 'illman states,
-a way to engage in a kind of internal discourse, or sublanguage-mumblingM. 'illman>s
canvases offer glimpses into a subliminal world. 'trangely intimate, her abstractions capture
the free-flow of half-formulated ideas, resounding with a distant familiarity. In /liff E,
'illman creates an effervescent landscape, her paint techni%ues mirror the convergence of
unconscious thought: rock rendered with the chalky te#ture of rubbings, sunset as violent
deep orange slashes, birds and flowers with cartoon folly. 'illman paints with an almost child-
like sense of innocence, unmitigated and unembarrassed. Embracing a modernist reverence of
inspired imagination, 'illman defines honesty as the most enduring %uality of painting. -
2bout 2my 'illman
,erry (iley N 2 (ainbow In /urved 2ir
-2nd then all wars ended N 2rms of every kind were outlawed and the masses gladly
contributed them to giant foundries in which they were melted down and the metal poured
back into the earth N ,he &entagon was turned on its side and painted purple, yellow O green N
2ll boundaries were dissolved N ,he slaughter of animals was forbidden N ,he whole of lower
9anhattan became a meadow in which unfortunates from the +owery were allowed to live
out their fantasies in the sunshine and were cured N &eople swam in the sparkling rivers under
blue skies streaked only with incense pouring from the new factories N ,he energy from
dismantled nuclear weapons provided free heat and light N <orld health was restored N 2n
abundance of organic vegetables, fruits and grains was growing wild along the discarded
highways N 6ational flags were sewn together into brightly colored circus tents under which
politicians were allowed to perform harmless theatrical games N ,he concept of work was
<e build worlds to make ourselves more comfortable. ,his is about being uncomfortable.
-81)I2 +1()I6C429
0I, /26 +E 4E)&*1) ,3 ?EE& C3I6C 63 92,,E( <42,0
-8enny 4ol"er
-<e make a living by what we get, but we make a life by what we give..
-<inston /hurchill
-(isk and survive. 'tall and die. 8ump and rise. *ail and learn. Defeat your insecurities. ,he
unknown is not comfortable. 6othing is missing. /reativity is the sheer and pure
manifestation of intelligence mi#ed with a high dose of imagination.
0+e inventive when facing delicate re%uests, unmanageable deadlines and unreasonable
e#pectations. )earn to do with what you don't have and pretend you can..
-/arole Cuevin
0Don't pay any attention to what they write about you. 8ust measure it in inches.0 - 2ndy
0Especially today, I think it's ama"ing to hang out on stoops here, where we live and see
there's another way. ,here's always another way. 9aga"ines took such a step backwards over
the last twenty years trying to close the door to the other way. 2nd I'm always interested in the
other way, and I attach myself to that, whether it's with the clothes, the music, the cooking or
$ust the idea of bringing people together. ,here's so much $oy to be had with the small little
events that happen to you daily. ,he last couple of days have been magical. I walk out of this
place, vibrating at a pace that's $ust phenomenal. ,here could be two or three people walking
down the street, could be a kid and its mother and they sit down on the floor and... that's very
precious. ,hat lasts forever.0
-9ark +orthwick
0,4E *1,1(E I' ',1&ID0
-8enny 4ol"er
2ppreciation is a wonderful thing, it makes what is great in others belong to us as well.
0Don 'hirley's music is hard to categori"e. It is possible to say that as an arranger-composer
he treats each piece of music as a new composition, not $ust an arrangement. Don plays
'tandards in a non-standard way. 4e is a virtuoso, playing everything from show tunes, to
ballads, to his personal arrangements of 6egro spirituals, to $a"", and always with the
overtone of a classically-trained musician who has utmost respect for the music he is
-+io about Don 'hirley via <ikipedia
09aking money is art and working is art and good business is the best art.0 - 2ndy <arhol
0,here are a lot of motherfuckers in this world who have the party and put out the press
release and the fucking logo and the advertising, but they never get to actually doing the
work. 2nd now they're selling their aeron chairs on e+ay. 7ou know what I'm talking
about:the dot com boom. It's like, how about you go home at night and rest and en$oy life,
whatever your shit is: kids, surfing, skateboarding, running. ,hen come back here and work
hard again the ne#t day.0 - 8eff /astela" @Dangerbird (ecordsA
-,he pages of 4ustler were pretty tame=and circulation pretty flat=until I stopped listening
to the people who were saying, P)arry, you can>t do that,>. *lynt wrote in the pages of his
maga"ine. -3nce I began following my own instincts, sales took off and I became a
millionaire. 2nd that, I think, is a key secret to every person>s success, be they male or
female, banker or pornographer: ,rust in your gut.. - )arry *lynt
0Don>t think about making art, $ust get it done. )et everyone else decide whether it>s good or
bad, whether they love it or hate it. <hile they>re deciding, make even more art.0 = 2ndy
-In 4ollywood, more often than not, they>re making more kind of traditional films, stories
that are understood by people. 2nd the entire story is understood. 2nd they become worried if
even for one small moment something happens that is not understood by everyone. +ut what>s
so fantastic is to get down into areas where things are abstract and where things are felt, or
understood in an intuitive way that, you can>t, you know, put a microphone to somebody at
the theatre and say PDid you understand that!> but they come out with a strange, fantastic
feeling and they can carry that, and it opens some little door or something that>s magical and
that>s the power that film has..
- David )ynch
0+efore you're famous. ,hat's the interesting part. ,hat's what I'm going to remember.0
-(ichard &rince
0all my life i wanted to be somebody, but then i reali"ed i should have $ust been myself. 0
-It is only by reali"ing what I am that I have found comfort of any kind..
-3scar <ilde
0*ocused. I'm a hustler. 2nd my hustle is trying to figure out the best ways to do what I like
without having to do much else.0
- 9os Def
03nce we believe in ourselves, we can risk curiosity, wonder, spontaneous delight, or any
e#perience that reveals the human spirit.0
- e. e. cummings
0,o be nobody but yourself in a world which is doing its best, night and day, to make you
everybody else means to fight the hardest battle which any human being can fightB and never
stop fighting.0
- e. e. cummings
0,he world of achievement has always belonged to the optimist.0
- 8 4arold <ilkins
0,he greatest discovery of my generation is that man can alter his life simply by altering his
attitude of mind.0
- <illiam 8ames
0)ook closely at the most embarrassing details and amplify them.0
-+rian Eno
0Co confidently in the direction of your dreamsL )ive the life you've imagined. 2s you
simplify your life, the laws of the universe will be simpler.0
-4enry David ,horeau
0E#perience is what creates our knowledgeB people's e#periences are limited hence all
people's knowledge is limited. ,he past and our e#perience makes us who we are through
what we observe. If this is the case, we are everything that we observe in this moment as long
as we don't use the past for our own bias and security. Essentially the division between the
observer and the observed is an illusion. <e are everything.0
-/hris Corgione
0,he same basic principle, you got to be who you are, no matter how dangerous it is.0
-)aurence <einer
0If you really want to do it, you do it. ,here are no e#cuses.0
+orn in EQIE in *ort <ayne, Indiana, +ruce 6auman has been recogni"ed since the early
EQKHs as one of the most innovative and provocative of 2merica>s contemporary artists.
6auman finds inspiration in the activities, speech, and materials of everyday life. /onfronted
with -<hat to do!. in his studio soon after graduating from the 1niversity of <isconsin,
9adison, in EQRI with a +*2, and then the 1niversity of /alifornia, Davis in EQRR with an
9*2, 6auman had the simple but profound reali"ation that -If I was an artist and I was in the
studio, then whatever I was doing in the studio must be art. 2t this point art became more of
an activity and less of a product.. <orking in the diverse mediums of sculpture, video, film,
printmaking, performance, and installation, 6auman concentrates less on the development of
a characteristic style and more on the way in which a process or activity can transform or
become a work of art. 2 survey of his diverse output demonstrates the alternately political,
prosaic, spiritual, and crass methods by which 6auman e#amines life in all its gory details,
mapping the human arc between life and death. ,he te#t from an early neon work proclaims:
-,he true artist helps the world by revealing mystic truths.. <hether or not we=or even
6auman=agree with this statement, the underlying subte#t of the piece emphasi"es the way
in which the audience, artist, and culture at large are involved in the resonance a work of art
will ultimately have.
-+ruce 6auman +iography
,he 2rt of ,ransformation
I am in a process of transformation, despite myself. Even with a clear understanding of Cod
as /hange, I sometimes fight and resist the changes that are essential to my being and growth.
I fi#ate upon the challenges of accepting greater and greater responsibilities. I begin to desire
results without maintaining the discipline that is re%uired to manifest the necessary changes of
heart and of mind, of balance, and inner harmony. I lose patience. I ac%uire doubt and debt.
I am in the process of creating a masterpiece. I am not referring to any album, book, film or
creative endeavor, rather, I am referring to the process of self-reali"ation that aligns one with
their highest and innermost ideals and values and renders them fully alive. It is a process of
overcoming the obstacles imposed upon self, by self, perhaps society, and a fearful mind that
refuses to accept the upward spiral of being. <hat I have chosen to embrace within myself are
the very values I caught glimpses of as a kid when I %uestioned how a world so beautifully
diverse in it>s simplicity could be made violently comple# by the check-points and regulations
of man in his %uest to control and manipulate the forces of love and nature for the sake of
individual gain and power. 9y decision to live my growth outwardly as an e#pression of my
artistic being, and to earn my living as such, has forced me to engage with a reality that I
might have otherwise evaded and has put me up against a cultural perception of entertainment
as escapism, which has only enhanced a once non-e#istent desire to escape. ,here is no
escape. Even my most recent move to &aris has simply shifted something deep within me as I
wander through the ancient artifices of ambition, the dome-like cathedrals of clarity, and
walled in worlds of art, I feel startlingly closer to my truth and a greater urgency for
disciplined transformation. I am growing and have chosen to do so consciously and creatively
while remaining engaged with both my inner and outer audience.
I am a reality show, tuning into myself on a daily basis simply to see which emotion tattled on
which unchecked ambition. 9y mind gossips about the actions of my heart. 9y fears attempt
to seduce the cameras for airtime. 9y soul would vote them off the show. I am checking my
habits, re-ac%uainting myself with age-old disciplines. I am meditating and staying focused
@which is a bore for that overactive mind which wishes no more than to follow a trail, any trail
to more thoughts, pretty pictures, and inevitably inactionA. I am starring in a spin-off of
myself where I sing and dance and dress in pomp and costume. I am evolving while simply
playing my part. I am staring myself in the eye without flinching or blinking, standing still
while moving beyond what holds me in my place. +ut mostly, I am dancing, everyday, and
sleeping perched above the skyline. 2nd I awaken to a new day, a new season, the latest
-'aul <illiams
0In this country, you can't propose an alternate system, you can critici"e the people in the
system. 7ou can say, if we only had a good president everything will be alright. +ut what a
farse that is. 2 good president is not going to change anything. ,he system goes marching
-8ulian +eck
-I>ll tell you about punk rock: punk rock is a word used by dillitante>s and ahM and ahM
heartless manipulators about music that takes up the energies and the bodies and the hearts
and the souls and the time and the minds of young men who give what they have to it and
give everything they have to it and it>s aM it>s a term that>s based on contempt, it>s a term
that>s based on fashion, style, elitism, satanism and everything that>s rotten about rock>n'roll. I
don>t know 8ohnny (otten but I>m sureM I>m sure he puts as much blood and sweat into what
he does as 'igmund *reud did. 7ou see, what sounds to you like a big load of trashy old noise
is in fact the brilliant music of a genius, myself . 2nd that music is so powerful that it>s %uite
beyond my control and ahM when I>m in the grips of it I don>t feel pleasure and I don>t feel
pain, either physically or emotionally. Do you understand what I>m talking about! 4ave you
ever felt like that! <hen you $ust couldn>t feel anything and you didn>t want to either. 7ou
know! )ike that! Do you understand what I>m saying sir!.
-ICC7 &3&
0I $ust knew that what I was doing was e#tremely honest. It was all the things I wanted my
music to be.0
-8ustin 5ernon @+on IverA
2side from the -%uiet subversion. you mentioned, what do you see as the touchstones of the
Ciles look!
I don>t think there is a look, per se. I mean, Ciles is never about, you know, con$uring some
kind of downtown style. I like clothes that have a distinct personality=statement clothes, I
guess I>d say. 2ccessible eccentric. Each garment is uni%ue. ,he fabrication, the print, the cut.
-Ciles Deacon, Interview with 'tyle.com
0<e are here to drink beer. <e are here to kill war. <e are here to laugh at the odds and live
our lives so well that death will tremble to take us0
-/harles +ukowski
0I think we are all kids, no matter what age you are. 2nd it's great to be a kid, psychologists
have shown that kids laugh more than twice as much as adults. I feel that what we call
adulthood is overrated, impossible, not really true. <e simultaneously over-value and put
down children. It's time to fight back.0
-9ike 9ills
0,he trouble with graphic design today is: when can you believe it! It's not the message of the
designer anymore. Every applied artist ends up selling his or her soul at some point. I haven't
done it and look at me. &eople call me one of the most famous designers in the world and I
haven't got any money.0
-&eter 'aville
0...when in doubt make no sense, non-sense is good.0
-modulations @documentary on the history of soundA
0if you're not embarrasing yourself, you're not doing anything0
-2llen Cinsberg
<hat is ',7)E!
'tyle is the answer to everything.
*resh way to approach a dull or dangerous day.
,o do a dull thing with style is preferable to doing a dangerous thing without style.
,o do a dangerous thing with style, is what I call art.
+ullfighting can be an art.
+o#ing can be an art.
)oving can be an art.
3pening a can of sardines can be an art.
6ot many have style.
6ot many can keep style.
I have seen dogs with more style than men.
2lthough not many dogs have style.
/ats have it with abundance.
<hen 4emingway put his brains to the wall with a shotgun, that was style.
*or sometimes people give you style.
8oan of 2rc had style. 8ohn the +aptist. 8esus. 'ocrates. /aesar. CarcSa )orca.
I have met men in $ail with style.
I have met more men in $ail with style than men out of $ail.
'tyle is a difference, a way of doing, a way of being done.
'i# herons standing %uietly in a pool of water, or you, walking out of the bathroom without
seeing me.
-/harles +ukowski
2rchitectural (ecord: It>s not fashionable to talk about beauty, but in looking at your
buildings, I think about it. <hat is the role of beauty in your work!
,adao 2ndo: ,here is a role and function for beauty in our time. In 8apan it may be translated
into the concept of 1sku$i, which also means a beautiful life, that is, how a person liveshis
or her inner life. It>s something beyond appearance, or what only meets the eye. 7ou can>t
really say what is beautiful about a place, but the image of the place will remain vividly with
you. &eople tend not to use this word beauty because it>s not intellectual=but there has to be
an overlap between beauty and intellect.
thinking is more interesting than knowing, but less interesting than looking.
- goethe
there is no chicken.
there is no road to cross.
there is no other side.
- robert metrick
grasp at nothing N resist nothing
- $ack kornfield
what we do not make conscious emerges later as fate.
- $ung
0<hat's money! 2 man is a success if he gets up in the morning and goes to bed at night and
in between does what he wants to do.0
- +ob Dylan
<.?.: 4ave you heard of that %uote by this guy *riedrich 'chiller, -?eep true to the dreams of
thy youth.! ,hat %uote changed my life, and I only heard it a few months ago. It confirmed
that every cra"y thing I>d ever done at least was staying true to the dreams of my youth=and
really, I mean very young dreams
of $ust being able to have fun all the time.
'<EE6E7: ,he spirit of that makes a lot of sense to me. 'omeone asked me the other day
what success is. ,here is that 8oseph /ampbell %uote that says -follow your bliss..
In &ruitt s show, (umspringa serves as a metaphor for &ruitt s art-making process: changing ʼ ʼ
and mi#ing styles at will and e#perimenting without constraint.
0I don't like 6ew 7ork as much as I love /alifornia.0
- David 4ockney
a great idea looks simple, but you have to find it first.
- 9arcel 9arceau
07ou can live to be a hundred if you give up all the things that make you want to live to be a
-<oody 2llen
T GHEH-HQ-HJ U : I6 /365E('2,I36 <I,4 7273I ?1'292
<hat do you have faith in!
I will be living my life with vigor as I have been, as long as I breathe, putting my all into it.
I spend everyday believing in the vitality of art.
<hat is the best e#ample of 2rt really changing the world for the better!
,here are many e#amples of art contributing to changing the world for the better.
I hope to see the future Earth shining with peace and hope for love, through the efforts of the
countries and people of the world.
I want to create a glorious world by overcoming wars, terror and poverty.
<hy should we change the world!
,here are many people in various parts of the world who are suffering from problems such as
wars, poverty, among others.
I want to hear songs in praise of humanity fill the entire universe.
,o this end, I am creating artwork everyday with all my strength.
<hat does success mean to you!
'ending out messages about life and death to the people fills my heart with deep emotion.
<hat uni%ue gifts do you have to offer to this world!
3ver the past several decades, I have been calling out love forever from the bottom of my
heart. 9any of my enthusiastic fans have warmly accepted my art, pinning their hope on it.
2re we anywhere near where we need to be!
,o get to where we need to be, I think we should make steady efforts everyday no matter how
long it takes.
2gainst the background of the infinitude of the universe and the mystery beyond it, I want to
prove the time of today and life in the infinity of life.
,his is my wish for a process toward life and death that emerges from the space of hope with
the power of my own.
<hat do you think happens when we die!
Death disappears in the endless universe, carrying with it the life of humanity.
<hy are we alive at all!
It is after all a very strange state to find ourselves in.
9y answer to this %uestion is that we want to establish our own presence in a wonderful way.
<hat is the one thing about you that undermines all the opinions you have made above!
,hat is my glorification of art and the brilliance of everlasting life. In the brightly shining
%uietude of time, we want to build up beautifully a splendorous life.
Its about girls who sleep in abandoned cars and set things on fire.
Its about the great things in life.
,he stars in the sky and lots of malt li%uor.
-4armony ?orine
4e teaches me that the feeling is all that matters. ,hat you shouldn't worry about form, or
perfection, or making sense, or being reasonable. 4e is another person out there in the world
saying, trust your unconscious, it's the best thing you've got going. 4arvest was recorded in
his house, he was very out on his own, following his own strange rules, reminds me of punk-
rock in a weird way and I always think about how he made this record.
-9ike 9ills on 6eil 7oung

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