October 09, 2015 http://indexgrafik.fr/saul-bass/http://designobserver.com/feature/reassessing-the-saul-bass-and-alfred-hitchcock-collaboration/30768/
I have a confidence in my understanding of formal esthetics and I don’t want to be aware of it or make it my problem. That is not the problem. Those things are solvable. I solve them beautifully. what makes a tight circle or a tight little square box more of an intellectual statement than something done emotionally, I don’t know. Art is an essence, a center. I am interested in solving an unknown factor of art and an unknown factor of life. My life and art have not been separated. They have been together. — Eva Hesse. October 02, 2015
To me the square is sufficient because of its exact quality. The rectangle and the curved form are dictated by sensitivity. the square is in the present tense, unchanging. — Ellsworth Kelly, in Lucy Lippard’s publication “Hommage to the square”, 1967. September 25, 2015
The best that can be said for either the square or the cube is that they are relatively uninteresting in themselves. Being basic representations of two- and three- dimensional form, they lack the expressive force of other more interesting forms and shapes. They are standard and universally recognized, no initiation being required of the viewer; it is immediately evident that a square is a square and a cube, a cube. Released from the necessity of being significant in themselves, they can be better used as grammatical devices from which the work may proceed. The use of a square or cube obviates the necessity of inventing other forms and reserves their use for invention. — Sol Lewitt, in Lucy Lippard’s publication “Homage to the Square”, 1967 September 25, 2015
September 11, 2015 http://us.macmillan.com/thelonelycity/olivialainghttp://www.thamesandhudsonusa.com/books/agnes-martin-her-life-and-art-hardcover
“Sur ordinateur, on peut tout imaginer, tout mettre en image. L’image ainsi produite n’aura jamais la perfection de celle qui est due aux gestes de la main, cette liberté à laquelle je tiens tant. Je n’aime pas employer les dents carrées, agressives de la trame ordinateur. Sauf lorsqu’elle est utilisée dans une image composée. Le futur des nouvelles images, leur épanouissement est lié pour moi aux accidents que la main provoquera. Malgré une modeste expérience avec une «paint box», je ne vois pas l’utilité des ordinateurs pour mon travail personnel. Je préfère le Polaroid parce qu’il est franc, éphémère, instantané et qu’il renvoie à une vérité nue, nettoyée de tout superflu.” http://indexgrafik.fr/roman-cieslewicz/ September 03, 2015
“The idea becomes a machine that makes the art” Sol Lewitt, Artforum, 1967. — http://nickbriz.com/wired/day10.php April 30, 2015