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Barnett Newman

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We are creating images whose reality is self evident and which are devoid of the props and crutches that evoke associations with out-moded images, both sublime and beautiful.

 
Barnett Newman

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I know a girl who just looks at her face in the medicine cabinet mirror and never looks below her shoulders, and she's four or five hundred pounds but she doesn't see all that, she just sees a beautiful face and therefore she thinks she's a beauty. And therefore, I think she's a beauty, too, because I usually accept people on the basis of their self-images, because their self-images have more to do with the way they think than their objective-images do.

 
Andy Warhol
 

In accordance with the Sabean theories images were erected to the stars, golden images to the sun, images of silver to the moon, and they attributed the metals and the climates to the influence of the planets, saying that a certain planet is the god of a certain zone. They built temples, placed in them images, and assumed that the stars sent forth their influence upon these images, which are thereby enabled (to speak) to understand, to comprehend, to inspire human beings, and to tell them what is useful to them. They apply the same to trees which fall to the lot of these stars.

 
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In my use of the camera, I work to make images that go beyond, and even undermine, the conventions of "point of view." Such images transcend the limitation that would seem to be inherent in the photographic mechanism (or "point-of-view machine"). They allow the viewer to see and feel the "room"—or the world, or reality—as it is, beyond the ego’s self-reference. And such images thereby become a non-verbal means of "picturing" the essential human process of ego-transcendence—going beyond the fixed "point of view" of the ego, or the core presumption of separateness

 
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All world-images are apt to become corrupt when left to ecclesiastic bureaucracies. But this does not make the formation of world-images expendable. And I can only repeat that we deny the remnants of old-world images at our own risk, because we do not overcome them by declaring them — with all the righteousness of skepticism — something of a secret sin. They are not less powerful for being denied.

 
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The reverse process is extremely important to me — that artistic images can inspire to words and different myths, and that in certain cultures this process has been the normal relation between images and words. It is known as a rule in the so-called Germanic art, and through the middle ages heaps of such stories are directly inspired by fantastic images.

 
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