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But you begin to feel as you go on working that unless painting proves its right to exist by being critical and self-judging, it has no reason to exist at all - or is not even possible. The canvas is a court where the artist is prosecutor, defendant, jury and judge. Art without a trial disappears at a glance.
--
ARTnews Annual, October 1966, pp. 102/103 and 152/153

 

Phillip Guston

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I’m no idealist to believe firmly in the integrity of our courts and in the jury system — that is no ideal to me, it is a living, working reality. Gentlemen, a court is no better than each man of you sitting before me on this jury. A court is only as sound as its jury, and a jury is only as sound as the men who make it up.

 

Harper Lee

 

To be alive is to feel the joy of being./ In spite of the sorrows and joys of life/ The primary joy is that of being./ That of my existence. / That I exist is the most fundamental experience is joy for me!/ I, who do not deserve to, really exist./ I, who need not, do exist!/ I, who may not, do exist.

 

Kuruvilla Pandikattu

 

It’s (painting like this – you are in front of your canvas, your hands holds the painting, ready, raised. The canvas waits, waits, empty and white – but all the time it knows what it wants. So – what does it want, anyway? My hand comes near, my eyes begin to transform the waiting canvas; and when – with my hand holding the paint and my eyes seeing the forms – I touch the canvas, it trembles, it comes to life. The struggle begins, to harmonize canvas, eye, hand forms. New apparitions stalk the earth, c. 1953

 

Karel Appel

 

Robert Jackson represented the advocate at his best. He possessed the rare combination of a good jury personality and the qualities of a profound lawyer. He knew how to talk persuasively to a jury of Chautauqua County farmers, yet he could argue the points of law involved in the case with great learning and with unanswerable logic, either before the trial judge or an appellate court. He had high standards of craftsmanship as a lawyer; he was thorough and painstaking in preparation.

 

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My painting does not come from the easel. I hardly ever stretch my canvas before painting. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting. This is akin to the method of the Indian sand painters of the West.

 

Jackson Pollock