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In order to survive, a plurality of true communities would require not egalitarianism and tolerance but knowledge, an understanding of the necessity of local differences, and respect. Respect, I think, always implies imagination - the ability to see one another, across our inevitable differences, as living souls. (pg. 181, Sex, Economy, Freedom, and Community) ↗
You have a lot to learn, young man. Philosophy. Theology. Literature. Poetry. Drama. History. Archeology. Anthropology. Mythology. Music. These are your tools as much as brush and pigment. You cannot be an artist until you are civilized. You cannot be civilized until you learn. To be civilized is to know where you belong in the continuum of our art and your world. To surmount the past, you must know the past. ↗
Ideally a painter (and, generally, an artist) should not become conscious of his insights: without taking the detour through his conscious reflection, his progressive steps, mysterious even to himself, should enter so swiftly into the work that he is unable to recognize them in the moment of transition. ↗
I suppose I am a frustrated musician so I annoy my family by playing guitar in the house. I used to be into acoustic stuff but my son Joseph is learning drums, so now I have an electric guitar and we play Metallica. We have an amp and a PA in the garage with his drum kit. ↗
I have known many true connoisseurs, with excellent tastes that range across the humanities and the culinary arts--and they never fail to have a fatal effect on my self-esteem. When I find myself sitting at dinner next to someone who knows just as much about novels as I do but has somehow also found the mental space to adore and be knowledgeable about the opera, have strong opinions about the relative rankings of Renaissance painters, an encyclopedic knowledge of the English civil war, of French wines--I feel an anxiety that nudges beyond the envious into the existential. How did she find the time? ↗
